A stimulating overview of the intellectual arguments and critical debates involved in the study of British and Irish cinemas British and Irish film studies have expanded in scope and depth in recent years, prompting a growing number of critical debates on how these cinemas are analysed, contextualized, and understood. A Companion to British and Irish Cinema addresses arguments surrounding film historiography, methods of textual analysis, critical judgments, and the social and economic contexts that are central to the study of these cinemas. Twenty-nine essays from many of the most prominent writers in the field examine how British and Irish cinema have been discussed, the concepts and methods used to interpret and understand British and Irish films, and the defining issues and debates at the heart of British and Irish cinema studies. Offering a broad scope of commentary, the Companion explores historical, cultural and aesthetic questions that encompass over a century of British and Irish film studiesfrom the early years of the silent era to the present-day. Divided into five sections, the Companion discusses the social and cultural forces shaping British and Irish cinema during different periods, the contexts in which films are produced, distributed and exhibited, the genres and styles that have been adopted by British and Irish films, issues of representation and identity, and debates on concepts of national cinema at a time when ideas of what constitutes both British and Irish cinema are under question. A Companion to British and Irish Cinema is a valuable and timely resource for undergraduate and postgraduate students of film, media, and cultural studies, and for those seeking contemporary commentary on the cinemas of Britain and Ireland.
About the Editor viii Notes on Contributors ix Introduction 1 John Hill Part I Histories: Issues and Debates 5 1 British Silent Cinema 7 Jon Burrows 2 Cinema in Ireland from the 1890s to the 1930s 29 Kevin Rockett 3 British Cinema in the 1930s 49 Lawrence Napper 4 British Cinema and the Second World War 67 James Chapman 5 The 1950s and 1960s 84 Melanie Williams 6 Irish Cinema's First Wave: Histories and Legacies of the 1970s and the 1980s 106 Maeve Connolly 7 History, Heritage and the National Past in British Cinema of the 1980s and 1990s 127 Geoff Eley Part II Critical Approaches: Debating Film Texts 141 8 Filming with Words: British Cinema, Literature and Adaptation 143 Christine Geraghty 9 British Film Genres 158 Peter Hutchings 10 British Cinema and Authorship 177 Sheldon Hall 11 Acting and Stardom 201 Jim Leach 12 British and Irish Film Music 217 K. J. Donnelly 13 Irish Cinema and International Screen Culture 234 Martin McLoone 14 Vernacular Visions: Ireland and Accented Cinema 260 Luke Gibbons Part III Critical Approaches: Debating Film Contexts 275 15 British Film Industry and Policy: Issues and Debates 277 Duncan Petrie 16 British Cinema and Technology 298 Sarah Street 17 Irish Film: Industry and Policy 313 Roderick Flynn 18 British Cinema and Television 332 David Rolinson Part IV Representation and Identity 347 19 Gender, Sexuality, and British Cinema 349 Niall Richardson 20 Space, Place, and Architecture in British Films: The Case of Last Resort (2000) 372 Paul Newland 21 Gender, Sexuality, and Irish Film 386 Debbie Ging 22 Space and Place in Irish Cinema 407 Conn Holohan 23 The Proletariat and British Cinema 423 Paul Dave 24 Race and Ethnicity in British Cinema 443 Sarita Malik Part V Redefining 'British' and 'Irish' Cinemas 461 25 The Englishness of British Cinema: Beyond the Valley of the Corn Dollies 463 Julian Petley 26 Trainspotter's Delight: Issues and Themes in Scottish Film Criticism 490 Jonathan Murray 27 The Cinema Has Two Tongues: The Cinema Cultures of Wales 510 Daryl Perrins 28 Screening Irish-America 532 Ruth Barton 29 Transnational Strategies in British Cinema: The Example of Slumdog Millionaire 545 James F. English Index 565
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