Lindsay Anderson: Britishness and national cinemas
| dc.contributor.author | Gourdin-Sangouard, Isabelle | en |
| dc.date.accessioned | 2012-08-02T14:50:16Z | |
| dc.date.available | 2012-08-02T14:50:16Z | |
| dc.date.issued | 2011-06-01 | en |
| dc.description.abstract | This article will explore three key stages in Lindsay Anderson’s career that illustrate the complex relationship between the director’s negotiation of his own national background and the imposition of a national identity in the critical reception of his work. First, I will look briefly at Anderson’s early directorial career as a documentary filmmaker: by using references to the Free Cinema movement and Thursday’s Children (1953), I will show that, in both instances, the question of artistic impact and critical reception took on a transnational dimension. I will then discuss the production of a documentary short in Poland, which Anderson filmed at the request of the Documentary Studio in Warsaw in 1967, and which constitutes the director’s first experience of working in a foreign film industry. Finally, I will discuss Britannia Hospital (1982), the last feature film that Anderson made in Britain. Throughout the paper, I will also use material from the Lindsay Anderson Archive held at Stirling University. | en |
| dc.description.status | Peer reviewed | en |
| dc.description.version | Published Version | en |
| dc.format.mimetype | application/pdf | en |
| dc.identifier.citation | Gourdin-Sangouard, I. (2011) 'Lindsay Anderson: Britishness and national cinemas', Alphaville: Journal of Film and Screen Media, 1 (Summer 2011). https://doi.org/10.33178/alpha.1.04 | en |
| dc.identifier.doi | 10.33178/alpha.1.04 | |
| dc.identifier.endpage | 22 | en |
| dc.identifier.issn | 2009-4078 | |
| dc.identifier.issn | 2009-4078 | en |
| dc.identifier.issued | 1 | en |
| dc.identifier.journalabbrev | Alphaville | en |
| dc.identifier.journaltitle | Alphaville: Journal of Film and Screen Media | en |
| dc.identifier.startpage | 1 | en |
| dc.identifier.uri | https://hdl.handle.net/10468/658 | |
| dc.language.iso | en | en |
| dc.publisher | Film and Screen Media, University College Cork | en |
| dc.relation.ispartof | Alphaville: Journal of Film and Screen Media | en |
| dc.rights | © 2011, the Author(s). This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. | en |
| dc.rights.uri | https://creativecommons.org/licenses/by-nc-nd/4.0/ | |
| dc.subject | Lindsay Anderson | en |
| dc.subject | British film | en |
| dc.subject | National identity | en |
| dc.subject | National cinema | en |
| dc.subject | Transnational artist | en |
| dc.subject | Documentary film | en |
| dc.title | Lindsay Anderson: Britishness and national cinemas | en |
| dc.type | Article (peer-reviewed) | en |
