The British New Wave: A Certain Tendency?
This book offers an opportunity to reconsider the films of the British New Wave in the light of forty years of heated debate. By eschewing the usual tendency to view films like A Kind of Loving and The Entertainer collectively and include them in broader debates about class, gender, and ideology, this book presents a new and innovative look at this famous cycle of British films. For each film, a re-distribution of existing critical emphasis also allows the problematic relationship between these films and the question of realism to be reconsidered. Drawing upon existing sources and returning to long-standing and unchallenged assumptions about these films, this book offers the opportunity for the reader to return to the British New Wave and decide for themselves where they stand in relation to the films.
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action Alan Lovell Aldgate Anderson Andrew Higson approach Archie Arthur Back in Anger becomes Billy Liar Billy's Bordwell British Cinema British film criticism British New Wave broader camera is positioned camera movement characters Clayton's film concerns consider context continues David Bordwell demonstrate Despite detail directors discussion distance Doreen Elsaesser emphasis example film cuts film style film-makers film's frame Frank further Hill Hollywood Hoylake Hutchings Ibid idea individual film Ingrid interpretation Jimmy Joe's Kind of Loving lack landscape Lindsay Anderson London Lovell Margaret mise-en-scene move Movie Movie's narrative Night and Sunday offers Penelope Houston Perkins Perkins's problem question Rachel Roberts Reisz relation relationship revealed Richardson Room Saturday Night sense sequence Sight and Sound social social realism spaces Sporting standing Stanley Cavell style and meaning style-based stylistic suggests Taste of Honey Terry Lovell thematic tion Tony Richardson understanding unfolding Wave films writes