Add to ORKGThe British New Wave in cinema, which ran from 1958 to 1962, was built around the adaptation of a number of literary texts that derived their ‘newness’ by vocalising working-class protagonists, hitherto largely suppressed in popular visions of British society. As a knock-on-effect, British screen culture refreshed, suffering as it did from the same level of under-representation that blighted literature. In a wider context, the films’ freshness and vigour can also be seen to be identified in a new approach to film style and aesthetics which had more in common with the European art cinema than the staid traditions of British filmmaking.
Our aim, in editing the ‘London Issue’ of this journal, is to contribute to a conversation between s...
In the period since 2001, cinema has witnessed what David Butler refers to as a ‘golden age’ of fant...
This is an accepted manuscript of an article published by Taylor and Francis in Media History on 28/...
The British New Wave in cinema, which ran from 1958 to 1962, was built around the adaptation of a nu...
A presentation as part of the Strange New Worlds Postgraduate Conference, held by the Cinema and Tel...
In recent years a number of new British filmmakers have emerged with feature length works that overt...
My dissertation investigates the idea of cinematic authorship in a twenty-first-century mediascape i...
A series of limiting definitions have tended to delineate the Franco-British cinematic relationship....
Conventional approaches to the British New Wave tend to place their greatest emphasis upon viewing t...
It could be said that the films of the director Peter Strickland are in many ways exemplars of a ric...
This thesis examines how the reading and writing of the post-war British novel is altered by the eme...
The arrival of the talkies in Britain evoked mixed responses. While popular audiences enthusiastical...
It could be said that the films of the director Peter Strickland are in many ways exemplars of a ric...
Acting Styles of the British New Wave British New Wave cinema is typically associated with two group...
A presentation as part of British Silent Film Festival symposium held at King's College London, Apri...
Our aim, in editing the ‘London Issue’ of this journal, is to contribute to a conversation between s...
In the period since 2001, cinema has witnessed what David Butler refers to as a ‘golden age’ of fant...
This is an accepted manuscript of an article published by Taylor and Francis in Media History on 28/...
The British New Wave in cinema, which ran from 1958 to 1962, was built around the adaptation of a nu...
A presentation as part of the Strange New Worlds Postgraduate Conference, held by the Cinema and Tel...
In recent years a number of new British filmmakers have emerged with feature length works that overt...
My dissertation investigates the idea of cinematic authorship in a twenty-first-century mediascape i...
A series of limiting definitions have tended to delineate the Franco-British cinematic relationship....
Conventional approaches to the British New Wave tend to place their greatest emphasis upon viewing t...
It could be said that the films of the director Peter Strickland are in many ways exemplars of a ric...
This thesis examines how the reading and writing of the post-war British novel is altered by the eme...
The arrival of the talkies in Britain evoked mixed responses. While popular audiences enthusiastical...
It could be said that the films of the director Peter Strickland are in many ways exemplars of a ric...
Acting Styles of the British New Wave British New Wave cinema is typically associated with two group...
A presentation as part of British Silent Film Festival symposium held at King's College London, Apri...
Our aim, in editing the ‘London Issue’ of this journal, is to contribute to a conversation between s...
In the period since 2001, cinema has witnessed what David Butler refers to as a ‘golden age’ of fant...
This is an accepted manuscript of an article published by Taylor and Francis in Media History on 28/...