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- W2045207989 abstract "The centenary of Michael Powell's birth in 1905 has been marked by a number of books relating to his work, his collaboration with the exiled Emeric Pressburger (born in Hungary in 1902) and individual films. Critically neglected following the sensationalism that surrounded Peeping Tom (1960), Powell's reputation was restored through some pioneering work by Ian Christie in the 1970s and 1980s and by expressions of indebtedness by filmmakers, including Martin Scorsese. The publication of Powell's two-volume autobiography A Life In Movies and Million-Dollar Movie provided rich, if erratic, material for the restoration of his critical standing.1 Andrew Moor is in little doubt about the continuing fascination and relevance of the films of Powell and Pressburger. For him, as he announces in his introduction to Powell and Pressburger: a Cinema of Magic Spaces, the questions their films pose are those we more commonly associate with postmodernism, postcolonial studies and with cultural geography. How, he asks, do cinematic ‘representations of journeys, border crossings, and other geographical shifts relate to, or tell us anything about, more interior, psychological “journeys” and changes in identity?’ (p. 1). Moor's sustained and coherent investigation of the films, starting with The Spy In Black (1939) and ending with The Tales Of Hoffmann (1951), meaningfully explores the central importance of the construction of ‘magic spaces’ within an aesthetic which is often seen to sit uncomfortably within prevailing notions of British cinematic realism. Though insisting on the stylistic variety of their films, Moor argues that what characterizes the partnership's output was not just their concern to experiment, but to produce films that were thematically complex. As Ian Christie, John Ellis and others before him have insisted, the result has been to place their films in an uneasy, oblique relationship with what is often regarded as British national cinema. Yet, for Moor, much of the interest and significance of Powell and Pressburger lies precisely in their ability to ‘perturb the apparent tidiness’ (p. 12) of British national cinema through what he concludes is their ‘particular line of romantic international nationalism’ (p. 228), especially evident in the films of the 1940s." @default.
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- W2045207989 date "2006-01-01" @default.
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- W2045207989 title "Powell and Pressburger: a Cinema of Magic Spaces * The Cinema of Michael Powell: International Perspectives on an English Film-Maker * Black Narcissus * The Red Shoes" @default.
- W2045207989 doi "https://doi.org/10.1093/screen/hjl041" @default.
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