Phil Wickham

Art cinema, just like its mainstream counterpart, needs audiences to be sustainable. Reaching those audiences requires structures to finance production and to distribute and exhibit work: in short, a business. Without this business, films remain largely unseen or the preserve of a coterie of insiders. Art cinema as a cohesive genre emerged in Britain comparatively late, in the 1970s, 1 and its survival since then has not just been achieved through the talents of film-makers but also by producers, distributors, exhibitors and programmers

in British art cinema
David Forrest

accommodated alongside a tangible and authentic sense of place and time; an authenticity of performance, marked by the casting of non-professional actors recruited as much for their experience of their characters’ environments and occupations as for their dramatic skills; and an interest in dislocation, both political and emotional (although they are inextricably connected), combine to shape what we might understand as a poetic tendency within Loach’s work with Hines. With these characteristics in mind, the films might also be categorised within the broader context of art

in British art cinema
Duncan Petrie

Introduction The application of the concept of ‘art cinema’ to British film production in the 1960s immediately poses certain problems of definition. If we adopt Steve Neale’s institutional perspective, highlighting how the concept was used in France, Italy and Germany to foster indigenous national cinemas that could resist the threat posed by Hollywood by emphasising the cultural value of film, 1 then the evidence suggests a rather different set of priorities in the case of Britain. For the UK film industry

in British art cinema
Spolia in Old English verse

Borrowed objects and the art of poetry examines seven Exeter riddles, three Anglo-Saxon biblical poems (Exodus, Andreas, Judith), and Beowulf to uncover the poetics of spolia, an imaginative use of fictional recycled artefacts to create sites of metatextual reflection. Old English poetry famously – and for a corpus rather interested in the enigmatic and the oblique, appropriately – lacks an explicit ars poetica. This book argues that attention to particularly charged moments within texts – especially within texts concerned with translation, transformation, and the layering of various pasts – gives us a previously unrecognised means for theorising Anglo-Saxon poetic creativity. Borrowed objects and the art of poetry works at the intersections of recent interest in materiality and poetics, balancing insights of thing theory, and related approaches with close readings of specific passages from Old English texts.

The Art of The Faerie Queene is the first book centrally focused on the forms and poetic techniques employed by Spenser. Though much scholarly attention in recent years has been on the relationships between Spenser’s poetry and political and colonial history, the place of his epic in literary history has received less attention. This book aims to rectify that by re-reading The Faerie Queene as poetry which is at once absorbing, demanding, and experimental. The Spenser explored here ingeniously uses the tricks of his poetic style to amplify his symbolic agendas and to deepen the reading experience.

One of the book’s particular originalities is the way in which it reframes Spenser’s place in literary history. As opposed to the stylistic conservatism diagnosed by previous generations of scholars, The Art of The Faerie Queene presents the poem as more radical, more edgy, and less conventional, particularly as it appeared to Spenser’s first readers. As such, the book proposes new ways of understanding the Elizabethan poetic Renaissance and the ways in which Spenser is best understood in terms of literary history.

The book progresses from the choice of individual words through to questions of metre, rhyme, and stanza form up to the larger structures of canto, book, and the incomplete yet massive poem itself. It will be of particular relevance to undergraduates studying Elizabethan poetry, graduate students, and scholars of Renaissance poetry, for whom the formal aspect of the poetry has been a topic of growing relevance.

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Clare Wilkinson and Emma Weitkamp

Despite C.P. Snow’s framing of the arts and science as two cultures with little common ground, art, science and technology have long been bedfellows (Snow, 1993 ). Advances in science and technology have stimulated developments in the arts as well as acting as inspiration for cultural activities, and visual techniques from the arts have been used to inform and facilitate research across a broad range of disciplines. From Brunelleschi’s early work on perspective, through to the modern day, examples of cross ‘cultural’ impact abound, with artists exploring

in Creative research communication
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Anna Dahlgren

Imposter art This chapter deals with artworks that have migrated from the context of the art world to those of the law and news, literally from the gallery to the courtroom and the pages of the daily press. Artworks that cross legal boundaries and are judged as illegal acts or objects are illuminating examples of how the notion of art is continuously negotiated by different agents in different contexts. This chapter seeks to discuss news media as one such agent and context. Historically, there have been many instances where the notion of art has been negotiated

in Travelling images
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Anna Dahlgren

3 Magazined art The relationship between art and fashion has never been clear cut, but has rather been characterized by a complex interrelationship mainly due to the latter’s ‘intermediate position between the artistic field and the economic field’.1 Throughout the history of fashion photography there has been an exchange of aesthetics between visual art and fashion imagery, as pointed out by Charlotte Andersen among others.2 Moreover, a number of photographers have managed to establish themselves as artists and fashion photographers simultaneously, such as

in Travelling images
Jo George

Derek Jarman occupies a central place in British art cinema. Indeed, John Hill argues that it was Jarman, along with Peter Greenaway, who made it ‘much easier to identify a recognisably British art cinema and see it as a significant strand of British and, indeed, European filmmaking’ 1 in the late 1970s and 1980s. On closer inspection, however, several of Jarman’s films are not so easily identified as examples of art cinema. Certainly, his early 16mm features, Sebastiane (1976), Jubilee (1978) and The Tempest (1979) as well as

in British art cinema
Anne Ring Petersen

Globalisation-from-above and globalisation-from-below The relationship between globalisation and migration is complex, in terms of both history and theory; so also are the interrelations between the discourses on globalisation and migration and the artistic phenomena that the Introduction subsumed under the categories of global art and migratory aesthetics. This chapter seeks to draw up an outline of how ‘globalisation’ and ‘migration’ have been articulated in Western discussions of contemporary art since the 1990s, and how the two discourses intersect. The

in Migration into art