A Companion to British and Irish Cinema.
- 1st ed.
- 1 online resource (608 pages)
- Wiley Blackwell Companions to National Cinemas Series .
- Wiley Blackwell Companions to National Cinemas Series .
Cover -- Title Page -- Copyright Page -- Contents -- About the Editor -- Notes on Contributors -- Introduction -- Notes -- References -- Part I Histories: Issues and Debates -- Chapter 1 British Silent Cinema -- Introduction -- 1894-1906 -- 1907-1918 -- 1918-1929 -- Note -- References -- Chapter 2 Cinema in Ireland from the 1890s to the 1930s -- Introduction -- Containing the Cinema -- Foreign Filmmaking in Ireland, 1910-1914 -- Filmmaking During 1916-1920 -- Anti-sectarianism as Political Reconciliation and Unity -- Remembering the Revolution -- Notes -- References -- Chapter 3 British Cinema in the 1930s -- Introduction -- The Historical Perspective -- References -- Chapter 4 British Cinema and the Second World War -- Introduction -- The Second World War and the Golden Age Narrative -- Traditional Film Histories and the Formation of the Canon -- National Fictions and the Ideological Critique of British Wartime Cinema -- Revisionist Histories and the Role of the Ministry of Information -- Histories of Reception and Audiences -- Notes -- References -- Chapter 5 The 1950s and 1960s -- Introduction -- Key Trends of the 1950s and 1960s -- Back to School: An Alternative Route Through Post‐war British Cinema -- Notes -- References -- Chapter 6 Irish Cinema's First Wave: Histories and Legacies of the 1970s and the 1980s -- Introduction: The Arrival of an Indigenous Irish Cinema -- Critical Film Practice: Cultural and Political Contexts -- Makeshift Exhibition and International Circulation -- First Wave Figures: Tourists, Migrants and Actors -- Histories and Archaeologies -- Curating First Wave Film Culture -- Conclusion: Legacies of the First Wave -- References -- Chapter 7 History, Heritage and the National Past in British Cinema of the 1980s and 1990s -- Introduction -- Notes -- References -- Part II Critical Approaches: Debating Film Texts. Chapter 8 Filming with Words: British Cinema, Literature and Adaptation -- Notes -- References -- Chapter 9 British Film Genres -- Introduction -- The Britishness of British Film Genres -- The Genericity of British Film Genres -- Conclusion -- References -- Chapter 10 British Cinema and Authorship -- Introduction -- Sequence: Creative Elements -- Movie, Directors and Critics -- British Authors and Auteurs -- Notes -- References -- Chapter 11 Acting and Stardom -- Introduction -- Acting and Stardom in Context -- Phyllis Calvert: Melodramatic Acting -- Laurence Harvey: Realism and the British New Wave -- Daniel Day-Lewis: 'Cross-over' Acting -- Conclusion: Acting in (Inter)national Contexts -- References -- Chapter 12 British and Irish Film Music -- Introduction -- British Film Music and the 'Classical' Tradition -- British Music Films and Pop Music -- Musical Traditions and Ireland -- Conclusion -- Notes -- References -- Chapter 13 Irish Cinema and International Screen Culture -- Introduction -- Irish Cinema and the Modernist Tradition -- Irish Cinema and 'Trickle‐down' Funding -- Northern Ireland as Westeros -- Film in Ireland: The National in the Global? -- Transnational Cinema and Genre -- Irish Cinema and Authorship -- Conclusion -- References -- Chapter 14 Vernacular Visions: Ireland and Accented Cinema -- Notes -- References -- Part III Critical Approaches: Debating Film Contexts -- Chapter 15 British Film Industry and Policy: Issues and Debates -- Introduction -- Pioneering Scholarship on the British Film Industry -- The Link Between Industry and Policy -- Challenges to the National Frame -- Changing Relations with Television -- Conclusion -- References -- Chapter 16 British Cinema and Technology -- Introduction -- Sound -- Colour -- Widescreen Cinema and 3-D -- Personnel -- Digital Technologies -- References. Chapter 17 Irish Film: Industry and Policy -- Introduction -- Notes -- References -- Chapter 18 British Cinema and Television -- Introduction -- Not Cinema? -- Not Television? -- References -- Part IV Representation and Identity -- Chapter 19 Gender, Sexuality, and British Cinema -- Introduction -- Not Such Feminine Brief Encounters?: From 'Superior Woman' to Postfeminist 'Lady Power' -- Boys Don't Do Ballet: Britain's Effeminophobia? -- There's Something Queer Here: From Victims to Queers to Post‐gays -- Strategies of Containment -- References -- Chapter 20 Space, Place, and Architecture in British Films: The Case of Last Resort (2000) -- Introduction -- Debates on Space, Place and British Film -- Last Resort: Margate as Carnivalesque Space -- Last Resort: The Semiotics of Brutalist Architecture -- Conclusion -- Notes -- References -- Chapter 21 Gender, Sexuality, and Irish Film -- Introduction -- The Early Years -- Women -- Cosmopolitanism, Postfeminism, and the Second Irish Film Board -- Men and Masculinity -- Sex and Sexuality -- The Trouble with Sex -- Conclusion -- Notes -- References -- Chapter 22 Space and Place in Irish Cinema -- Introduction -- An Inherited Tradition -- The Space of National Cinema -- Enter the Urban -- 'Hip Hedonism' and the Politics of Place -- Conclusion: The New Cosmopolitans? -- References -- Chapter 23 The Proletariat and British Cinema -- Introduction -- Thinking About Class as Identity and Relationship -- British Film Studies and Class -- The Contemporary Problem of the Proletariat -- Science Fiction and the Problem of the Proletariat -- The Exhaustion of Marxist Hermeneutics? -- References -- Chapter 24 Race and Ethnicity in British Cinema -- Introduction -- Critical Race Film Studies - Black Film, British Cinema -- The Fragmentation of the 'Black' in Black British Cinema. Current Frames: Black British Film in Post‐Multiculturalist Times -- Conclusion -- Notes -- References -- Part V Redefining 'British' and 'Irish' Cinemas -- Chapter 25 The Englishness of British Cinema: Beyond the Valley of the Corn Dollies -- Introduction -- Britain/England -- The Return of the 'English Question' -- A Reactionary and Self-pitying Mythology -- 'The Diversity of it, the Chaos!' -- A Certain Tendency of the English Cinema -- The Question of National Cinema -- Culturally English Film-making in the Global Marketplace -- Englishness-for-Export -- Conclusion -- Notes -- References -- Chapter 26 Trainspotter's Delight: Issues and Themes in Scottish Film Criticism -- Introduction -- Detachment, Depression, and Dreaming -- Definition and Development -- Deconstruction and Devolution -- Conclusion -- References -- Chapter 27 The Cinema Has Two Tongues: The Cinema Cultures of Wales -- Introduction -- 'I was in Wales, It was just a dream': Cinema and the Fate of the Language -- 'Can you imagine Lou Reed walking around Banwen?': English-Language Cinema -- 'Sunny Days in January': The Contemporary Scene -- Conclusion -- References -- Chapter 28 Screening Irish-America -- Historical Approaches -- Analysing Irishness -- John Ford and The Quiet Man -- How the Irish Became White -- Irishness After 9/11 -- References -- Chapter 29 Transnational Strategies in British Cinema: The Example of Slumdog Millionaire -- British Cinema as Transnational Cinema -- Transatlantic Cinema as British Cinema -- Slumdog Millionaire as Glocal Realist Cinema -- Notes -- References -- Index -- EULA.