Young And Innocent?
The Cinema in Britain, 1896-1930
- 432 Pages
This book brings together the study of silent cinema and the study of British cinema, both of which have seen some of the most exciting developments in Film Studies in recent years. The result is a comprehensive survey of one of the most important periods of film history. Most of the acknowledged experts on this period are represented, joined by several new voices. Together they chart the development of cinema in Britain from its beginnings in the 1890s to the conversion to sound in the late 1920s. From these accounts the youthful British cinema emerges as far from innocent. On the contrary, it was a fascinatingly complex field of cultural and industrial practices. The book also includes guides to bibliographical and archival sources and an extensive bibliography.
This book brings together the study of silent cinema and the study of British cinema, both of which have seen some of the most exciting developments in Film Studies in recent years. The result is a comprehensive survey of one of the most important periods of film history.
Contents: SECTION A -Putting the pioneers in context - films and filmmakers before the First World War: "But the khaki-covered camera is the latest thing" - the Boer War cinema and visual culture in Britain, Simon Popple; James Williamson's rescue narratives, Frank Gray; Cecil Hepworth, Alice in Wonderland and the development of the narrative film, Andrew Higson; Putting the world before you - the Charles Urban story, Luke McKernan; "It would be a mistake to strive for subtlety of effect" - Richard III and populist, pantomime Shakespeare in the 1910s, Jon Burrows. Section B Going to the cinema - audiences, exhibition and reception from the 1890s to the 1910s: "Indecent Incentives to Vice"- Regulating Films and Audience Behaviour from the 1890s to the 1910s, Lise Shapiro. "Nothing more than a 'craze'" - cinema building in Britain from 1909 to 1914, Nicholas Hiley; Letters to America: a case study in the exhibition and reception of American films in Britain, 1914-18, Mike Hammond. Section C A full supporting programme - serials, cinemagazines, interest films, travelogues and travel films, and film music in the 1910s and 1920s: British series and serials in the silent era, Alex Marlow-Mann; The spice of the perfect programme - the weekly magazine film during the silent period, Jenny Hammerton; Shakespeare's country - the national poet, English identity and British silent cinema, Roberta E. Pearson; Representing "African life" - from ethnographic exhibitions to "Nionga" and "Stampede", Emma Sandon; Distant trumpets - the score to "The Flag Lieutenant" and music of the British silent cinema, Neil Brand. Section D The feature film at home and abroad - mainstream cinema from the end of the First World War to the coming of sound: Writing screen plays - Stannard and Hitchcock, Charles Barr; H.G. Wells and British silent cinema - the war of the worlds, Sylvia Hardy; War-torn Dionysus - the silent passion of Ivor Novello, Michael Williams; Tackling the Big Boy of Empire - British Film in Australia, 1918-1931, Mike Walsh. Section E - Taking the cinema seriously - the emergence of an intellectual film culture in the 1920s: The Film Society and the creation of an alternative film culture in Britain in the 1920s, Jamie Sexton; Towards a critical practice - Ivor Montagu and British film culture in the 1920s, Gerry Turvey; Writing the cinema into daily life - Iris Barry and the emergence of British film criticism in the 1920s, Haidee Wasson. Section F Bibliographical and archival resources: A guide to bibliographic and archival sources on British cinema before the First World War, Stephen Bottomore; A guide to bibliographic and archival sources on British cinema from the First World War to the coming of sound, Jon Burrows; Bibliography - British cinema before 1930.