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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.

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Jeffrey Andrew Weinstock

overcome prejudice and antagonism. Less Christ-like than Godric and even more melancholic than Rice’s Louis – if that is possible – is Adam (Tom Hiddleston) in Jim Jarmusch’s 2013 art-house vampire film, Only Lovers Left Alive . Married for centuries to Eve (Tilda Swinton), but living on his own in his crumbling mansion in a desolate, depopulated Detroit, Michigan, Adam spends his time recording moody Goth songs he calls ‘funeral music’ on outdated studio equipment, collecting vintage musical instruments and lamenting the state of a world

in Suicide and the Gothic
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Nigel Mather

 holiday in One Day (2011). 12 ‘It’s about making a bond with someone’: Anna (Kathryn Worth) and Oakley (Tom Hiddleston) discuss sex, marriage and having children in Unrelated (2007). 13 Pupil and teacher interaction: Steven (Andrew Simpson) and Miss Hart (Cate Blanchett), his art teacher, in Notes on a Scandal (2006). 14 Barbara (Judi Dench) gets the inside story on Sheba’s shocking behaviour in Notes on a Scandal (2006). 15 ‘I’ve been here before’: Dan (Jude

in Sex and desire in British films of the 2000s
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Joseph Oldham

Corporation to an area in which it had previously achieved great success. However, The Night Manager contrasted with the earlier adaptations in several key regards that reveal much about changes within the British television industry over the preceding decades. As a lavish £20 million production with international film star Tom Hiddleston in the leading role, this epitomised the increasingly complex co-production arrangements that had come to dominate ‘quality’ television on the international market. Also playing key roles in this production were The Ink Factory, an

in Paranoid visions
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The vampire and neoliberal subjectivity
Aspasia Stephanou

, exhausted and lifeless. The film is concerned with the ancient lives of a vampire couple, played by Tilda Swinton and Tom Hiddleston, rendered in dark and claustrophobic settings that capture the vampires’ sterility and entrapment in a meaningless American world. The eternal lovers live in different worlds. Adam is a reclusive and depressed rock star with a cult following who is

in Neoliberal Gothic
Narratives exploring relationships in modern British society
Nigel Mather

) offers a portrait of the British upper middle classes abroad, holidaying in a Tuscan villa in what Joanna Hogg has described as a film about what it is like to be ‘outside a family’. 34 The central character, forty-something Anna (Kathryn Worth), arrives late at night, pulling a suitcase on wheels, to stay with Verena’s (Mary Roscoe) family and their friend George (David Rintoul) and his son Oakley (Tom Hiddleston). Anna, it transpires, is seeking respite from a troubled marriage and the narrative is punctuated with scenes in which she experiences difficult mobile

in Sex and desire in British films of the 2000s