Item description for The Cinema of Britain and Ireland (24 Frames) by Brian McFarlane...
A fresh, concise, but wide-ranging introduction and overview to British and Irish cinema, this volume contains 24 essays, each on a separate seminal film from the region. Films ranging from 1928 to 2002 are featured from directors such as John Boorman, Nicolas Roeg, Sally Potter and Jack Clayton. As well as discussions of genre and influences, The Cinema of Britain and Ireland includes in-depth studies of films such as Room at the Top (1958), The Italian Job (1969), The Man Who Fell to Earth (1976), Distant Voices, Still Lives (1988), Orlando (1992), and Sweet Sixteen (2002).
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Est. Packaging Dimensions: Length: 0.75" Width: 7.25" Height: 9" Weight: 1.55 lbs.
Release Date Sep 7, 2005
Publisher Wallflower Press
ISBN 190476438X ISBN13 9781904764380
Availability 0 units.
More About Brian McFarlane
Brian McFarlane has been a hockey broadcaster and writer for over 40 years. He was a host and commentator on Hockey Night in Canada for 27 years. He has written over 40 books on hockey and was inducted into the Hockey Hall of Fame, Media Section in 1995. He currently runs a hockey museum and is in demand as a public speaker and master of ceremonies. He plays oldtimers' hockey three times a week.
Reviews - What do customers think about The Cinema of Britain and Ireland (24 Frames)?
Off the Beaten Track Mar 24, 2007
This is a pleasant surprise of a book. Instead of rounding up the usual suspects (Powell&Pressburger, Carol Reed, David Lean, Ealing comedies) this book selects 24 films from the late silent era to the end of the 90s that reflect developments in British cinema. These are films that most Americans are not familiar with. Hammer horror, for example, is represented by "Demons of the Mind," while Ealing is represented by "Pink Sting and Sealing Wax," a gaslight noir. When a famous movie is in the book, such as "Tunes of Glory," it is one that has become a bit obscure in recent years.
Consequently, "Cinema of Britain and Ireland" points the American reader in the direction of some very interesting films that are both well-made and not overexposed. The contributors all avoid academic jargon in their discussions, and the book reads quickly and makes you want to see these unfamiliar titles as soon as possible.