Fires Were Started: British Cinema and ThatcherismLester D. Friedman Wallflower, 2006 - Počet stran: 341 Fires Were Started is a provocative analysis of the responses of British film to the policies and political ideology of the Conservative governments of Margaret Thatcher and it represents an original and stimulating contribution to our knowledge of British cinema. This second edition includes revised and updated contributions from some of the leading scholars of British cinema, including Thomas Elsaesser, Peter Wollen and Manthia Diawara. The book discuss prominent filmmakers such as Peter Greenaway, Derek Jarman, Ken Russell, Nicolas Roeg and Stephen Frears, it also explores some lesser known but equally important territory such as the work of Black British filmmakers, the Leeds Animation Workshop and Channel 4's Film on Four. Films discussed include Distant Voices, Still Lives, My Beautiful Launderette, Chariots of Fire and Drowning by Numbers. |
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Strana 132
... scene are shown in slow motion as the police finally catch the Rasta man who vainly tries to escape them . The filming of the scene puts emphasis on the police outnumbering the man in dreadlocks , and on the brutality of the police ...
... scene are shown in slow motion as the police finally catch the Rasta man who vainly tries to escape them . The filming of the scene puts emphasis on the police outnumbering the man in dreadlocks , and on the brutality of the police ...
Strana 238
... scene that is particularly graphic , one might say specific , for a television film - as we see Ruth tear off the placenta with her teeth . If there were not already something vaguely familiar about the scene of a birth in a bare ...
... scene that is particularly graphic , one might say specific , for a television film - as we see Ruth tear off the placenta with her teeth . If there were not already something vaguely familiar about the scene of a birth in a bare ...
Strana 252
... scene is especially noteworthy in illustrating Davies's technique in raising audience perceptions in a new materialistic cinematic manner . At the climax of Distant Voices , Still Lives , the newly married Tony weeps unseen outside his ...
... scene is especially noteworthy in illustrating Davies's technique in raising audience perceptions in a new materialistic cinematic manner . At the climax of Distant Voices , Still Lives , the newly married Tony weeps unseen outside his ...
Obsah
Thatcherite Politics and the British Film of the 1980s | 15 |
Modernism in the British Films of the Thatcher Era | 30 |
The New British Cinema | 45 |
Autorská práva | |
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Fires Were Started: British Cinema and Thatcherism Lester D. Friedman Náhled není k dispozici. - 1993 |
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aesthetic Alan argues artists audience avant-garde Beautiful Laundrette Britain British cinema British Film Institute British television camera Catholic Channel 4's characters Chariots of Fire Conservative costume dramas critical critique culture David decade Derek Jarman directors discourse documentary dominant Draughtsman's Contract economic English essay fantasy feminist fiction film industry film's filmmakers genre Greenaway's heritage films Higson Hollywood identity ideology images Irish John Ken Loach Ken Russell Labour Last of England Leigh literary lives Loach London mainstream Margaret Thatcher Maurice memory Michael Mike Leigh mother narrative national cinema Northern Ireland Onwurah Party past period Peter Greenaway play Ploughman's Lunch policies political Press production Protestant realism representation represents Roeg Roeg's Russell's scene Screen sense sexual shot social society specific Stephen Frears suggests television films Thatcherite theatre tion tradition viewers visual voiceover women working-class Yosser young