Paul Newland
- Published in print:
- 2013
- Published Online:
- May 2013
- ISBN:
- 9780719082252
- eISBN:
- 9781781705049
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9780719082252.003.0003
- Subject:
- Film, Television and Radio, Film
This chapter explores the ways in which some British films of the 1970s are structured around journeys undertaken by lone individuals. It primarily focuses on two films, O Lucky Man! and Radio On, ...
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This chapter explores the ways in which some British films of the 1970s are structured around journeys undertaken by lone individuals. It primarily focuses on two films, O Lucky Man! and Radio On, and argues that these films, featuring solo travellers, operate as ‘state-of-the-nation’ films which serve to depict a fragmenting Britain. The chapter also places these two films within the context of British art films and British avant garde films of the period. The chapter concludes by exploring a range of films which have British characters travelling abroad, and places these films within the socio-cultural context of increased foreign (and especially European) travel in the 1970s.Less
This chapter explores the ways in which some British films of the 1970s are structured around journeys undertaken by lone individuals. It primarily focuses on two films, O Lucky Man! and Radio On, and argues that these films, featuring solo travellers, operate as ‘state-of-the-nation’ films which serve to depict a fragmenting Britain. The chapter also places these two films within the context of British art films and British avant garde films of the period. The chapter concludes by exploring a range of films which have British characters travelling abroad, and places these films within the socio-cultural context of increased foreign (and especially European) travel in the 1970s.
John Orr
- Published in print:
- 2010
- Published Online:
- September 2012
- ISBN:
- 9780748640140
- eISBN:
- 9780748671090
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748640140.003.0007
- Subject:
- Film, Television and Radio, Film
The 1960s was the start of a new cinema in Britain, a neo-modern remake of 1920s modernism for the sound era: 1963 with the release of The Servant was as momentous as 1929, and the expatriate eye was ...
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The 1960s was the start of a new cinema in Britain, a neo-modern remake of 1920s modernism for the sound era: 1963 with the release of The Servant was as momentous as 1929, and the expatriate eye was an integral part of modernism's second wave, the aesthetic dominant in the rise of the British neo-modern an aesthetic which can be called the aesthetics of the parallax view. In general, the writing is native, and the fusion of expatriate eye and insider's text counts for so much — John and Penelope Mortimer with Otto Ludwig Preminger, Harold Pinter with Joseph Losey, Edward Bond and Mark Peploe with Michelangelo Antonioni, Anthony Burgess freely providing his brilliant novel for Stanley Kubrick, Martin Ritt and Sidney Lumet with Paul Dehn adapting John Le Carré. This chapter examines Joseph Losey's films The Servant and Accident; Michelangelo Antonioni's Blow-Up, The Passenger, and Profession: Reporter; Alain Resnais's Providence; and Chris Petit's Radio On.Less
The 1960s was the start of a new cinema in Britain, a neo-modern remake of 1920s modernism for the sound era: 1963 with the release of The Servant was as momentous as 1929, and the expatriate eye was an integral part of modernism's second wave, the aesthetic dominant in the rise of the British neo-modern an aesthetic which can be called the aesthetics of the parallax view. In general, the writing is native, and the fusion of expatriate eye and insider's text counts for so much — John and Penelope Mortimer with Otto Ludwig Preminger, Harold Pinter with Joseph Losey, Edward Bond and Mark Peploe with Michelangelo Antonioni, Anthony Burgess freely providing his brilliant novel for Stanley Kubrick, Martin Ritt and Sidney Lumet with Paul Dehn adapting John Le Carré. This chapter examines Joseph Losey's films The Servant and Accident; Michelangelo Antonioni's Blow-Up, The Passenger, and Profession: Reporter; Alain Resnais's Providence; and Chris Petit's Radio On.
