By Jim Leach
Demonstrating the richness and diversity of a countrywide cinema that has frequently struggled to outline itself among the paradigms of Hollywood well known movie and eu paintings cinema, this research presents complete insurance of British cinema generally in addition to serious discussions of particular films--useful for screenings. every one bankruptcy covers a selected subject and comprises distinct descriptions of key motion pictures consultant of alternative old classes.
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Extra resources for British Film (National Film Traditions)
At first, his ignorance of a curvaceous icon of popular culture seems to confirm the suspicion that he is a "highbrow," which might also explain why he knows German (if he is not a spy). Appearances prove to be deceptive, but this episode illustrates the film's insistence on the popular and inclusive basis of its sense of the national character. Even the major's upperclass background does not prevent him from sharing the jokes and activities of the other prisoners, and the film suggests that the ability to accommodate change is the product of popular cultural traditions that resist dogma and pretense.
The filmmakers had to balance the claim of realism to show things as they are with the reformer's desire to show how they could be, and the result is that the films often fall into the propagandist mode of conflating the two. In addition, the aesthetic demands of realism were tangled up with the moral sense in which to "be realistic" is to accept the limits of the present situation, an outlook often associated with more conservative views of the national character. These tensions were eventually subsumed into the debate within the movement between filmmakers who stressed the aesthetics of realism and those who were more concerned with the movement's social purpose.
His accent is explained "realistically" because he lived in London as a child when his father worked at the Czech embassy, but the effect is not unlike that in an earlier Ealing war film, Went the Day Well? (Alberto Cavalcanti, 1942), in which the German soldiers in British uniforms who invade an English village are played by British actors. 21 Both films stress the fictiveness of national identity The National Health: Great Britain/Deep England • 21 Figure 5. "It was as if you were offering me another world": At the end of The Captive Heart, Hasek informs Celia (Rachel Kempson) that her husband is dead and that it was he who wrote the letters from the camp.