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  • Losey, Joseph
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The Damned

Nick Riddle

Nick Riddle is a writer and editor at the University of Bristol, UK, and has contributed to a number of volumes in the Intellect series Film Locations. Author affiliation details are correct at time of print publication.

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Auteur, 2019

Focused Study

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...The Damned (1963) is the most intriguing of director Joseph Losey’s British "journeyman" films. A sci-fi film by a director who hated sci-fi; a Hammer production that sat on the shelf for over two years before being released with almost...

Hammer After the ‘X’

Victoria Grace Walden

Victoria Walden is a film and media studies A Level teacher at Queen Mary's College, Hampshire U.K., and a freelance teaching trainer, coursework moderator, and short filmmaker. Author affiliation details are correct at time of print publication.

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Studying Hammer Horror

Auteur, 2016

Book

...The success of The Quatermass Xperiment, despite, or because of its X rating, enabled Hammer to test the BBFC’s boundaries of taste. Correspondence between the censor and Hammer illustrate the studio’s desire to shock audiences, while still...

Auteur Theory in Britain

Pam Cook

PAM COOK is Professor Emerita in Film at the University of Southampton, UK. She is the editor of The Cinema Book (3rd Edition, 2007) and Gainsborough Pictures (BFI, 1997), and the author of Fashioning the Nation: Costume and Identity in British Cinema (1996), the BFI Film Classic on ‘I Know Where I’m Going!; (2002), Screening the Past: Memory and Nostalgia in Cinema (2005), and Baz Luhrmann in the BFI World Directors series (2010). Author affiliation details are correct at time of print publication.

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The Cinema Book

British Film Institute, 2007

Book

...The British critical context: Movie magazine The British authorship debate, as it emerged in the magazine Movie in the 1960s, was formulated rather differently because of historical factors specific to British culture. British critical...

First World War

Amy Sargeant

Douglas Gomery is Resident Scholar at the Library of American Broadcasting and Film at the University of Maryland, USA. Author affiliation details are correct at time of print publication.

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British Cinema : A Critical History

British Film Institute, 2005

Book

...Edith Cavell (Sybil Thorndike) nurses a fallen airman in Herbert Wilcox’s Dawn (1928), ‘a film with a mission’In The Great War and Modern Memory, Paul Fussell suggests that a reading of soldiers’ letters from the front yields little more...

Finale

David Schroeder

David Schroeder holds a PhD from Cambridge University, and is Professor Emeritus at Dalhousie University, Canada. His books include Haydn and the Enlightenment (Oxford UP, 1990), Mozart in Revolt (Yale UP, 1999), Cinema’s Illusions, Opera’s Allure: The Operatic Impulse in Film (Continuum, 2002/Bloomsbury, 2016), and Our Schubert: His Enduring Legacy (Scarecrow, 2008). Author affiliation details are correct at time of print publication.

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Cinema’s Illusions, Opera’s Allure : The Operatic Impulse in Film

Bloomsbury Academic, 2002

Book

...With so many major directors throughout the 20th century envisaging cinema as opera, it should not surprise us to see the reverse as well: notable directors presenting opera as cinema – not only in the early years of cinema but recently...

Declensions Along One Side of the Colour Circle: from Yellow to Green to Blue

Paul Coates

Paul Coates is Professor in the Film Studies Department of the University of Western Ontario, Canada. He is the author of The Story of the Lost Reflection (1985), The Gorgon's Gaze: German Cinema, Expressionism and the Image of Horror (1991) and Cinema, Religion and the Romantic Legacy (2003). Author affiliation details are correct at time of print publication.

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Cinema and Colour : The Saturated Image

British Film Institute, 2010

Book

...If yellow and blue, which we consider as the most fundamental and simple colours, are united as they first appear, in the first state of their action, the colour which we call green is their result. (Goethe, Theory of Colours, 801)Johan...

The Servant

Amy Sargeant

Douglas Gomery is Resident Scholar at the Library of American Broadcasting and Film at the University of Maryland, USA. Author affiliation details are correct at time of print publication.

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British Film Institute, 2011

Focused Study

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...Amy Sargeant's illuminating study of Joseph Losey's The Servant (1963) provides a detailed discussion of the film's production and reception history, as well as a textual analysis that focuses on Harold Pinter's adaptation of Maugham...

Aspects of British Editing from the 1950s Onwards

Roy Perkins

Roy Perkins

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and

Martin Stollery

Martin Stollery

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British Film Editors : “The Heart of the Movie”

British Film Institute, 2014

Book

...Freelancing became the normal mode of employment for British film editors in the latter part of the twentieth century. Rather than being assigned projects from the production schedule of the studio they worked for, editors were increasingly...

Part 5: 1984-9

Decades Never Start on Time : A Richard Roud Anthology

British Film Institute, 2014

Book

...Decades Never Start on Time NOTE: The following documents are taken from Roud’s unfinished autobiographical project, Decades Never Start On Time, which would have been both a history of the new European cinemas of the 1960s, and a kind...

1960s

Amy Sargeant

Douglas Gomery is Resident Scholar at the Library of American Broadcasting and Film at the University of Maryland, USA. Author affiliation details are correct at time of print publication.

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British Cinema : A Critical History

British Film Institute, 2005

Book

...Spymaster Major Dalby (Nigel Green) keeping an eye on the ‘shrewd little cockney’ Harry Palmer (Michael Caine) in Sidney J. Furie’s 1965 The Ipcress FileVivian Nicholson’s memories of her upbringing in Castleford match the familiar...