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