Background
Durgnat, Raymond Eric was born on September 1, 1932 in London. Son of Louis Albert and Yvonne Marie (Colliard) Durgnat.
(Clean black cloth boards with bright gold lettering on sp...)
Clean black cloth boards with bright gold lettering on spine. No bumping or fraying. Binding is tight & square, pages are clean (a few faint spots to top text block edges). INSCRIBED and SIGNED by author on front free endpaper: "For Eleanor with Love and no alienation! - from Ray Durgnat - 1975". No other writing or marks. 320 pgs. Illustrated with photographs. Dustjacket is unchipped, no tears, not price clipped, but is age-toned. Enclosed in new archival quality mylar cover. 9" 5/8x 6" 3/8.
http://www.amazon.com/gp/product/B0026P9B5C/?tag=2022091-20
(Raymond Durgnat's classic study of British films from the...)
Raymond Durgnat's classic study of British films from the 1940s to the 1960s, first published in 1970, remains one of the most important books ever written on British cinema. In his introduction, Kevin Gough-Yates writes: 'Even now, it astounds by its courage and its audacity; if you think you have an 'original' approach to a filmor a director's work and check it against A Mirror for England, you generally discover that Raymond Durgnat had said it already.' Durgnat himself said about the book that 'the main point was arranging a kind of rendezvous between thinking about movies and thinking, not so much about sociology, as about the experiences that people are having all the time.' Durgnat used Mirror to assert the validity of British cinema against its dismissal by the critics of Cahiers du cinéma and Sight and Sound. His analysis takes in classics such as In Which We Serve (1942), A Matter of Life and Death (1946) and The Blue Lamp (1949), alongside 'B' films and popular genres such as Hammer horror. Durgnat makes a cogent and compelling case for the success of British films in reflecting British predicaments, moods and myths, at the same time as providing some disturbing new insights into a national character by whose enigmas and contradictions we continue to be perplexed and fascinated.
http://www.amazon.com/gp/product/1844574539/?tag=2022091-20
(London 1963 Motion Publications. A Motion Monograph. Sq.8...)
London 1963 Motion Publications. A Motion Monograph. Sq.8vo., 90pp. plus monochrome photo illustrations, original printed wraps. VG plus. A scarce and desirable item by a celebrated British film critic.
http://www.amazon.com/gp/product/B0016RWBZI/?tag=2022091-20
( Raymond Durgnat here examines literally hundreds of fil...)
Raymond Durgnat here examines literally hundreds of films-- from Birth of a Nation to those of the 1960's, from Hollywood smashes to 'avant garde' obscurities, from all parts of the world-- in an effort to isolate universals of the language of films and to loft their poetics to an articulate level.Beyond what interest it may possess as a collection of different cinematic topics, this text is offered also as a basis for re-exploring an art-form which seems to pose certain aesthetic problems more insistently than other media have done.In addition to the cross-references among a large number of films, a few are selected for extended analysis. These full-length features include Cocteau's Orphee, Hitchcock's Psycho, Chabrol's Les Cousins, Ray's Johnny Guitar, and Newman's This Island Earth. His succinct synopsis of the running plot functions as an analysis of it; thus, much of the critical insight is in the form of entertaining narrative.The book is divided into four sections. The first is concerned with the union of film style and film content. The second treats the connection between the film as an entertainment and as a picture of reality, suggesting that even films that are unabashedly 'escapist' are really rooted in, and comment on, the inescapable facts of social life. The third section attempts to close the gap between the popular responses and those of 'high culture.' This is not a 'surrender to the mob and to the moguls.'The author's standards are more stringent than those of the permissive 'camp' followers and 'pop' critics. The final section produces further evidence of the existence of cinematic poetry in the commercial movie.
http://www.amazon.com/gp/product/0262540169/?tag=2022091-20
Durgnat, Raymond Eric was born on September 1, 1932 in London. Son of Louis Albert and Yvonne Marie (Colliard) Durgnat.
Master of Arts, Pembroke College, Cambridge University, England, 1957.
Staff writer Associated British Picture Corporation, Elstree, England. Lecturer St. Martins School Art. Visiting professor, lecturer Columbia University, New York City, Dartmouth College, New Hampshire.
University California, Berkeley, San Diego. University Oklahoma; Wright State University. San Francisco State University.
Visiting professor, lecturer University of California at Los Angeles, Los Angeles, Royal College Art. Writer, since 1987
Visiting professor University East London.
( Raymond Durgnat here examines literally hundreds of fil...)
(Raymond Durgnat's classic study of British films from the...)
(Shipped from UK, please allow 10 to 21 business days for ...)
(Clean black cloth boards with bright gold lettering on sp...)
(1965, Dutton Vista paperback, 160 pages, great photos)
(London 1963 Motion Publications. A Motion Monograph. Sq.8...)
Sergeant RAEC, 1952-1954.