Romantics and Modernists in British Cinema

A Series of Cutting edge scholarly research monographs covering core aspects of film Studies. The series' internationally respected authors contribute analytical and often controversial volumes, offering a critical intervention into their subject.`John Orr's book gives the most ambitious single-authr overview of British cinema since Raymoun Durgnat's ground-breaking A Mirror for England 40 years ago. Not only does Orr offer much that is fresh and illuminating on film-makers ranging from Lean and Reed, through outsiders like Losey and Polanski, to Bill Dougles and Terence Davies, but he Places them in a convincing overall perspective. Anyone interested in the riches of Britain's film history will gain from reading it.' Charles barr, Emeritus Professor, University of East AnglioIn a fresh and invigorating look at British cinema, John orr examines the neglected relationship between romanticism and modernism from 1929 to the present day Encompassing a broad selection of films, film-makers and debates, this book brings a new perspective to how scholars might understand and interrogate the major traditions that have shaped British cinema hostory.Orr identifies two prominent genres in the British template that often go unrecognised, the fugitive film and the trauma film, whose narratives have bridged the gap between romantic and modern forms. Here Hitchcock, Lean, Powell, Reed and Robert Hamer are identified as key romantics, Roeg, Losey, Antonioni, Kubrick and Skolimowski as later modernists. The book goes on to assess the narrowing divide through the films of Terence Davies and Bill Douglas and concludes by analysing its persistence in the new century, in the prize-winning features Control and Hunger.