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Distributed for Intellect Ltd

Don’t Look Now

British Cinema in the 1970s

While postwar British cinema and the British new wave have received much scholarly attention, the misunderstood period of the 1970s has been comparatively ignored. Don’t Look Now uncovers forgotten but richly rewarding films, including Nicolas Roeg’s Don’t Look Now and the films of Lindsay Anderson and Barney Platts-Mills. This volume offers insight into the careers of important filmmakers and sheds light on the genres of experimental film, horror, rock and punk films, as well as representations of the black community, shifts in gender politics, and adaptations of television comedies. The contributors ask searching questions about the nature of British film culture and its relationship to popular culture, television, and the cultural underground.

280 pages | 10 halftones | 7 x 9 | © 2010

Film Studies

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Table of Contents


Introduction by Paul Newland

Chapter 1:        Keynote Lecture, Don’t Look Now: British Cinema in the 1970s 
Conference, University of Exeter, July 2007

Sue Harper

Section I: Individuals and the Industry

Chapter 2:        Stanley Baker and British Lion: A Cautionary Tale

Robert Shail

Chapter 3:        Staccato and Wrenchingly Modern: Reflections on the 1970s Stardom of Glenda Jackson

Melanie Williams


Section II: On the Margins of British Cinema

Chapter 4:        Alternative Film Exhibition in the English Regions during the 1970s

Vincent Porter

Chapter 5:        Multiple Voices: The Silent Cry and Artists’ Moving Image in the 1970s

William Fowler

Chapter 6:        On the Margins: Anthony Simmons, The Optimists of Nine Elms and Black Joy

Josie Dolan and Andrew Spicer

Chapter 7:        We Know Where We’re Going, We Know Where We’re From: Babylon

Paul Newland

Section III: Anxiety and Alienation, Deviance and Desire


Chapter 8:        The Power to Create Catastrophe: The Idea of Apocalypse in 1970s British Cinema

Peter Hutchings

Chapter 9:        Hideous Sexy: The Eroticized Body and Deformity in 1970s British Horror Films

Peri Bradley

Chapter 10:      Masculinity and Deviance in British Cinema of the 1970s: Sex, Drugs and Rock ‘n’ Roll in The Wicker Man, Tommy and The Rocky Horror Picture Show

E. Anna Claydon

Chapter 11:      ‘The “lack” and How to Get It’: Reading Male Anxiety in A Clockwork Orange, Tommy and The Man Who Fell to Earth

Justin Smith

Section IV: British Cinema and Television


Chapter 12:      The Last Studio System: A Case for British Television Films

Dave Rolinson

Chapter 13:      ‘Pre-sold to Millions’: The Sitcom Films of the 1970s

Adrian Garvey

Chapter 14:      Class, Nostalgia and Newcastle: Contested Space in TheLikely Lads

Paul Williams

Chapter 15:      Hovis, Ovaltine, Mackeson’s and the Days of Hope Debate

Amy Sargeant

Section V: British Films and British Filmakers


Chapter 16:      ‘What is there to Smile At?’ Lindsay Anderson’s O Lucky Man!

John Izod, Karl Magee, Kathryn Mackenzie and Isabelle Gourdin

Chapter 17:      Dead Ends and Private Roads: The 1970s Films of Barney Platts-Mills

James Leggott

Chapter 18:      Landscape Gardens in The Ruling Class

Mark Broughton

Chapter 19:      Beneath the Surface: Nicolas Reog’s Don’t Look Now

Andrew Patch

Notes on Contributors


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