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Ulrika Maude

, they are fragmented and re-ordered, which seems to cast further doubt over the implied solace or redemption afforded by the music (Laws, 2013 , 148, 134). In this way, as Catherine Laws has argued, ‘the spirit of German Romanticism’ that Beckett so clearly draws on in Ghost Trio is interrogated, deconstructed, and cast under radical doubt (134). This apparent disparity between subject matter and representational strategy – figured in the eerie voice or tone, and in the implied solace and simultaneous fragmentation of Beethoven's piano trio – is

in Beckett and media
Robert Murphy

romanticism, politics, class, masculinity, sexuality and social problems. Durgnat writes appreciatively about Hammer and Gainsborough, purveyors of despised melodramas and horror films; he takes Powell and Pressburger seriously and gives sympathetic consideration to directors like Val Guest, Roy Baker, J. Lee Thompson, Basil Dearden, Roy and John Boulting and John Guillermin who were regarded as irredeemably

in British cinema of the 1950s
Open Access (free)
Thomas Dumm

implicit embrace of Rousseau that does it for me. I have never trusted Rousseau as a democrat, especially because his romantic vision is so blind to the damage he does to others in pursuit of it. Instead, I think your more measured American romanticism is tied to a democratic vision that, should you ever choose to pursue it more thoroughly, and, dare I say it, with more self-awareness, would make

in Cinema, democracy and perfectionism
Open Access (free)
Robert Hamer after Ealing
Philip Kemp

wistful francophilia and his conviction that life had dealt him a rotten hand. It may be that the script is better than any film of it could have been at the time. Today Hamer’s doom-laden romanticism might come through unscathed, but in 1950s Britain some crass happy ending would surely have been imposed. The script is adapted from a French play, L’Âme en peine by Jean-Jacques Bernard. At its heart

in British cinema of the 1950s
James Downs

‘The Life Story of Anton Walbrook’, Picture Show & Film Pictorial (28 August 1943), p. 11. 31 This understanding of music was a tenet of German Romanticism. See Wilhelm Wackenroder, ‘The marvels of the musical art’, in M. H. Schubert (ed.), Wackenroder’s Victoria the Great , Gwatkin Confessions and Fantasies

in The British monarchy on screen
Basil Glynn

that they did, there is also no evidence that they did not. ‘There’s plenty of circumstantial evidence that she did sleep with Dudley’, he claims, and justifies his decision to have her sleep with him in the film to be little more than ‘a small nudge in the direction of romanticism’. 79 In The Tudors , a similar logic towards received history presides. For example, in the drama Cardinal Wolsey takes

in The British monarchy on screen