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 ...
More
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.
Wheeler Winston Dixon
- Published in print:
- 2005
- Published Online:
- March 2012
- ISBN:
- 9780748623990
- eISBN:
- 9780748653614
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748623990.003.0005
- Subject:
- Film, Television and Radio, Film
Peter Collinson's The Penthouse (1967), a key British noir film of the 1960s, followed in the tradition of Joseph Losey's more restrained dramas of claustrophobic domesticity gone horribly wrong in ...
More
Peter Collinson's The Penthouse (1967), a key British noir film of the 1960s, followed in the tradition of Joseph Losey's more restrained dramas of claustrophobic domesticity gone horribly wrong in The Servant (1963) and Accident (1967). London in the early 1960s was typically depicted as a zone of carefree abandon in such films as Richard Lester's Help! (1965), A Hard Day's Night (1964), and his sex comedy The Knack...and How to Get It (1965). But beneath the gloss and the electricity of the era, an undercurrent was readily detectable. Pop stardom proved to be utterly transient, and as drugs and disillusion set in, the mood became more somber. Perhaps the most nihilist film of the 1960s British new wave is Michelangelo Antonioni's Blowup. No consideration of film noir in the 1960s would be complete without a few thoughts on Hammer Films, most famous for their color gothic horror films, many directed by Terence Fisher.Less
Peter Collinson's The Penthouse (1967), a key British noir film of the 1960s, followed in the tradition of Joseph Losey's more restrained dramas of claustrophobic domesticity gone horribly wrong in The Servant (1963) and Accident (1967). London in the early 1960s was typically depicted as a zone of carefree abandon in such films as Richard Lester's Help! (1965), A Hard Day's Night (1964), and his sex comedy The Knack...and How to Get It (1965). But beneath the gloss and the electricity of the era, an undercurrent was readily detectable. Pop stardom proved to be utterly transient, and as drugs and disillusion set in, the mood became more somber. Perhaps the most nihilist film of the 1960s British new wave is Michelangelo Antonioni's Blowup. No consideration of film noir in the 1960s would be complete without a few thoughts on Hammer Films, most famous for their color gothic horror films, many directed by Terence Fisher.
Lamed Shapiro
- Published in print:
- 2007
- Published Online:
- October 2013
- ISBN:
- 9780300110692
- eISBN:
- 9780300134698
- Item type:
- chapter
- Publisher:
- Yale University Press
- DOI:
- 10.12987/yale/9780300110692.003.0012
- Subject:
- Literature, American, 20th Century Literature
This chapter presents the text of Lamed Shapiro's short fiction titled The Man and His Servant. It explains that the story is about a man in a wheelchair being pushed by his young servant. It ...
More
This chapter presents the text of Lamed Shapiro's short fiction titled The Man and His Servant. It explains that the story is about a man in a wheelchair being pushed by his young servant. It highlights the people's fear for this man and mentions that he never talks to his servant. It also discusses the servant's “fight for freedom”.Less
This chapter presents the text of Lamed Shapiro's short fiction titled The Man and His Servant. It explains that the story is about a man in a wheelchair being pushed by his young servant. It highlights the people's fear for this man and mentions that he never talks to his servant. It also discusses the servant's “fight for freedom”.
