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Steven Earnshaw

refuting such criticism through their pragmatic engagement with the world and precepts antagonistic to it. Kearns is alive to the historical narratives of realism, and to her own seeming ahistorical approach, but it does still have a tendency to distort the work of the nineteenth-century writers. Kearns’s approach also offers detailed readings and reference to works which are not usually regarded as central to the Realist canon – Wuthering Heights, Frankenstein, The Blithedale Romance and Dracula – and there is the tendency to conflate mimesis with Realism

in Beginning realism
Abstract only
Brian McFarlane and Anthony Slide

, including Room at the Top (1958), Look Back in Anger (1959) and This Sporting Life (1963). Running concurrently with these prestige adaptations were H AMMER F ILMS ’ then critically excoriated but immensely popular versions of Dracula and Frankenstein , each of which went through several permutations. In the floundering British cinema of the late 60s, Ken R USSELL ’s audacious version of D.H. L AWRENCE ’s Women in Love (1969) and Joseph L OSEY ’s Accident (1967) and The Go-Between (1971) were intelligent attempts to come to terms with both adaptation

in The Encyclopedia of British Film