Britisch

Named a BOOK OF THE YEAR by The Times and Sunday Times,New Statesman,Spectator,Prospect,and New Yorker.'Undoubtedly Hoare's masterpiece'Olivia Laing'Queer in all senses of the word'Neil Tennant'A life-changing book'Robert Douglas Fairhurst, The Times'Fabulously idiosyncratic'Lucy Hughes-Hallett, New Statesman¿How one visionary inspired 200 years of art, poetry, and protest.Weaving between the historical, cultural and personal, award-winning author Philip Hoare reveals a web of creative minds and artistic iconoclasts fired with the wild and revolutionary genius of William Blake.In 1973, Derek Jarman set off from London to film the stones of Avebury. He was following in the footsteps of Paul Nash, who had photographed the ancient megaliths a generation before. Standing in that muddy field, by those stones, both artists had felt a direct connection to their hero - a man who had died a long, long time ago, yet who remained electrically alive to them.In this alluring and poetic odyssey, Philip Hoare traces the enduring legacy of William Blake and how he came to inspire so many creative lives. Reaching out of his past and into our future, Blake draws together the natural world and metaphysical realms, merging the human and the animal and the spiritual, firing up twentieth-century artists, filmmakers, poets, writers and musicians with his radical promise of absolute freedom. This stirring, deeply felt book brings us back to Blake and shows that art still has the power to create positive change.'A book that is neither Blake biography nor critical analysis nor legacy-tracing nor personal odyssey but a capacious mixing of them all ... a joyful and dizzying romp' Philip Marsden, Spectator'This love letter to William Blake couldn't be more eccentric ... Philip Hoare's weird and wonderful style soars in this study of the poet and his disciples' Ian Sansom, Telegraph'Hoare's impassioned style, alive with metaphor and wordplay, has often been called "dreamlike". This is apt, given his total immersion in his subject ... Nothing will be as audacious or intriguing as William Blake and the Sea Monsters of Love' Jenny Uglow, Times Literary Supplement

In the years after the First World War the British government had to adapt its communication policy to connect with the new mass electorate. This book examines the government's own Film Units and their slow development of the Public Information Film. By reviewing the entire film catalogue produced by the Empire Marketing Board, the General Post Office and Crown Film Units, particular themes are identified which not only reflect the demands of the Units' sponsors but also the anxieties and concerns of the 1930s and 1940s. The impact of the films is explored through the contemporary reaction of the audiences to them. By the time the Crown Film Unit was closed in 1952 a style of Public Information Film had been developed and continued into the 1970s.

A behind-the-scenes guide to the National Trust locations in some of the most iconic film and TV moments. Fully updated to include the latest dramas such as Bridgerton, The Pursuit of Love and Operation Mincemeat.Ranging from lavish costume dramas such as Poldark and Wolf Hall to epic fantasies including Game of Thrones and The Dark Knight Rises, the historic houses and stunning landscapes of the National Trust have been chosen as backdrops by some of the world's most famous directors. This fact-filled guidebook is organised geographically enabling the planning of single visits or entire adventure trips. Films and TV series featured: Bridgerton, Poldark, Sense and Sensibility, Wolf Hall, The Other Boleyn Girl, the Harry Potter films, The Duchess, The Crown, Snow White and the Huntsman, Never Let Me Go, Remains of the Day, Miss Potter, The History Boys, Game of Thrones and many many more.

Von Heritage bis Horror: Das Kino des Vereinigten Königreichs ist auch, aber nicht nur "im Geheimdienst Ihrer Majestät" unterwegs.Mit dem britischen Film verbinden sich unzählige Namen und Phänomene, die seinen Charakter im Lauf von rund 130 Jahren geprägt haben. Dazu gehören einflussreiche Regisseure von Alfred Hitchcock bis Christopher Nolan und ikonische Figuren wie James Bond und Harry Potter, ebenso Shakespeare-Adaptionen, die Horrorfilme der Hammer Studios oder die romantischen Komödien von Richard Curtis. Als ¿typisch britisch¿ gelten nicht nur Filme über die Monarchie von Heinrich VIII. bis Prinzessin Diana und das opulente Heritage-Kino der 1980er Jahre, sondern auch die realistischen Sozialdramen von Ken Loach und Andrea Arnold oder die britisch-asiatische Spielart des postkolonialen Films. Zudem haben immer wieder herausragende Einzelfilme aus britischen Studios wichtige Beiträge zum internationalen Kino geleistet. Der Band präsentiert einen Überblick zu dieser reichhaltigen Filmgeschichte.

This study is devoted to the work of two early British filmmakers, George Albert Smith and James Williamson, and the films that they made around 1900. Internationally, they are known collectively as the 'Brighton School' and are positioned as being at the forefront of Britain's contribution to the birth of film. The book focuses on the years 1896 to 1903, as it was during this short period that film emerged as a new technology, a new enterprise and a new form of entertainment. Beginning with a historiography of the Brighton School, the study goes on to examine the arrival of the first 35mm films in Britain, the first film exhibitions in Brighton and the first projection of film in Brighton. Both Smith and Williamson's work features a progression from the production of single shot unedited films to multi-shot edited films. Their subject matter was inspired by a knowledge of contemporary pantomime, humour, literature, theatre, mesmerism, the magic lantern and current affairs and their practices were underpinned by active involvement in the new film trade. Through the exploration of how these filmmakers cultivated a new way of understanding film and its commercial potential, this book establishes them as key figures in the development of British film culture.

An original blending of literary and film studies which seeks to dissolve barriers between the two disciplines. Offers a new reading of Dickens from the perspective of film, technology and visuality. Proposes a new reading of the emergence of film in the light of social and industrial transformations. Suggests that Dickens was one of the forces which contributed to the appearance of film towards the end of the nineteenth century.

Contemporary works of art that remodel the canon not only create complex, hybrid and plural products but also alter our perceptions and understanding of their source texts. This is the dual process, referred to in this volume as "refraction", that the essays collected here set out to discuss and analyse by focusing on the dialectic rapport between postmodernism and the canon. What is sought in many of the essays is a redefinition of postmodernist art and a re-examination of the canon in the light of contemporary epistemology. Given this dual process, this volume will be of value both to everyone interested in contemporary art--particularly fiction, drama and film--and also to readers whose aim it is to promote a better appreciation of canonical British literature.

Ein Ereignis: Ilse Aichinger 'goes Pop' und entwickelt eine ganz neue Art von Autobiographie. Sie verknüpft die Filmgeschichte des 20. Jahrhunderts mit dem Verhängnis ihrer Familie. In verblüffenden Kreuzungen aus Populärkultur, Denken und Erinnerung spannt sie den Bogen vom Stummfilm bis zu den Beatles: Blitzlichter der Freiheit.