Romantics and Modernists in British Cinema Book

Acknowledgements vii

List of figures ix

Introduction: romantics versus modernists? 1

1 1929: romantics and modernists on the cusp of sound 5

The documentary legacy: Drifters 7

The forging of the fugitive film: A Cottage on Dartmoor 11

Transgressing triangles: Piccadilly and The Manxman 14

Blackmail'and transition 18

Constructive and deconstructive: Number Seventeen 23

2 The running man: Hitchcock's fugitives and The Bourne Ultimatum 25

Jason's Waterloo: Hitchcock, Greengrass and deepest fears 25

The fugitive kind: pre-war, wartime, post-war 28

British Hitchcock: from romance thriller to post-romantic fable 32

The poetics of treachery: Dickinson and Cavalcanti 34

The triumph of the short film: Bon Voyage and Aventure malgacbe 37

Post-romantic fugitives: Stage Fright and Frenzy 40

Epilogue: the Frenzy murders 42

3 Running man 2: Carol Reed and his contemporaries 44

Fable versus romance: The Third Man and They Made Me a Fugitive 54

Reed and subterfuge: The Man Between and Our Man in Havana 57

Reed's successors 62

4 David Lean: the troubled romantic and the end of empire 64

Forgotten Lean: the Ann Todd trilogy 64

Madeleine: the perverse unveiled 70

The Sound Barrier, the faltering sublime and the end of empire 77

Enthusiast or fanatic? The paradox of Lean's 'Lawrence' 79

5 'The trauma film from romantic to modern: A Matter of Life and Death to Don't Look Now 86

Prelude: Thorold Dickinson and Anton Walbrook 88

Juxtaposition: A Matter of Life and Death and Dead of Night 89

Powellian trauma: Black Narcissus, The Small Back Room, Peeping Tom 94

Female 'madness' and modernism: The Innocents and Repulsion 101

The trauma double bill: Don't Look Now and The Wicker Man 108

The neo-romantic turn and death in Venice: Don't Look Now 110

Romantic symbol and modernist edit 112

6 Joseph Losey and Michelangelo Antonioni: the expatriate eye and the parallax view 115

Losey and Pinter: the modernist moment in The Servant and Accident 119

Coda: Providence as Resnais's riposte to Losey 128

Antonioni's parallax view: Blow- Up and The Passenger 129

What's in a title? The Passenger or Profession: Reporter 135

Coda: the native eye in Radio On 139

7 Expatriate eye 2: Stanley Kubrick and Jerzy Skolimowski 141

Freedom and fate: Barry Lyndon 148

Skolimowski and running water: or, Deep End and Cul-de-Sac 152

Rise and fall: The Shout, Moonlighting, Success is the Best Revenge 156

Bringing it all back home: Moonlighting and Success is the Best Revenge 159

8 Terence Davies and Bill Douglas: the poetics of memory 164

Mimetic modernism and family mysteries: the Douglas trilogy 167

Davies: the romantic imagist and the poetry of memory 171

Floating through space and time: The Long Day Closes 173

The past as present: The House of Mirth and The Wings of the Dove 177

9 Conclusion: into the new century 180

Select bibliography 185

Index 189