Michael Winterbottom is the most prolific and the most audacious of British filmmakers in the last twenty years. His television career began in the cutting-rooms at Thames Television, and his first directing experience was on the Thames TV documentaries, Ingmar Bergman: The Magic Lantern and Ingmar Bergman: The Director, made in 1988. Winterbottom has featured in top ten lists in Britain and his name has become a moniker of distinction in the promotion of his own films. This book articulates the ideas which have led to the name 'Michael Winterbottom' being associated with a particular body of work and, second, by turning to those factors which tend to dissipate the idea of Winterbottom as the single source of a world view and style, and to relocate his films within a constellation of directors, films and (principally European) national cinemas. It is important to acknowledge that all of his films employ realism across a variety of styles, genres and historical representations. The book focuses on Welcome to Sarajevo, Wonderland, In This World and The Road to Guantánamo, with a brief reference to 24 Hour Party People as five very different films that have particular relationships with the historical world that they represent. It considers what Winterbottom has done with such popular genres as the road movie, the musical and the sciencefiction thriller, how far he has adapted their conventions to contemporary film practice and ideology, and whether these films, in reworking Hollywood genres, exhibit any peculiarly British inflections.
treating subjects of
contemporary significance; and there are a road movie, a musical, a
science-fictionthriller, a sex drama, and films in the humanist/realist
mode. Mere generic diversity would not, of itself, be a matter for critical
applause. However, arguably, no other British director, certainly not in
recent times, has shown accomplishment over such a genre range.
Contemporaries such as Ken Loach, Mike Leigh and Shane
In television scholarship, sound and image have been attended to in different ways, but image has historically dominated. The chapters gathered here attend to both: they weigh the impact and significance of specific choices of sound and image, explore their interactions, and assess their roles in establishing meaning and style. The contributors address a wide range of technical and stylistic elements relating to the television image. They consider production design choices, the spatial organisation of the television frame and how camera movements position and reposition parts of the visible world. They explore mise-en-scène, landscapes and backgrounds, settings and scenery, and costumes and props. They attend to details of actors’ performances, as well as lighting design and patterns of colour and scale. As regards sound, each chapter distinguishes different components on a soundtrack, delineating diegetic from non-diegetic sound, and evaluating the roles of elements such as music, dialogue, voice-over, bodily sounds, performed and non-performed sounds. Attending to sound design, contributors address motifs, repetition and rhythm in both music and non-musical sound. Consideration is also given to the significance of quietness, the absence of sounds, and silence. Programmes studied comprise The Twilight Zone, Inspector Morse, Children of the Stones, Dancing on the Edge, Road, Twin Peaks: The Return, Bodyguard, The Walking Dead and Mad Men. Sound and image are evaluated across these examples from a wide range of television forms, formats and genres, which includes series, serial and one-off dramas, children’s programmes, science fiction, thrillers and detective shows.
question becomes what to do about the missing bodies and those killed by
coincidence just because they were in the street. Are they martyrs? Are these
vanished bodies with no proper burial, nor proper prayers and ritual ablutions
according to Islamic traditions, still considered as martyrs, wonders Rabii‘?
In that sense, ‘Utaarid could be classified as a dystopian science-fictionthriller.13 It is a projection of the future Cairo in 2025, twelve years after the
2013 Rabe‘a al-‘Adaweyya massacre, in which the city witnessed the widespread
use of thugs to beat up
Sounds and images in The Twilight Zone, ‘The Invaders’
breaks within and at the start and end of each episode. The significance of this commercial context is that The Twilight Zone was designed to attract and retain audiences, especially across commercial breaks, by offering engagement with dramatic situations, surprising storyline events and visual or aural effects. The fact that ‘The Invaders’ has no dialogue and an entirely linear story structure was a strategy to hook and then hold viewers. The episode's writer, Matheson, also wrote the source texts and screenplays for the sciencefictionthriller films The
, Janet Peoples. 47 As with The
Fisher King , Gilliam was impressed with the quality of the
writing, and the way the dense, highly intelligent and constantly
shifting story did not fit any particular genre or mould, blending
sciencefiction, thriller, mystery and romance together into a
provocative whole. Perhaps as a result of this ambiguity,
Universal’s budget of $29 million provided less money
Fox showed some
interest, but only if Gilliam directed their premier project, the
sciencefictionthriller Enemy Mine . 22 Gilliam declined the offer, which
piqued the studio’s interest in the project he rejected it for,
his own Brazil . But it was The Meaning of Life ’s
success in Cannes that created a buzz Gilliam and Milchan used to coax
Fox and Universal executives attending the festival into
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.