characters’ fates and fortunes’ (Lay, British Social Realism, pp. 5–19).
Neil Sinyard, Jack Clayton, Manchester and New York, Manchester University Press, 2000, pp. 11–17.
Anthony Aldgate and Jeffrey Richards, Best of British: CinemaandSociety
from 1930 to the Present, London and New York, I.B. Tauris, 1999, p. 186.
Jeffrey Richards, ‘Rethinking British Cinema’, in Justine Ashby and Andrew
Higson, ed., British Cinema: Past and Present, London and New York,
Routledge, 2000, pp. 21–34, p. 21.
See John Hill’s Sex, Class and Realism: British Cinema 1956–1963, London,
, 1987, p. 15.
9 For example, Sue Harper’s essay ‘Art Direction and Costume Design’, in Sue
Aspinall and Robert Murphy (eds), Gainsborough Melodrama, BFI Dossier 18,
London: BFI Publishing, 1983, pp. 40–52.
10 Pam Cook, ‘Melodrama and the women’s picture’, in Aspinall and Murphy,
11 Robert Murphy, Realism and Tinsel: CinemaandSociety in Britain 1939–48,
London: Routledge, 1989, p. 50.
12 Duncan Petrie, The British Cinematographer, London: BFI Publishing, 1996,
13 K.J. Donnelly, ‘Wicked sounds and magic melodies: Music in 1940s Gainsborough
. Murphy, Realism and Tinsel: CinemaandSociety in Britain 1939–1949 (London: Routledge, 1992), pp. 68, 70.
36 A. Higson, ‘Re-Constructing the Nation’, p. 67.
37 J. Orr, Romantics and Modernists in British Cinema (Edinburgh: Edinburgh University Press, 2010), p. 65.
38 A. Higson, ‘Re-Constructing the Nation’, p. 67.
39 This comparison is noted by G. D. Phillips, Beyond the Epic: The Life and Films of David Lean (Lexington, KY: University Press of Kentucky, 2006), p. 70.
40 M. Lefebvre, ‘Between Setting and Landscape in Cinema’, in M. Lefebvre
. One of the potato men finds a companion with similar views of life and love as himself, and in I Want Candy , a couple can find love and creative work through their shared love of making films. Laura in Animals , conversely, finds that she must move away from characters who demand a kind of total and draining commitment from her in the form of unending marriage or friendship.
Such nuanced conclusions are illustrative of how British cinemaandsociety may have changed and developed since the 1970s. In Eskimo Nell , scenes and characters exist in isolation from
Featuring more than 6,500 articles, including over 350 new entries, this fifth edition of The Encyclopedia of British Film is an invaluable reference guide to the British film industry. It is the most authoritative volume yet, stretching from the inception of the industry to the present day, with detailed listings of the producers, directors, actors and studios behind a century or so of great British cinema. Brian McFarlane's meticulously researched guide is the definitive companion for anyone interested in the world of film. Previous editions have sold many thousands of copies, and this fifth instalment will be an essential work of reference for universities, libraries and enthusiasts of British cinema.