Zobrazeno 1 - 10
of 59
pro vyhledávání: '"Amy Sargeant"'
Autor:
Amy Sargeant
Although new writing and research on British cinema has burgeoned over the last fifteen years, there has been a continued lack of single-authored books providing a coherent overview to this fascinating and elusive national cinema. Amy Sargeant's pers
Autor:
Amy Sargeant
Publikováno v:
Revue LISA, Vol 15
The article claims a cycle of British Ruritanian romps as exemplarily kitsch in both scenario and mise-en scène, identifying a number of recurrent thematic and aesthetic motifs. Furthermore, drawing on commentary provided by Gillo Dorfles, Hermann B
Externí odkaz:
https://doaj.org/article/1e4fde881dd24a58b3ee05d8dc5b3f00
Autor:
Claire Monk, Amy Sargeant
Films recreating or addressing'the past'- recent or distant, actual or imagined - have been a mainstay of British cinema since the silent era. From Elizabeth to Carry On Up The Khyber, and from the heritage-film debate to issues of authenticity and q
Autor:
Amy Sargeant
Publikováno v:
Journal of British Cinema and Television. 15:252-270
The article addresses debates around the introduction of commercial television in Britain, conducted in Parliament, lobby groups, the advertising trade press and broader cultural commentary. It notes that the boundaries between these interest groups
Autor:
Amy Sargeant
Amy Sargeant's compelling and meticulous study of Joseph Losey's The Servant (1963) sets the film in the context of a long tradition of fictional depictions of the master-servant relationship, from Shakespeare to Cervantes, Henry James, Dorothy L. Sa
Autor:
Amy Sargeant
Amy Sargeant's illuminating study of Joseph Losey's The Servant (1963) provides a detailed discussion of the film's production and reception history, as well as a textual analysis that focuses on Harold Pinter's adaptation of Maugham's novella; the f
Autor:
Amy Sargeant
Publikováno v:
Screen. 56:253-261
Autor:
Amy Sargeant
Publikováno v:
Revue LISA (2017)
The article claims a cycle of British Ruritanian romps as exemplarily kitsch in both scenario and mise-en scène, identifying a number of recurrent thematic and aesthetic motifs. Furthermore, drawing on commentary provided by Gillo Dorfles, Hermann B