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Sequence and the rise of auteurism in 1950s Britain
Erik Hedling

socio-economic, they were at the time mostly discussed and dealt with in aesthetic terms, and we saw eventually the emergence of the European art cinema, a new kind of film, specifically aimed at the literate and professional middle classes. One of the most important European contributions to the film history of the 1950s was, thus, undoubtedly the sudden rise of the auteur, the film director

in British cinema of the 1950s
Ian Mackillop and Neil Sinyard

cross the border in Ken Annakin’s extraordinary Across the Bridge (1957). This is one of the finest of all Graham Greene adaptations, a masterpiece in Mike Leigh’s eyes (see his foreword to Annakin’s autobiography, So You Wanna be a Film Director ), one of Quentin Tarantino’s top ten films, and a British film that, in theme, ambience and atmosphere, even looks ahead to Orson Welles’s noir masterpiece of a year later

in British cinema of the 1950s
Consumerism and alienation in 1950s comedies
Dave Rolinson

research student at the University of Hull, writing a Ph.D. on the television and film director Alan Clarke. I have written articles on documentary and the 1950s Quatermass television serials and films. Although I’m 27 years old, I can easily relate to the puritanical austerity and yearning for escape in my favourite 1950s films because I’ve spent all of those years in Hull. Dave

in British cinema of the 1950s
Open Access (free)
Civil rites of passage
Sharon Monteith

‘sanitized version’ of the Civil Rights Movement had entered ‘the canon of consensus history’ and Fred Hobson, with his usual unruffled good sense, allows that ‘the Bad Old Days’ before ‘the South Triumphant’ are far more intriguing than the ‘New South’. 36 Whichever way film directors turned their cameras in the 1980s and 1990s, they failed to reshape our visions of the Movement, instead reflecting ‘our

in Memory and popular film
Open Access (free)
Royal weddings and the media promotion of British fashion
Jo Stephenson

are also scathing remarks on guests’ wardrobe choices, added for entertainment value. Less news, more gossip column, the commentary points out that film director Guy Ritchie’s coat is unbuttoned, although ‘The Queen has let it be known … she rather likes morning coats to be buttoned.’ 62 Socialite Tara Palmer-Tomkinson’s dress is deemed inappropriate as it ‘really is off the shoulder’, unlike the

in The British monarchy on screen
Clare Woodford

. 7 Cavell, Conditions Handsome and Unhandsome , p. 110. 8 Cavell, Conditions Handsome and Unhandsome , p. 104. 9 Not in the sense of a film director controlling

in Cinema, democracy and perfectionism