Search results

You are looking at 101 - 110 of 3,027 items for :

  • Refine by access: All content x
Clear All
Abstract only
Steven Earnshaw

Is it artistically strong? Is it good as a picture? There was a time when I might have written in this way with a declared social object. That is all gone by. I have no longer a spark of social enthusiasm. Art is all I now care for, and as art I wish my work to be judged. (Gissing, 1930 , The Unclassed ) As a method, realism is a complete failure. (Oscar Wilde, 1891, ‘The Decay of Lying’) From Realism to modernism The group of writers that we have focused on in previous chapters regarded themselves as living in a new age which needed a new kind of

in Beginning realism
Abstract only
Steven Earnshaw

, to blow a hair’s-breadth off The dust of the actual. (Elizabeth Barrett Browning, Aurora Leigh , II, 476–83) The previous chapters have focused on the novel from the middle of the nineteenth century onwards as being at the forefront of literary Realism. Indeed, many critics and theorists regard discussion of literary realism as one related solely to the novel genre. However, Realism was such a dominant force in the nineteenth century that poetry and drama were obliged to respond to it. That this was the order of influence is repeatedly borne out by

in Beginning realism
David Forrest

cinema: in short, British art cinema can and should have a place for what we might understand as poetic realism. By this, I mean a recurring tendency within British realism towards elements of stylisation, symbolism, narrative ambiguity and subjectivity, anchored by the traditional tenets of the mode: locational verisimilitude, a focus on under-represented or marginalised groups, and an awareness, explicit or otherwise, of the social and economic determinants of everyday life. Poetic realism is of course understood here as distinct from the historically, generically

in British art cinema
Open Access (free)
Peter Morey

overview 157 of exploitation, and even she begins to forego its trappings for a closer relationship with her employees. Viswanath is undeterred, however, bemoaning the ‘defeatist end constructed by a male writer for Dina … [wherein she is] reduced from female individualist to feminine subject’, as the author ‘offers his text on the altar of realism’21 [emphases added]. Viswanath’s is a strange, essentialist reading. Needless to say, the other two authors she examines in her comparative study get a better press. This is disappointing, particularly because there are

in Rohinton Mistry
Abstract only
Richard Hewett

The Quatermass Experiment’s 1953 cast informs a notably diverse range of acting styles, from the emerging studio realism of Reginald Tate to the more gesturally inflected emoting of Van Boolen. The fact that some –​though by no means all –​of these performances were deemed worthy of censure by contemporary audiences and critics indicates that a studio ‘norm’ in acting terms had not, as yet, established itself, though audiences at least were beginning to develop some sense of what was acceptably ‘realistic’ from the ‘new’ medium of television. By the 1960s the

in The changing spaces of television acting
Steven Earnshaw

nineteenth-century Realist novelists would recognise, even if they would not necessarily put it in such codified terms. The cluster of characteristics proffered here defines a body of literature that dominated the literary scene, both aesthetically and in terms of popularity, from the end of the 1840s to the close of the nineteenth century. In Europe it starts to be superseded aesthetically by modernism, most noticeably from the 1880s onwards, while Realism gathers momentum in the United States only towards the end of the nineteenth century. Realism has continued to be

in Beginning realism
Steven Earnshaw

which is ‘the Realist novel’. That is, Realist novels are Realist to a greater or lesser degree when set alongside what is deemed typical of the Realist novel. This is not a circular argument – ‘Realism’ exists as a term because at a particular historical period there were a number of prominent artists, writers and critics arguing for this named aesthetic and philosophical approach, and this was related to (and drawn from) the art, writing and criticism which these writers and artists produced. The reason why there is no archetypal Realist novel is that it has a broad

in Beginning realism
Abstract only
Hugo Frey

question will highlight other traditions quite distinct from classical realism, that also feature in Malle’s work. Understanding the unlikely partnership of surrealism and documentary film-making in Mallean aesthetics is important to any introduction to the director. This synthesis of film-making styles is characteristic of an artist whose work is best interpreted through its own contradictions rather than against them. The

in Louis Malle
The Virgin in the Garden and Still Life
Alexa Alfer and Amy J. Edwards de Campos

In her 1979 survey of contemporary fiction, ‘People in Paper Houses’, A. S. Byatt ponders the ‘curiously symbiotic relationship between old realism and new experiment’ perceived to be at the heart of the English postwar novel ( PM: 170). The conflict between literary experimentation and realist allegiances, with all its connotations of avant-garde innovation and

in A. S. Byatt
Abstract only
Transitioning from film to digital
Ben Lamb

-political concerns that the early 1990s were a period of moral decline. Lastly, an examination of The Cops (BBC, 1998–2001) determines how digital, handheld cameras combine docudrama’s emotional realism with the ‘horizontality’ of contemporary social realism to embody the precariousness of Anthony Giddens’s ‘new individualism’ whilst critiquing New Labour’s adoption of ‘left

in You’re nicked