A Companion to British and Irish Cinema

A stimulating overview of the intellectual arguments and critical debates involved in the study of British and Irish cinemas British and Irish film studies have expanded in scope and depth in recent years, prompting a growing number of critical debates on how these cinemas are analysed, contextualized, and understood. A Companion to British and Irish Cinema addresses arguments surrounding film historiography, methods of textual analysis, critical judgments, and the social and economic contexts that are central to the study of these cinemas. Twenty-nine essays from many of the most prominent writers in the field examine how British and Irish cinema have been discussed, the concepts and methods used to interpret and understand British and Irish films, and the defining issues and debates at the heart of British and Irish cinema studies. Offering a broad scope of commentary, the Companion explores historical, cultural and aesthetic questions that encompass over a century of British and Irish film studies--from the early years of the silent era to the present-day. Divided into five sections, the Companion discusses the social and cultural forces shaping British and Irish cinema during different periods, the contexts in which films are produced, distributed and exhibited, the genres and styles that have been adopted by British and Irish films, issues of representation and identity, and debates on concepts of national cinema at a time when ideas of what constitutes both 'British' and 'Irish' cinema are under question. A Companion to British and Irish Cinema is a valuable and timely resource for undergraduate and postgraduate students of film, media, and cultural studies, and for those seeking contemporary commentary on the cinemas of Britain and Ireland.

Autorentext
John Hill is Professor of Media, Royal Holloway, University of London, UK. He is the author of Sex, Class and Realism: British Cinema 195663, British Cinema in the 1980s, Cinema and Northern Ireland: Film, Culture and Politics, and Ken Loach: The Politics of Film and Television as well as being the co-author of Cinema and Ireland.

Klappentext
British and Irish film studies have expanded in scope and depth in recent years, prompting a growing number of critical debates on how these cinemas are analyzed, contextualized, and understood. A Companion to British and Irish Cinema addresses arguments surrounding film historiography, methods of textual analysis, critical judgments, and the social and economic contexts that are central to the study of these cinemas. Twenty-nine essays from many of the most prominent writers in the field examine how British and Irish cinema have been discussed, the concepts and methods used to interpret and understand British and Irish films, and the defining issues and debates at the heart of British and Irish cinema studies. Offering a broad scope of commentary, the Companion explores historical, cultural and aesthetic questions that encompass over a century of British and Irish film studiesfrom the early years of the silent era to the present-day. Divided into five sections, the Companion discusses the social and cultural forces shaping British and Irish cinema during different periods, the contexts in which films are produced, distributed, and exhibited, the genres and styles that have been adopted by British and Irish films, issues of representation and identity, and debates on concepts of national cinema at a time when ideas of what constitutes both 'British' and 'Irish' cinema are under question. A Companion to British and Irish Cinema is a valuable and timely resource for undergraduate and postgraduate students of film, media, and cultural studies, and for those seeking contemporary commentary on the cinemas of Britain and Ireland.

Inhalt
About the Editor viii Notes on Contributors ix Introduction 1
John Hill Part I Histories: Issues and Debates 5 1 British Silent Cinema 7
Jon Burrows 2 Cinema in Ireland from the 1890s to the 1930s 29
Kevin Rockett 3 British Cinema in the 1930s 49
Lawrence Napper 4 British Cinema and the Second World War 67
James Chapman 5 The 1950s and 1960s 84
Melanie Williams 6 Irish Cinema's First Wave: Histories and Legacies of the 1970s and the 1980s 106
Maeve Connolly 7 History, Heritage and the National Past in British Cinema of the 1980s and 1990s 127
Geoff Eley Part II Critical Approaches: Debating Film Texts 141 8 Filming with Words: British Cinema, Literature and Adaptation 143
Christine Geraghty 9 British Film Genres 158
Peter Hutchings 10 British Cinema and Authorship 177
Sheldon Hall 11 Acting and Stardom 201
Jim Leach 12 British and Irish Film Music 217
K. J. Donnelly 13 Irish Cinema and International Screen Culture 234
Martin McLoone 14 Vernacular Visions: Ireland and Accented Cinema 260
Luke Gibbons Part III Critical Approaches: Debating Film Contexts 275 15 British Film Industry and Policy: Issues and Debates 277
Duncan Petrie 16 British Cinema and Technology 298
Sarah Street 17 Irish Film: Industry and Policy 313
Roderick Flynn 18 British Cinema and Television 332
David Rolinson Part IV Representation and Identity 347 19 Gender, Sexuality, and British Cinema 349
Niall Richardson 20 Space, Place, and Architecture in British Films: The Case of Last Resort (2000) 372
Paul Newland 21 Gender, Sexuality, and Irish Film 386
Debbie Ging 22 Space and Place in Irish Cinema 407
Conn Holohan 23 The Proletariat and British Cinema 423
Paul Dave 24 Race and Ethnicity in British Cinema 443
Sarita Malik Part V Redefining 'British' and 'Irish' Cinemas 461 25 The Englishness of British Cinema: Beyond the Valley of the Corn Dollies 463
Julian Petley 26 Trainspotter's Delight: Issues and Themes in Scottish Film Criticism 490
Jonathan Murray 27 The Cinema Has Two Tongues: The Cinema Cultures of Wales 510
Daryl Perrins 28 Screening IrishAmerica 532
Ruth Barton 29 Transnational Strategies in British Cinema: The Example of Slumdog Millionaire 545
James F. English Index 565

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