Art and Culture at the British Seaside
Edited By Lara Feigel and Alexandra Harris
From the cheeky postcards marvelled at by George Orwell to austere modernist buildings such as the De La Warr Pavilion; from the Camden Town Group’s sojourn in Brighton to John Piper’s ‘Nautical Style’; from Paul Nash’s surrealist benches on the promenade in Swanage to the influence of bunting and deckchairs on the Festival of Britain – Modernism on Sea is a sweeping tour de force which pays tribute to the role of the seaside in shaping British modernism.
The essays in this book were inspired by the ‘Modernism on Sea’ conference that was held at the De La Warr Pavilion in Bexhill-on-Sea in July 2007.
Part ISeaside Holidays
Part I SEASIDE HOLIDAYS Lara Feigel Lara Feigel is a Lecturer in Modern Literary Studies at King’s College, London. She is currently working on a monograph emerg- ing from her doctoral thesis at the University of Sussex on the influence of cinema on politically committed British literature, 1930–45. She is also researching a project on modernist autobi- ography and self-portraiture and another on the role of literature in the reconstruction of Europe after the Second World War, focusing on the work of International PEN and Unesco. She is a co- editor (with John Sutherland and Natasha Spender) of the jour- nals of Stephen Spender (Faber, 2009) and the editor of A Nosegay: A Literary Journey from the Fragrant to the Fetid (Old Street Pub- lishing, 2006). Kiss Me Quick The Aesthetics of Excess in 1930s Literature and Film the popular seaside resort was an enticing setting for the 1930s filmmaker or writer, offering a world of heady opu- lence and excess. The workers who flocked towards the sea left behind the grime of the northern factories and the chaos of the London streets to linger on the promenade, swoon in the ballroom and whirl in ecstasy on the flying machine. The seaside filmmaker could dizzy his audience as it bounced with the camera along the rollercoaster while the seaside writer could detail the vulgarity of the pleasure beach. This surplus was in sharp contrast to the everyday landscape of the 1930s, and artists made the most of the montage...
You are not authenticated to view the full text of this chapter or article.
This site requires a subscription or purchase to access the full text of books or journals.
Do you have any questions? Contact us.Or login to access all content.