Paperback : $81.74
From early classics like They Made Me A Fugitive, to acclaimed recent films such as Face and Lock, Stock, and Two Smoking Barrels, British Crime Cinema is the first substantial study of British cinemas most neglected genre. Bringing together original work from some of the leading writers on British popular film, and including interviews with key directors Mike Hodges (Get Carter) and Donald Cammel (Performance), British Crime Cinema follows the progress of the crime film from its first flourishing during the black market Britain of the 1940s, through the more relaxed whimsy of 50s classics like The Lavender Hill Mob and The Ladykillers, to the resurgence of the gangster cult in the late sixties, and contemporary incarnations in films such as ^Shallow Grave, Shopping, and Face. Embracing both overlooked B movies and acknowledged classics such as Brighton Rock and The Long Good Friday, contributors trace the influence of the Hollywood gangster picture on its British counterpart, discussing the effect of film censors hostility, and assessing the crime films relationship to the British New Wave. Examining the subversion of feminine stereotypes in the underworld film, British Crime Cinema stresses the importance of the crime film in understanding masculinity in British cinema, and the shifting gender relations of postwar Britain. Charlotte Brunsdon Warwick University, Viv ChadderNottingham Trent University, Steve Chibnall De Montfort University, Andrew Clay, John Hill University of Ulster,
From early classics like They Made Me A Fugitive, to acclaimed recent films such as Face and Lock, Stock, and Two Smoking Barrels, British Crime Cinema is the first substantial study of British cinemas most neglected genre. Bringing together original work from some of the leading writers on British popular film, and including interviews with key directors Mike Hodges (Get Carter) and Donald Cammel (Performance), British Crime Cinema follows the progress of the crime film from its first flourishing during the black market Britain of the 1940s, through the more relaxed whimsy of 50s classics like The Lavender Hill Mob and The Ladykillers, to the resurgence of the gangster cult in the late sixties, and contemporary incarnations in films such as ^Shallow Grave, Shopping, and Face. Embracing both overlooked B movies and acknowledged classics such as Brighton Rock and The Long Good Friday, contributors trace the influence of the Hollywood gangster picture on its British counterpart, discussing the effect of film censors hostility, and assessing the crime films relationship to the British New Wave. Examining the subversion of feminine stereotypes in the underworld film, British Crime Cinema stresses the importance of the crime film in understanding masculinity in British cinema, and the shifting gender relations of postwar Britain. Charlotte Brunsdon Warwick University, Viv ChadderNottingham Trent University, Steve Chibnall De Montfort University, Andrew Clay, John Hill University of Ulster,
List if illustrations, Notes on contributors, Acknowledgements, Chapter 1: Parole overdue: releasing the British crime film into the critical community, Chapter 2: The censors and British gangland, 1913–1990, Chapter 3: Spin a dark web, Chapter 4: Outrage: No Orchids for Miss Blandish, Chapter 5: Men, women and money: masculinity in crisis in the British professional crime film 1946–1965, Chapter 6: The higher heel: women and the post-war British crime film, Chapter 7: The emergence of the British tough guy: Stanley Baker, masculinity and the crime thriller, Chapter 8: Ordinary people: 'New Wave' realism and the British crime film 1959–1963, Chapter 9: Performance: interview with Donald Cammell, Chapter 10: Mike Hodges discusses Get Carter with the NFT audience, 23 September 1997, Chapter 11: A revenger's tragedy – Get Carter, Chapter 12: Dog eat dog: The Squeeze and the Sweeney films, Chapter 13: Space in the British crime film, Chapter 14: Allegorising the nation: British gangster films of the 1980s, Chapter 15: From underworld to underclass: crime and British cinema in the 1990s, A filmography of British underworld films, 1939–1997, Index
Steve Chibnall is Senior Lecturer in Media Studies at de Montfort University, Leicester. Robert Murphy is senior Research Fellow at de Montfort University.
'An all-encompassing study, there is much of interest to digest
here.' - Film Review
'British Science Fiction Cinema British Crime Cinema The two books
may be aimed more at students than buffs, but anyone who picks them
up will find plenty of food for thought.' - Independent
|
Ask a Question About this Product More... |
|
