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

    Research output: Chapter in Book/Report/Conference proceedingChapter

    51 Downloads (Pure)


    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.
    Original languageEnglish
    Title of host publicationBritish Art Cinema
    Subtitle of host publicationCreativity, Experimentation and Innovation
    EditorsPaul Newland, Brian Hoyle
    Place of PublicationManchester
    PublisherManchester University Press
    Number of pages25
    ISBN (Print)9781526100870
    Publication statusPublished - Jul 2019


    Dive into the research topics of 'Twin Traditions: The biopic and the composed film in British art cinema'. Together they form a unique fingerprint.

    Cite this