Withnail and Us: Cult Films and Film Cults in British Cinema (Cinema and Society)
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Withnail and Us charts the journey of cult in culture through an exploration of British cult films and their fans. It is about our bizarre and enduring fascination with once obscure or shocking movies, from A Clockwork Orange to The Wicker Man. What is it about certain films that provokes such obsessive fan devotion? What impells people to remote locations in search of filmic relics? Why do they gather in groups to re-enact scenes learnt by heart? Is any film worth re-viewing over 100 times? From 1968 and all that, through the cultural by-ways of the 1970s, this book attempts to explain such strange practices, and to trace their origins in the makings of some remarkable films, including Tommy, The Man Who Fell To Earth, Quadrophenia, Withnail & I, Trainspotting and Performance. Prepare to enter the arena of the unwell!
British futurescape. Lindsay Anderson, polemicist of the Free Cinema movement of the 1950s, followed the gritty realism of This Sporting Life (1963) with the surreal experiment If . . . (1968). Even Jean-Luc Godard centred his latest manifesto, One-Plus-One (1968) on a Rolling Stones London recording session. Joseph Losey continued his clinical dissection of British social class with Accident (1967). Meanwhile, Stanley Kubrick, between Dr. Strangelove (1964) and 2001: A Space Odyssey (1968), had.
Feeling’.44 This insight A CLOCKWORK INTRODUCTION ORANGE (1971) (almost accidentally, one fancies) captures what other contemporary critics missed.45 Gordon Gow praised McDowell’s performance of ‘perfect balance . . . extrovert enough to be hateful, introvert enough to be pitiful’, thus missing the point that Alex, for an audience, is actually neither.46 Philip Strick is aware that Kubrick’s use of subjective shots ‘ensures that Alex constantly has our sympathy’, and insists ‘despite the.
This period subsequently appeal to cult fans? To try to answer this, let us return to the nature of performance. Goffman, Interactionism and Performance In his work on performance and interactionism, Erving Goffman provides an analogy which may be useful for understanding the production and consumption of the cult film text. In discussing the way in which social performances are (by mutual acknowledgement of actor and audience) necessarily idealised, or restricted to their summary meaning,.
Erehwesle *** Hello Thanks for the compliment on my name. Being from Scotland I suppose does give the wicker man that extra little bit of interest for me. Apparently my mum lived in Dumfries and saw the actual wicker man being constructed. Ii havent seen the shortened version but I think the small part on the mainland really is important to the film as it does help us to understand Sargent Howie. I am a complete aethiest so I find most religions fascinating and especially liked some of the ideas.
Reproduction is possible without penetration. Thus, Newton’s terrestrial life charts his sexual initiation into the phallic order and as such, mirrors the process of adolescent maturation. In this rite-of-passage journey, Candy Clark’s Mary-Lou performs the whole range of female role-models from mother to lover, whore and wife. She is an evolution of these circumscribed male stereotypes of woman. At their first meeting in the hotel she has to physically carry Newton from the lift (after the.