LEADER 00000cam  2200529 i 4500 
001    824733616 
003    OCoLC 
005    20150520021315.0 
008    130121t20142014enka     b    001 0 eng d 
020    1906733740 
020    9781906733742 
035    (OCoLC)824733616|z(OCoLC)825735191 
040    YDXCP|beng|erda|cYDXCP|dBTCTA|dERASA|dNDD|dBDX|dOCLCQ
       |dOCLCF|dXII|dVTU|dAS 
043    e-uk--- 
050  4 PN1995.9.C66|bE455 2014 
082 04 791.4365560941|223 
100 1  Elliott, Paul,|d1972-,|eauthor 
245 10 Studying the British crime film /|cby Paul Elliott 
264  1 Leighton Buzzard :|bAuteur,|c2014 
264  4 |c©2014 
300    170 pages :|billustrations ;|c23 cm 
336    text|btxt|2rdacontent 
337    unmediated|bn|2rdamedia 
338    volume|bnc|2rdacarrier 
490 1  Studying British cinema series 
504    Includes bibliographical references (pages 163-167) and 
       index 
505 0  Gangland UK -- The post-millennial gangster film -- The 
       heist -- Bent coppers -- Working girls -- Serial killers -
       - Juvenile delinquency 
520    "Ever since its inception, British cinema has been 
       obsessed with crime and the criminal. One of the first 
       narrative films to be produced in Britain, the 1905 short 
       Rescued by Rover, was a fast paced tale of abduction and 
       kidnap; the first British sound film, Alfred Hitchcock's 
       Blackmail (1929), was concerned with murder and criminal 
       guilt; and the first ever BAFTA for Best British film was 
       awarded to Carol Reed's 1947 work Odd Man Out, a narrative
       surrounding a failed robbery and prison escape. Yet for a 
       genre that is seemingly so important to the British 
       cinematic character, there is little direct theoretical or
       historical work written upon it. The Britain of British 
       cinema is often written about in terms of its national 
       history, its ethnic diversity or its cultural tradition 
       but very rarely in terms of its criminal tendencies and 
       its darker underbelly. Studying the British Crime Film 
       makes the assumption that, in order to know how British 
       cinema truly works, it is necessary to pull back the 
       veneer of the costume piece, the historical drama or the 
       rom-com and take a glimpse at what hides beneath. Studying
       the British Crime Film looks closely at a variety films 
       relating to different aspects of criminal behaviour, 
       including gangland culture from Brighton Rock (1947) to 
       Essex Boys (2000), the heist film from The League of 
       Gentlemen (1960) to Sexy Beast (2000), from the post-war 
       serial killer of 10 Rillington Place (1971) to the seedy 
       underworld of contemporary Britain in London to Brighton 
       (2006). Each chapter not only offers an in-depth reading 
       of the films under discussion but also guides the reader 
       through the processes of studying British cinema in terms 
       of both genre and nationality, giving practical skills as 
       well as theoretical knowledge."--Publisher's website 
650  0 Crime films|zGreat Britain|xHistory and criticism 
650  0 Motion pictures|xSocial aspects|zGreat Britain 
830  0 Studying British cinema series