Includes bibliographical references (pages 185-188) and index
Cover; Copyright; Contents; Acknowledgements; List of fi gures; Introduction: romantics versus modernists?; CHAPTER 1 1929: romantics and modernists on the cusp of sound; CHAPTER 2 The running man: Hitchcock's fugitives and The Bourne Ultimatum; CHAPTER 3 Running man 2: Carol Reed and his contemporaries; CHAPTER 4 David Lean: the troubled romantic and the end of empire; CHAPTER 5 The trauma film from romantic to modern: A Matter of Life and Death to Don't Look Now; CHAPTER 6 Joseph Losey and Michelangelo Antonioni: the expatriate eye and the parallax view
In a fresh and invigorating look at British cinema John Orr examines the neglected relationship between romanticism and modernism from 1929 to the present-day. Encompassing a broad selection of films, film-makers and debates, this book brings a new perspective to how scholars might understand and interrogate the major traditions that have shaped British cinema history. Orr identifies two prominent genres in the British template that often go unrecognised, the fugitive film and the trauma film, whose narratives have bridged the gap between romantic and modern forms. Here Hitchcock, Lean, Powel
