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This is the first substantial study of British cinema's most neglected genre. Bringing together original work from some of the leading writers on British popular film, this book includes interviews with key directors Mike Hodges (Get Carter) and Donald Cammel (Performance). It discusses an abundance of films including: * acclaimed recent crime films such as Shallow Grave, Shopping, and Face. * early classics like They Made Me A Fugitive * acknowledged classics such as Brighton Rock and The Long Good Friday * 50s seminal works including The Lavender Hill Mob and The Ladykillers.
Presenting a social history of British crime film, this book focuses on the strategies used in order to address more radical notions surrounding class, politics, sex, delinquency, violence and censorship. Spanning post-war crime cinema to present-day "Mockney" productions, it contextualizes the films and identifies important and neglected works.
A comprehensive social history of British crime film by the UK's principal expert on crime film and fiction Presenting a stunning social history of Britain through classic crime film, Barry Forshaw, one of the UK's leading experts on crime fiction and fiction, focuses on how crime films have portrayed our changing attitudes towards class, politics, sex, delinquency, violence and censorship. Focusing on these key issues, British Crime Film examines strategies used by film makers in order to address more radical notions of society's decline. Spanning post-war crime cinema, from Green for Danger to Get Carter, from The Lady Killers to Layer Cake, from The Long Good Friday to Lock, Stock and Two Smoking Barrels, British Crime Film contextualizes the movies and identifies important and neglected works which will delight and intrigue film fans of this well-loved genre.
"Ever since its inception, British cinema has been obsessed with crime and the criminal. One of the first narrative films to be produced in Britain, the Hepworth's 1905 short Rescued by Rover, was a fast-paced, quick-edited tale of abduction and kidnap, and the first British sound film, Alfred Hitchcock's Blackmail (1930), centered on murder and criminal guilt. For a genre seemingly so important to the British cinematic character, there is little direct theoretical or historical work focused on it. The Britain of British cinema is often written about in terms of national history, ethnic diversity, or cultural tradition, yet very rarely in terms of its criminal tendencies and dark underbelly. This volume assumes that, to know how British cinema truly works, it is necessary to pull back the veneer of the costume piece, the historical drama, and the rom-com and glimpse at what is underneath. For every Brief Encounter (1945) there is a Brighton Rock (2010), for every Notting Hill (1999) there is a Long Good Friday (1980)"--Abstract
Ever since its inception, British cinema has been obsessed with crime and the criminal. One of the first narrative films to be produced in Britain, the Hepworth's 1905 short Rescued by Rover, was a fast-paced, quick-edited tale of abduction and kidnap, and the first British sound film, Alfred Hitchcock's Blackmail (1930), centered on murder and criminal guilt. For a genre seemingly so important to the British cinematic character, there is little direct theoretical or historical work focused on it. The Britain of British cinema is often written about in terms of national history, ethnic diversity, or cultural tradition, yet very rarely in terms of its criminal tendencies and dark underbelly. This volume assumes that, to know how British cinema truly works, it is necessary to pull back the veneer of the costume piece, the historical drama, and the rom-com and glimpse at what is underneath. For every Brief Encounter (1945) there is a Brighton Rock (2010), for every Notting Hill (1999) there is a Long Good Friday (1980).
"Ever since its inception, British cinema has been obsessed with crime and the criminal. One of the first narrative films to be produced in Britain, the Hepworth's 1905 short Rescued by Rover, was a fast-paced, quick-edited tale of abduction and kidnap, and the first British sound film, Alfred Hitchcock's Blackmail (1930), centered on murder and criminal guilt. For a genre seemingly so important to the British cinematic character, there is little direct theoretical or historical work focused on it. The Britain of British cinema is often written about in terms of national history, ethnic diversity, or cultural tradition, yet very rarely in terms of its criminal tendencies and dark underbelly. This volume assumes that, to know how British cinema truly works, it is necessary to pull back the veneer of the costume piece, the historical drama, and the rom-com and glimpse at what is underneath. For every Brief Encounter (1945) there is a Brighton Rock (2010), for every Notting Hill (1999) there is a Long Good Friday (1980)"--Abstract
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This work presents 369 British films produced between 1937 and 1964 that embody many of the same filmic qualities as those "black films" made in the United States during the classic film noir era. This reference work makes a case for the inclusion of the British films in the film noir canon, which is still considered by some to be an exclusively American inventory. In the book's main section, the following information is presented for each film: a quote from the film; the title and release date; a rating based on the five-star system; the production company, director, cinematographer, screenwriter, and main performers; and a plot synopsis with author commentary. Appendices categorize films by rating, release date, director and cinematographer and also provide a noir and non-noir breakdown of the 47 films presented on the Edgar Wallace Mystery Theatre, a 1960s British television series that was also shown in the United States.
All major living writers, new and established, are covered and the characteristics of their different styles of writing are considered. The writers are also mapped across all regions of England as well as Scotland, Wales and Ireland. Brit Noir offers unique, lively insight and, not solely confined to British crime fiction novels, it also celebrates the new golden age of British crime drama and popular television programs such as Sherlock and Broadchurch.
Contemporary British Television Crime Drama examines one of the medium’s most popular genres and places it within its historical and industrial context. The television crime drama has proved itself capable of numerous generic reinventions and continues to enjoy some of the highest viewing figures. Crime drama offers audiences stories of right and wrong, moral authority asserted and resisted, and professionals and criminals, doing so in ways that are often highly entertaining, innovative, and thought provoking. In examining the appeal of this highly dynamic genre, this volume explores how it responds not only to changing social debates on crime and policing, but also to processes of hybridization within the television industry itself. Contributors, many of whom are leading figures in UK television studies, analyse popular series such as Broadchurch, Between the Lines, Foyle’s War, Poirot, Prime Suspect, Sherlock and Wallander. Essays examine the main characteristics of television crime drama production, including the nature of trans-Atlantic franchises and literary and transnational adaptations. Adopting a range of feminist, historical, aesthetic and industrial approaches, they offer incisive interrogations that provide readers with a rich understanding of the allure of crime drama to both viewers and commissioners.