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Accident (1965)

Directed by

 Joseph Losey

Written by

Harold Pinter

Screenplay

Image
...The House. Night. Summer. Long shot. The camera is still, looking at the house from outside the gate, up the short curved drive, across the circular gravel court. In a meadow behind the house, dim shapes of animals. The camera moves slowly...
Image
...Will’s car. King’s Cross. Day Will and Liv drive. There is an awkward silence between them. The atmosphere is charged. Will voice-over When do you stop looking at each other...

Introduction

Simon Brown

,

Simon Brown is Director of Studies for Film and Television at Kingston University. His work has been published in the journals Film History, Film Studies, Science Fiction Film and Television, Early Popular Visual Culture and Critical Studies in Television. He is co-editor of Color and the Moving Image: History, Theory, Aesthetics, Archive (2012) (with Sarah Street and Liz Watkins) and author of the Technical Appendix in Sarah Street’s Colour Films in Britain: The Negotiation of Innovation 1900–55 (2012). Author affiliation details are correct at time of print publication.

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Sarah Street

Sarah Street Professor of Film at the University of Bristol. She is the author of a number of books on British cinema, including Colour Films in Britain: The Negotiation of Innovation 1900–55 (2012), and is co-editor of Color and the Moving Image: History, Theory, Aesthetics, Archive (2012) (with Simon Brown and Liz Watkins), publications which, in addition to this volume, resulted from a research project funded by the AHRC. Sarah Street is co-editor of Screen and the Journal of British Cinema and Television. Author affiliation details are correct at time of print publication.

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and

Liz Watkins

Liz Watkins Lecturer at the University of Leeds. She has been published in a number of film journals, including Parallax, Paragraph and the British Journal of Cinema and Television. She is co-editor of Color and the Moving Image: History, Theory, Aesthetics, Archive (2012) (with Simon Brown and Sarah Street). Author affiliation details are correct at time of print publication.

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British Colour Cinema : Practices and Theories

British Film Institute, 2013

Book chapter

...Film fades and colour balances shift. As the organisations responsible for the preservation and restoration of colour film, archives are caught in discussions that are endlessly driven by concerns over the instability of film stock...
...In September 2010, Secret Cinema founder Fabien Riggall explained the growing popularity of immersive film events in the following terms:Secret Cinema is a British company that specializes in ‘immersive’ cinema events. Previous examples...
Image
...Large House In St John's Wood, London. Summer Day. Present Day. Bonnet of a Jaguar foreground. Jo is standing at the window, looking out. Reflected in the window pane demolition of buildings, tall skeletons of new constructions...

The Servant (1963)

Directed by

Joseph Losey

Written by

Harold Pinter

Screenplay

Image
...Knightsbridge Square. October. Day. A quiet square off Knightsbridge. Winter sun. Bare trees. Numerous parked cars. At the far side of the square Barrett appears. From high, see him approach. He stops at the kerb. Cars pass. He crosses...
...Research at the North West Film Archive at Manchester Metropolitan University and the Yorkshire Film Archives was funded by the Centre for Visual and Oral History Research at the University of Huddersfield during 2012 and contributes to two...
Image
...Street. Day. Posner, a seventeen-year-old boy, is cycling towards school, headphones on, listening to some Ivor Novello (‘I can give you the moon’, say). It is summer, mid-1980s. He stops outside a church, where...

The Opera Virgins Project: Operatic Event Cinema as a New Cultural Experience

Live Cinema : Cultures, Economies, Aesthetics

Bloomsbury Academic, 2017

Book chapter

...The ten-year anniversary of the Metropolitan Opera House’s first live cinema broadcast presents a suitable milestone for assessing the maturation of operatic event cinema, which has developed into a distinct art form with particular...

A First Close Reading — Maria: The Injustices of Being a Woman

Mary H. Snyder

Mary H. Snyder teaches introductory to advanced writing, literature, gender studies, and film adaptation courses at the college level. In addition to her creative and nonfiction writing pursuits, she maintains scholarly interests in British and women's literature. Author affiliation details are correct at time of print publication.

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Analyzing Literature-to-Film Adaptations : A Novelist’s Exploration and Guide

Continuum, 2011

Book chapter

...Mary Wollstonecraft’s Maria, or The Wrongs of Woman reflects continuously on the injustices of being a woman as opposed to being a man. Both Jemima and Maria express sentiments, Jemima in the telling of her story and Maria in her memoirs...