British rural landscapes on film

Offers insights into how rural areas in Britain have been represented on film, from the silent era, through both world wars, and on into the twenty-first century

Cover -- Half-title -- Title page -- Copyright information -- Table of contents -- List of figures -- List of contributors -- Acknowledgements -- Introduction: approaching British rural landscapes on film -- The aims of this book -- What is landscape? -- British rural landscape and film genre -- Notes -- 1 Silent landscapes: rural settings, national identity and British silent cinema -- Landscape and national cinema -- The early development of British cinema: storytelling versus pictorialism -- Hepworth, Newall and Elvey: the emergence of a middlebrow art cinema -- Projecting a national landscape: 'a typically British school of film-.making' -- The functions of landscape in British silent cinema -- The landscape of invented tradition -- Some conclusions -- Notes -- 2 British landscapes in pre-Second World War film publicity -- Notes -- 3 Rural imagery in Second World War British cinema -- The rural as idyll -- The dark rural -- Neo-.Romanticism: Powell and Pressburger -- Endthought -- Notes -- 4 'An unlimited field for experiment': Britain's stereoscopic landscapes -- Stereoscopic landscape -- Critical response -- Conclusion -- Notes -- 5 The figure (and disfigurement) in the landscape: The Go-.Between's picturesque -- Hartley's geographical psyche: the country estate in print, 1927-53 -- Losey and the country estate on screen after 1945 -- Scripting The Go-.Between: time out of place -- Adaptation by landscape -- History in the landscape: the picturesque -- Conclusion -- Notes -- 6 'Here is Wales, there England': contested borders and blurred boundaries in On the Black Hill -- Landscape and national identity -- The border and imaging the Welsh landscape -- Welsh landscape on film -- Cynefin and cognitive mapping -- The Vision as dwelling place -- Physical and psychological borders -- The visibility and ambivalence of the English-.Welsh border

Notes -- 7 Where the land meets the sea: liminality, identity and rural landscape in contemporary Scottish cinema -- Introduction -- Dreams of fulfilment: Another Time, Another Place -- 'Torn between languages': Blue Black Permanent -- Venturing out onto the ice: The Winter Guest -- Conclusion: connections beyond the national -- Notes -- 8 Fantasy, fallacy and allusion: reconceptualising British landscapes through the lens of children's cinema -- Notes -- 9 Picturesque, pastoral and dirty: uncivilised topographies in Jane Eyre and Wuthering Heights -- Notes -- 10 Folk horror and the contemporary cult of British rural landscape: the case of Blood on Satan's Claw -- Folk horror -- Blood on Satan's Claw then and now -- 1970s rural horror(s) -- The contemporary cult of the rural -- Post-millennial rural horror -- Conclusion -- Notes -- 11 sleep furiously: interview with Gideon Koppel -- Paul Newland -- Gideon Koppel -- Paul Newland -- Gideon Koppel -- Paul Newland -- Gideon Koppel -- Notes -- 12 Film and the repossession of rural space: interview with Patrick Keiller -- Paul Newland -- Patrick Keiller -- Paul Newland -- Patrick Keiller -- Paul Newland -- Patrick Keiller -- Paul Newland -- Patrick Keiller -- Notes -- Index