Running off the Anger. British New Wave includes several areas of research that suggest interpreting the cinema of the British New Wave in relation to social realism, the construction of the main characters, popular culture and the way New Wave played with film-making. Thanks to an in-depth analysis of key films of this trend, it is possible not only to understand the workings of social realism and examine character creation and their rebellion, but also to explore the intentionality of the utilising New Wave techniques that were known from nouvelle vague. The last chapter of this book is devoted to the most recent references to British New Wave Cinema.
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- Berlin, Bern, Bruxelles, New York, Oxford, Warszawa, Wien, 2019. 246 S., 87 s/w Abb., 5 Tab.
- Title Page
- Copyright Page
- Dedication Page
- About the author
- About the book
- Citability of the eBook
- Chapter 1 British New Wave: Origins and Evolution of the Movement
- 1. Angry Young Men
- 2. British New Wave in Academic Studies and in the Press
- 3. Working-class Actors
- 4. Does the British New Wave Have a Beginning and an End?
- Chapter 2 Social Realism
- 1. Society, Politics and Realism
- 2. Documentaries
- 2.1. Inspirations
- 2.2. John Grierson
- 2.3. Humphrey Jennings
- 2.4. Free Cinema
- 3. Social Thought
- 4. Social Realism
- 4.1. Attempts to Define
- 4.2. Social Problem Films
- 5. Feminism
- 5.1. Female Protagonists of the New Wave
- 5.2. A Taste of Honey
- 6. Location
- 6.1. Outside the Studio
- 6.2. Town
- 6.3. Out of Town
- Chapter 3 Pop Culture
- 1. Towards Classless Society
- 2. Consumerism
- 2.1. Fashion, Culture and Shopping
- 2.2. Billy Liar10
- 3. Mass Media
- 3.1. Television
- 3.2. The Entertainer
- 4. Pop Art29
- 5. Jazz
- 5.1. All That Jazz
- 5.2. Look Back in Anger
- 5.3. The Loneliness of the Long Distance Runner
- Chapter 4 British New Wave Hero
- 1. The Hero and The Effect of Reality
- 2. Protagonist’s Rebellion
- 2.1. Jimmy Porter (Look Back in Anger)
- 3. Family Life
- 3.1. Frank Machin (This Sporting Life)
- 4. Visions of Success
- 4.1. Joe Lampton (Room at the Top)
- 5. In the World of Illusion
- 5.1. Billy Liar49
- 5.2. Morgan (Morgan: A Case Suitable for Treatment)
- 5.3. Nancy, Colin and Tolen (The Knack…and How to Get It)
- 6. Rebellion or Compromise?
- 6.1. Arthur Seaton (Saturday Night and Sunday Morning)
- Chapter 5 New Wave Playing with Film-making
- 1. New Wave, Meaning What?
- 2. Acting23
- 2.1. Actors of the British New Wave
- 2.2. Method Acting
- 3. Humour
- 4. Playing with Storyline
- 5. Playing with Time and Space
- 6. In Search of Lost Time
- 6.1. The Loneliness of the Long Distance Runner
- 6.2. This Sporting Life
- Chapter 6 Distant Voices of the British New Wave
- 1. New Wave and What Next?
- 2. New Wave and Its Resurgence
- 3. If….12
- 4. Distant Voices, Still Lives
- 5. Secrets and Lies
- 6. My Name Is Joe
- 7. Billy Elliot
- 8. Fish Tank
The renown of British New Wave cinema can be attributed, in my opinion, not only to its sociological context (which some writers regard as impossible to overlook do and which has been the subject of numerous discussions), but also its ambiguous ‘social’ protagonist and the skills of the New Wave directors. In this book, I did not attempt to produce a definitive list of films that constitute the core works of the British New Wave, as other writers have already done so (recently B.F. Taylor1). In the introduction, I mentioned films traditionally associated with the British New Wave, as well as those that are seldom referred to and those I regard as in keeping with the New Wave mood. In the New Wave spirit I gave up the idea of closing this list, and even consciously remained open to new contexts. It is not possible to state unequivocally and precisely that a particular film belongs to a given trend, and that not others don’t apply. Instead of marking dividing lines, I went down the road of seeking out tendencies and similarities.
Regardless of the latitudes in which it developed, the British New Wave, allowed one to come close to the protagonists. It did not shy away from their most intimate moments, examine their weaknesses, fears and quirks. This is exactly was British cinema of the late 50s and early 60s did focus - on its protagonists, their furrowed brows (indicating rebellion), their grimaces (ironically mocking reality)...
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