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Young and Innocent? Young and Innocent? Young and Innocent? : The Cinema in Britain, 1896-1930 the Cinema in Britain, 1896-1930 the Cinema in Britain, 1896-1930 - Andrew Higson

Young and Innocent? Young and Innocent? Young and Innocent?

The Cinema in Britain, 1896-1930 the Cinema in Britain, 1896-1930 the Cinema in Britain, 1896-1930

By: Andrew Higson (Editor), Charles Barr (Contribution by), Stephen Bottomore (Contribution by), Neil Brand (Contribution by), Jon Burrows (Contribution by)

Paperback

Published: 2nd March 2002
Ships: 15 business days
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$68.95

Silent cinema and the study of British cinema have seen some of the most exciting developments in Film Studies. This study brings then together in a comprehensive survey of one of the most important periods of film history. The book also includes guides to bibliographical and archival sources. Most of the acknowledged experts on this period are represented, joined by several new voices. Together they chart the development of cinema in Britain from its beginnings in the 1890s to the conversion to sound in the late 1920s and the emergence of an intellectual film culture in the 1920s. From these acco unts the youthful British cinema emerges as far from innocent. On the contrary, it was a complex field of cultural and industrial practices. Topics covered include: the cinema of attractions in the early period; the emergence of the narrative film; and the series and serials of the 1910s and 1920s. The enormous range of actuality films, including early shorts, cinemagazines, interest films, travelogues and travel films is covered, as are the mainstream feature film of the late 1910s and 1920s. The study also examines the roles played by key producers, directors, scriptwriters and stars, ranging from Cecil Hepworth to Ivor Novello and from H.G. Wells to Alfred Hitchcock. Contributors consider the changin grelationships between film and literature, theatre and visual culture and the ways in which audiences engaged with films and the patterns of exhibition and reception, as well as the contribution of live music to the film experience, and British cinema's relations with American cinema and the Empire market.

"Two themes in particular stand out, which draw on the interdisciplinary pattern of much current early media work. One is to locate moving pictures in a wider fabric of popular culture . . . The other new and welcome trend apparent in this collection is a move away from directors and even from individual films towards a consideration of industrial issues . . . [this collection] testifies to a lively culture of research and discovery around early British cinema which is a welcome change from the self-flagellation of earlier generations." -Sight and Sound, June 2002

--Sight and Sound

List of Illustrationsp. viii
Picture Creditsp. x
Acknowledgementsp. xi
Introductionp. 1
Putting the Pioneers in Context: Films and Filmmakers before the First World War
'But the Khaki-Covered Camera is the Latest Thing': The Boer War Cinema and Visual Culture in Britainp. 13
James Williamson's Rescue Narrativesp. 28
Cecil Hepworth, Alice in Wonderland and the Development of the Narrative Filmp. 42
Putting the World before You: The Charles Urban Storyp. 65
'It would be a Mistake to Strive for Subtlety of Effect': Richard III and Populist, Pantomime Shakespeare in the 1910sp. 78
Going to the Cinema: Audiences, Exhibition and Reception from the 1890s to the 1910s
'Indecent Incentives to Vice': Regulating Films and Audience Behaviour from the 1890s to the 1910sp. 97
'Nothing More than a "Craze"': Cinema Building in Britain from 1909 to 1914p. 111
Letters to America: A Case Study in the Exhibition and Reception of American Films in Britain, 1914-1918p. 128
A Full Supporting Programme: Serials, Cinemagazines, Interest Films, Travelogues and Travel Films, and Film Music in the 1910s and 1920s
British Series and Serials in the Silent Erap. 147
The Spice of the Perfect Programme: The Weekly Magazine Film during the Silent Periodp. 162
Shakespeare's Country: The National Poet, English Identity and British Silent Cinemap. 176
Representing 'African Life': From Ethnographic Exhibitions to Nionga and Stampedep. 191
Distant Trumpets: The Score to The Flag Lieutenant and Music of the British Silent Cinemap. 208
The Feature Film at Home and Abroad: Mainstream Cinema from the End of the First World War to the Coming of Sound
Writing Screen Plays: Stannard and Hitchcockp. 227
H.G. Wells and British Silent Cinema: The War of the Worldsp. 242
War-Torn Dionysus: The Silent Passion of Ivor Novellop. 256
Tackling the Big Boy of Empire: British Film in Australia, 1918-1931p. 271
Taking the Cinema Seriously: The Emergence of an Intellectual Film Culture in the 1920s
The Film Society and the Creation of an Alternative Film Culture in Britain in the 1920sp. 291
Towards a Critical Practice: Ivor Montagu and British Film Culture in the 1920sp. 306
Writing the Cinema into Daily Life: Iris Barry and the Emergence of British Film Criticism in the 1920sp. 321
Bibliographical and Archival Resources
A Guide to Bibliographical and Archival Sources on British Cinema before the First World Warp. 341
A Guide to Bibliographical and Archival Sources on British Cinema from the First World War to the Coming of Soundp. 356
Bibliography: British Cinema before 1930p. 371
Notes on Contributorsp. 405
Indexp. 411
Table of Contents provided by Syndetics. All Rights Reserved.

ISBN: 9780859897174
ISBN-10: 0859897176
Series: Exeter Studies in Film History
Audience: General
Format: Paperback
Language: English
Number Of Pages: 432
Published: 2nd March 2002
Publisher: UNIV OF EXETER
Country of Publication: GB
Dimensions (cm): 23.37 x 16.15  x 2.67
Weight (kg): 0.74