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This book explores how British filmmakers of the 2000s engaged with the themes of love, sex and desire in a wide variety of movies. It ranges from powerful contemporary dramas such as Kidulthood, Closer and Disobedience to the lighter mood of the Bridget Jones series. It also analyses how the lives, loves and traumas of historical figures such as Oscar Wilde, Sylvia Plath and Iris Murdoch were dramatised on film. The book will appeal to literature enthusiasts, film students and readers interested in exploring how we may currently live out our hopes, fears and dreams in relation to sexual matters and affairs of the heart.
This text explores some of the key debates about British cinema and film theory, and examines the curious mix of rebellion and conformity which marked British cinema in the post-war era.
The crime film genre consists of detective films, gangster films, suspense thrillers, film noir, and caper films and is produced throughout the world. Crime film was there at the birth of cinema, and it has accompanied cinema over more than a century of history, passing from silent films to talkies, from black-and-white to color. The genre includes such classics as The Maltese Falcon, The Godfather, Gaslight, The French Connection, and Serpico, as well as more recent successes like Seven, Drive, and L.A. Confidential. The Historical Dictionary of Crime Films covers the history of this genre through a chronology, an introductory essay, and an extensive bibliography. The dictionary section has over 300 cross-referenced entries on key films, directors, performers, and studios. This book is an excellent access point for students, researchers, and anyone wanting to know more about crime cinema.
Typical Men is the first book length study of masculinity in British cinema and offers a broad and lively overview from the Second World War to the present day. Spicer argues that masculinity in popular fiction can best be understood as a range of dynamic and competing cultural types which rise and fall in relation to shifting patterns of film production, audience taste and social change. Specific chapters are devoted to each of the major types debonair gentlemen, civilian professionals, action adventurers, the Ever yma n, Fools and Rogues, criminals, rebels and damaged men - which trace their changing histories through innovative readings of key films, together with a fresh look at the performances of particular stars including James Mason, Kenneth More, Michael Caine and Sean Connery. A final chapter explores the complex and hybrid types that have evolved within a volatile and unstable contemporary British cinema, now part of an array of interrelated media images of masculinity. Typical Men will be of keen interest to those concerned with the cultural history of gender, and its detailed and carefully contextualised interpretations of films afford a reappraisal of British cinema history, especially the neglected and despised 1950s. 'Andrew Spicer's Typical Men is a major intervention in debates about masculinity in the cinema. It takes a lot of intellectual risks, and locates cinematic stereotypes of masculinity in a cinematic and cultural context. It is trenchant and original, and redefines the field of gender representation.' – Sue Harper, Professor of Film History, University of Portsmouth 'The strength of this elegantly and wittily written book is that, in the precision of its detail about individual performances, actors and films, it never loses sight of its argumentative threads.' – Brian McFarlane, Screening the Past
Publisher Description
A comprehensive history of the British film industry from its inception to the present day, with minute listings of the producers, directors, actors, and studios behind a century of British cinema. Published in association with the British Film Institute and illustrated with black and white photos of film stars and filmmakers from the 1920s to the present day.
Idols of the Odeons examines British film stardom in the post-war era, a time when Hollywood movies were increasingly supplanting the Pinewood/Elstree studio system. The book encompasses the careers of sixteen actors, including Stanley Baker, Diana Dors, Norman Wisdom, Hattie Jacques, Peter Finch and Peter Sellers. Such extremely diverse careers provide the opportunity to explore overlooked films, in addition to examining how the term ‘star’ could apply to a stalwart leading man, a Variety comic, a self-created ‘Vamp’ and a character actor. Above all, this is a book that celebrates, with idiosyncratic humour and warmth, how these actors accomplished much of their best work during the transitional period between the Rank/ABPC roster of stars and the US domination of the British film industry.
Depictions of cross generational relationships have always been present in popular cinema. While such relationships have historically operated within the framework of heteronormativity, and have usually explored cross generational romance in the context of older men/younger women, contemporary depictions have expanded to focus also on taboo configurations of love between older women and younger men and cross generational LGBT coupledom. Contemporary depictions have sought to complicate not only heteronormativity in cross generational relationships, but also to navigate the differences between socially acceptable love and transgressive desire. This collection focuses on the changing values and attitudes of cross generational relationships and addresses the often divisive relationship between the discourses of youth and ageing in popular culture.
Generation Multiplex (2002) was the first comprehensive study of the representation of teenagers in American cinema since David Considine's Cinema of Adolescence in 1985. This updated and expanded edition reaffirms the idea that films about youth constitute a legitimate genre worthy of study on its own terms. Identifying four distinct subgenres—school, delinquency, horror, and romance—Timothy Shary explores hundreds of representative films while offering in-depth discussion of movies that constitute key moments in the genre, including Fast Times at Ridgemont High, A Nightmare on Elm Street, The Breakfast Club, Say Anything . . . , Boyz N the Hood, Scream, American Pie, Napoleon Dynamite, Superbad, The Twilight Saga, and The Hunger Games. Analyzing developments in teen films since 2002, Shary covers such topics as the increasing availability of movies on demand, which has given teens greater access to both popular and lesser-seen films; the recent dominance of supernatural and fantasy films as a category within the genre; and how the ongoing commodification of teen images in media affects real-life issues such as school bullying, athletic development, sexual identity, and teenage pregnancy.
In The Ashgate Research Companion to Thomas Hardy, some of the most prominent Hardy specialists working today offer an overview of Hardy scholarship and suggest new directions in Hardy studies. The contributors cover virtually every area relevant to Hardy's fiction and poetry, including philosophy, palaeontology, biography, science, film, popular culture, beliefs, gender, music, masculinity, tragedy, topography, psychology, metaphysics, illustration, bibliographical studies and contemporary response. While several collections have surveyed the Hardy landscape, no previous volume has been composed especially for scholars and advanced graduate students. This companion is specially designed to aid original research on Hardy and serve as the critical basis for Hardy studies in the new millennium. Among the features are a comprehensive bibliography that includes not only works in English but, in acknowledgment of Hardy's explosion in popularity around the world, also works in languages other than English.