Twin Traditions: The biopic and the composed film in British art cinema

Research output: Chapter in Book/Report/Conference proceedingChapter

Abstract

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.
LanguageEnglish
Title of host publicationBritish Art Cinema
Subtitle of host publicationCreativity, Experimentation and Innovation
EditorsPaul Newland, Brian Hoyle
Place of PublicationManchester
PublisherManchester University Press
Chapter14
Pages353-378
Number of pages25
Publication statusPublished - 2019

Fingerprint

Cinema
British Art
Biopic
Peter Greenaway
Music
Overlap
Lovers
Eisenstein
Artist
Anti-realist
Filmmaking

Cite this

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: Manchester University Press.
Hoyle, Brian. / Twin Traditions : The biopic and the composed film in British art cinema . British Art Cinema: Creativity, Experimentation and Innovation. editor / Paul Newland ; Brian Hoyle. Manchester : Manchester University Press, 2019. pp. 353-378
@inbook{5b434c00db654d538c482caabbbc6ee6,
title = "Twin Traditions: The biopic and the composed film in British art cinema",
abstract = "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.",
author = "Brian Hoyle",
year = "2019",
language = "English",
pages = "353--378",
editor = "Paul Newland and Hoyle, {Brian }",
booktitle = "British Art Cinema",
publisher = "Manchester University Press",

}

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. Manchester University Press, Manchester, pp. 353-378.

Twin Traditions : The biopic and the composed film in British art cinema . / Hoyle, Brian.

British Art Cinema: Creativity, Experimentation and Innovation. ed. / Paul Newland; Brian Hoyle. Manchester : Manchester University Press, 2019. p. 353-378.

Research output: Chapter in Book/Report/Conference proceedingChapter

TY - CHAP

T1 - Twin Traditions

T2 - The biopic and the composed film in British art cinema

AU - Hoyle, Brian

PY - 2019

Y1 - 2019

N2 - 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.

AB - 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.

M3 - Chapter

SP - 353

EP - 378

BT - British Art Cinema

A2 - Newland, Paul

A2 - Hoyle, Brian

PB - Manchester University Press

CY - Manchester

ER -

Hoyle B. Twin Traditions: The biopic and the composed film in British art cinema . In Newland P, Hoyle B, editors, British Art Cinema: Creativity, Experimentation and Innovation. Manchester: Manchester University Press. 2019. p. 353-378