This chapter focuses on some of the overlaps between this anti-realist tradition and British art cinema. It does this through an examination of two small, but artistically significant traditions in British filmmaking, the composed film and the artist’s biopic, and assesses how these forms have been exploited by two key figures in British art cinema: Russell and Peter Greenaway. Attention is paid to Ken Russell’s The Music Lovers, and Peter Greenaway’s Nightwatching, Goltzius and the Pelican Company and Eisenstein in Guanajuato. Before this, however, this chapter briefly examines the influence of Powell and Pressburger on the composed film. ‘Composed film’ was Michael Powell’s adopted term for a work that was substantially or entirely shot to a pre-existing music score. Particular attention is paid to The Red Shoes and Tales of Hoffman.
|Title of host publication||British Art Cinema|
|Subtitle of host publication||Creativity, Experimentation and Innovation|
|Editors||Paul Newland, Brian Hoyle|
|Place of Publication||Manchester|
|Publisher||Manchester University Press|
|Number of pages||25|
|Publication status||Published - 2019|
Hoyle, B. (2019). Twin Traditions: The biopic and the composed film in British art cinema . In P. Newland, & B. Hoyle (Eds.), British Art Cinema: Creativity, Experimentation and Innovation (pp. 353-378). Manchester University Press.