Young And Innocent?

The Cinema in Britain, 1896-1930
Erscheinungsjahr 2002
ISBN: 978-0-85989-717-4
Verlag: University of Exeter Press

Buch, Englisch, 434 Seiten, Format (B × H): 156 mm x 234 mm, Gewicht: 655 g

Reihe: Exeter Studies in Film History

This book brings together the study of silent cinema and the study of British cinema, both of which have seen some of the most exciting developments in Film Studies in recent years. The result is a comprehensive survey of one of the most important periods of film history. 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. From these accounts the youthful British cinema emerges as far from innocent. On the contrary, it was a fascinatingly complex field of cultural and industrial practices. The book also includes guides to bibliographical and archival sources and an extensive bibliography.

Autoren/Hrsg.

Higson, Andrew

Higson, Andrew, Prof.

Weitere Mitwirkende

Barr, Charles

Bottomore, Stephen

Brand, Neil

Burrows, Jon

Gray, Frank

Hammerton, Jenny

Hammond, Michael

Hardy, Sylvia

Higson, Andrew, Prof.

Hiley, Nicholas

Marlow-Mann, Alex

McKernan, Luke

Pearson, Roberta E.

Popple, Simon

Sanders, Lise Shapiro

Sandon, Emma

Sexton, Jamie

Turvey, Gerry

Walsh, Mike

Wasson, Haidee

Williams, Michael

Fachgebiete

• Geisteswissenschaften Theater- und Filmwissenschaft | Andere Darstellende Künste Filmwissenschaft, Fernsehen, Radio
• Geisteswissenschaften Geschichtswissenschaft Geschichtliche Themen Kultur- und Ideengeschichte
• Geisteswissenschaften Geschichtswissenschaft Geschichtliche Themen Mentalitäts- und Sozialgeschichte

Inhaltsverzeichnis

Contents: SECTION A -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 Britain, Simon Popple; James Williamson's rescue narratives, Frank Gray; Cecil Hepworth, Alice in Wonderland and the development of the narrative film, Andrew Higson; Putting the world before you - the Charles Urban story, Luke McKernan; "It would be a mistake to strive for subtlety of effect" - Richard III and populist, pantomime Shakespeare in the 1910s, Jon Burrows. Section B 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 1910s, Lise Shapiro. "Nothing more than a 'craze'" - cinema building in Britain from 1909 to 1914, Nicholas Hiley; Letters to America: a case study in the exhibition and reception of American films in Britain, 1914-18, Mike Hammond. Section C 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 era, Alex Marlow-Mann; The spice of the perfect programme - the weekly magazine film during the silent period, Jenny Hammerton; Shakespeare's country - the national poet, English identity and British silent cinema, Roberta E. Pearson; Representing "African life" - from ethnographic exhibitions to "Nionga" and "Stampede", Emma Sandon; Distant trumpets - the score to "The Flag Lieutenant" and music of the British silent cinema, Neil Brand. Section D 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 Hitchcock, Charles Barr; H.G. Wells and British silent cinema - the war of the worlds, Sylvia Hardy; War-torn Dionysus - the silent passion of Ivor Novello, Michael Williams; Tackling the Big Boy of Empire - British Film in Australia, 1918-1931, Mike Walsh. Section E - 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 1920s, Jamie Sexton; Towards a critical practice - Ivor Montagu and British film culture in the 1920s, Gerry Turvey; Writing the cinema into daily life - Iris Barry and the emergence of British film criticism in the 1920s, Haidee Wasson. Section F Bibliographical and archival resources: A guide to bibliographic and archival sources on British cinema before the First World War, Stephen Bottomore; A guide to bibliographic and archival sources on British cinema from the First World War to the coming of sound, Jon Burrows; Bibliography - British cinema before 1930.

Über Autor(innen)

McKernan, Luke
Luke McKernan is a film historian and news curator. He is Lead Curator of News and Moving Image at the British Library, and Associate Editor for the journal Early Popular Visual Culture. He has written widely on early film for a number of academic journals and also curates a web resource on Charles Urban at www.charlesurban.com.

Charles Urban: Pioneering the Non-fiction Film in Britain and America, 1897-1925 (UEP, 2013) was winner of the prestigious Kraszna-Krausz Moving Image Book Award, 2014.

Turvey, Gerry
Gerry Turvey has been involved in film education since the 1960s, including a Principal Lectureship in Film Studies at Kingston University, and a long association with the Phoenix Cinema Trust in North London. He continues to research early film.

Higson, Andrew, Prof.
Professor Andrew Higson holds the Greg Dyke Chair in Film and Television Studies at the University of York. He was previously Professor of Film Studies at the University of East Anglia, where he taught for over 20 years.

Running through much of his work is a concern for questions of national and transnational cinema; he has written widely on British cinema, from the silent period to the present, and from contemporary drama to the heritage film.

His books include Waving the Flag: Constructing a National Cinema in Britain (1995) and English Heritage, English Cinema: The Costume Drama Since 1980 (2003; both Oxford University Press), and has edited two general surveys of British cinema history, Dissolving Views: Key Writings on British Cinema (Cassell, 1996), and British Cinema, Past and Present (co-edited with Justine Ashby; Routledge, 2000). A third edited book surveys the development of cinema in Britain in the silent period: Young and Innocent? The Cinema in Britain, 1896-1930 (UEP, 2002).

Co-edited with Richard Maltby ‘Film Europe’ and ‘Film America’: Cinema, Commerce and Cultural Exchange, 1920-1939 (UEP, 1999) was awarded the prestigious Prix Jean Mitry.

Higson, Andrew, Prof.
Professor Andrew Higson holds the Greg Dyke Chair in Film and Television Studies at the University of York. He was previously Professor of Film Studies at the University of East Anglia, where he taught for over 20 years.

Running through much of his work is a concern for questions of national and transnational cinema; he has written widely on British cinema, from the silent period to the present, and from contemporary drama to the heritage film.

His books include Waving the Flag: Constructing a National Cinema in Britain (1995) and English Heritage, English Cinema: The Costume Drama Since 1980 (2003; both Oxford University Press), and has edited two general surveys of British cinema history, Dissolving Views: Key Writings on British Cinema (Cassell, 1996), and British Cinema, Past and Present (co-edited with Justine Ashby; Routledge, 2000). A third edited book surveys the development of cinema in Britain in the silent period: Young and Innocent? The Cinema in Britain, 1896-1930 (UEP, 2002).

Co-edited with Richard Maltby ‘Film Europe’ and ‘Film America’: Cinema, Commerce and Cultural Exchange, 1920-1939 (UEP, 1999) was awarded the prestigious Prix Jean Mitry.

Andrew Higson has been a member of the Film and Televisions Studies academic staff at the University of East Anglia since 1986, and was made a Professor of Film Studies in 2000. From 1991 to 1998, he was chair of the Film Studies sector; in August 2002, he took over as Dean of the School of English and American Studies. When this School was dissolved in 2004, he became the inaugral Head of the new School of Film and Television Studies. He is the author of Waving the Flag: Constructing a National Cinema in Britain (OUP, 1995), and editor of Dissolving Views: Key Writings on British Cinema (Cassell, 1996).