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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

4

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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's novella; the film's use of architecture and interior design to establish character and relationships....

On Land, at Sea and in the Air

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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The Projection of Britain : A History of the GPO Film Unit

British Film Institute, 2011

Book

4

... bullock tied to the stern.Harry Watt, Don’t Look at the Camera (London: Elek, 1974), pp. 57–8; for more regarding ‘Balcon’s Folly’, see also Amy Sargeant, British Cinema: A Critical History (London: BFI, 2005), pp. 137–40.Harry Watt, Don’t Look...

1920s

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

2

... See also Amy Sargeant, ‘Elsa Lanchester and Chaplinism’, in Laraine Porter and Alan Burton (eds), Crossing the Pond (Trowbridge: Flicks Books, 2002), pp. 92–9. In Labels and Vile Bodies (1930) he commented disparagingly on the advent...

1990s and the New Millennium

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

2

... differentiating the product from its 1980s precursors.For further discussion of the stylistic aspects of Elizabeth, see Amy Sargeant, ‘Making and Selling Heritage Culture’, in Justine Ashby and Andrew Higson (eds), British Cinema: Past and Present...

1980s

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

4

... Time, Another Place and Scandal see Amy Sargeant, ‘The Content and the Form’, in Claire Monk and Amy Sargeant (eds), British Historical Cinema (London: Routledge: 2002), pp. 199–216. Meanwhile, a neighbour, Jesse, receives news of the death...

Second 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

4

... campaigns throughout the war.See Amy Sargeant, ‘Do We Need Another Hero?’, in Claire Monk and Amy Sargeant (eds), British Historical Cinema (London: Routledge, 2002). Robert Donat (as Pitt) appeared also in celebratory radio broadcasts,...

Turn of the Century and Tens

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

2

... to Hesba Stretton’s bestseller, published by the Religious Tract Society in 1882.For further discussion of pathos, see Ine van Dooren and Amy Sargeant, ‘Dead Babies’, in Popple and Toulmin (eds), Visual Delights (Sydney: John Libbey, 2005)....

1940s

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

0

...Mesty (W. Robert Adams) and Jack (Hughie Green) tackle Don Rebeira in Carol Reed’s costume romp, Midshipman Easy (1935)Picture Post, the popular weekly modelled after the American magazine, Life, was launched by Edward Hulton and Stefan...

1970s

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

2

... in Claire Monk and Amy Sargeant (eds), British Historical Cinema (London: Routledge, 2002), pp. 92–109. Again, there are topical (and anachronistic) references in the costuming and make-up, sets and dialogue (bingo, fishfingers, inflation,...

1930s

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

1

... of her dresser, Hawkie. As Harriet removes her engagement ring, the lights go out at the Tivoli. The action now moves emphatically to the present, the dialogue spattered with contemporary references: ‘I don’t know you from Amy Johnson,’ says...