The poetry of the ordinary: Terence Davies and the social art film

Screen

Volumn 40, Issue 1, 1999, Pages 1-16

  Hunt, Martin ^a  

^a NONE

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Indexed keywords

EID: 63849194152     PISSN: 00369543     EISSN: None     Source Type: Journal    
DOI: 10.1093/screen/40.1.1     Document Type: Review

References (42)

1. Christopher Williams, 'The social art cinema: a moment in the history of British film and television culture', in Christopher Williams (ed.), Cinema: the Beginnings and the Future (London: University of Westminster Press, 1996), pp. 190-200
2. David Bordwell, 'The art cinema as a mode of film practice', Film Criticism, vol. 4, no. 1 (1979), pp. 56-64
3. See also Steve Neale, 'Art cinema as institution', Screen, vol. 22, no. 1 (1981), pp. 11-39
4. Williams, 'The social art cinema', p. 200
5. Linda Hutcheon, A Poetics of Postmodernism: History, Theory, Fiction (London: Routledge, 1988)
6. Geoff Brown, Review of The Long Day Closes, The Times, 21 May 1992 (emphasis mine)
7. The South Bank Show (LWT, 5 April 1992)
8. John Conomos, Review of Distant Voices, Still Lives, Cinema Papers, no. 73 (May 1989), p. 62
9. Jeff Sawtell, Review of Distant Voices, Still Lives, Morning Star, 14 October 1988
10. John Wrathall, 'Picture this', City Limits, no. 367, 13 October 1988, p. 17
11. Armond White, 'Remembrance of songs past', Film Comment, (May/June 1993), p. 12
12. Brian Baxter, 'Location report: Distant Voices, Still Lives', Films and Filming, no. 400 (January 1988), p. 14
13. Paul Duane, Review of The Long Day Closes, Film Ireland, no. 30 (July/August 1992), p. 26
14. Tony Williams, 'Terence Davies: an interview', CineAction! (Summer/Fall 1990), p. 65
15. Derek Malcolm, Review of The Long Day Closes, The Guardian, 13 October 1988
16. See also Christopher Williams, 'After the classic, the classical and ideology: the differences of realism', Screen, vol. 35, no. 3 (1994), pp. 275-92
17. Lukács, The Meaning of Contemporary Realism (London: Merlin Press, 1963)
18. Terence Davies, quoted in Harlan Kennedy, 'Familiar haunts', Film Comment, vol. 24. no. 5 (1988), p. 17
19. Terence Davies, quoted in Williams, 'Terence Davies: an interview', p. 66
20. Kennedy, 'Familiar haunts'
21. Terence Davies, quoted in Gerald Pratley, 'Memories of childhood: Terence Davies' The Long Day Closes', Take 1, vol. 1, no. 1 (1992), p. 14
22. Christopher Hobbs, quoted in Pat Kirkham and Mike O'Shaughnessy, 'Designing desire', Sight and Sound, vol. 2, no. 1 (May 1992), p. 13
23. Thomas Elsaesser, 'Games of love and death, or an Englishman's guide to the galaxy', Monthly Film Bulletin, vol. 55, no. 657 (October 1988), p. 291
24. Raymond Durgnat, Review of The Long Day Closes, Sight and Sound, vol. 2, no. 2 (June 1992), p. 44
25. Philip French, Review of The Long Day Closes, The Observer, 24 May 1992
26. John Caughie. 'Halfway to paradise', Sight and Sound, vol. 2, no. 1 (May 1992), p. 12
27. Geoff Andrew, Letter to Sight and Sound, vol. 2, no. 3 (July 1992), p. 63
28. Nigel Andrew, Review of Distant Voices, Still Lives, Financial Times, 14 October 1988
29. A case can also be made for Davies working within the type of institutional framework that Neale considers to be a prerequisite of art film production. See Neale, 'Art cinema as institution'
30. Terence Davies, A Modest Pageant: Children, Madonna and Child, Death and Transfiguration, Distant Voices, Still Lives, The Long Day Closes - Six Screenplays with an Introduction (London: Faber and Faber, 1992), p. xi
31. Terence Davies, quoted in an interview with David Cavanagh, Empire, no. 77 (November 1995), p. 61
32. Bordwell, 'The art cinema as a mode of film practice', p. 58
33. Hutcheon, A Poetics of Postmodernism, p. xii
34. White, 'Remembrance of songs past', p. 12
35. Susannah Radstone, 'Cinema/memory/history', Screen, vol. 36, no. 1 (1995), p. 35
36. David Wilson, Review of Distant Voices, Still Lives, Sight and Sound, vol. 57, no. 4 (Autumn 1938), p. 282
37. Durgnat, Review of The Long Day Closes
38. Kennedy, Familiar haunts', p. 14
39. See, for example, Andrew Higson, 'Re-presenting the national past: nostalgia and pastiche in the heritage film', in Lester Friedman (ed.), British Cinema and Thatcherism: Fires Were Started (London: UCL Press, 1993), pp. 109-29
40. and Andrew Higson, 'The heritage film and British cinema', in Andrew Higson (ed.), Dissolving Views: Key Writings on British Cinema (London and New York: Cassell, 1996), pp. 232-48
41. Geoff Andrew, 'A problem of gratitude', Time Out, no. 1134, 13 May 1992, p. 22
42. Wrathall, 'Picture this', p. 18 (emphasis mine)