Kirjahaku

The Last Bohemian offers the first extended, critical evaluation of all of Brian Desmond Hurst's films, reappraising the reputation of a director who was born in 1895 in Belfast and died in Belgravia, London, in 1986. Pettitt skillfully weaves together film analyses, biography, and cultural history with the aim of bringing greater attention to Hurst's qualities as a director and exploring his significance within Irish film and British cinema history between the 1930s and the 1960s.The director of Dangerous Moonlight (1941), Theirs Is the Glory (1946), and his best-known Scrooge (1951) made most of his films for British studios but developed an exile's attachment to Ireland. How in the early twenty-first century has Hurst's career been reclaimed and recognized, and by whom? Why in 2012 was Hurst's name given to one of the new Titanic Studios in Belfast? What were his qualities as a filmmaker? To whose national cinema history, if any, does Hurst belong?Richly illustrated with film stills and other visual material from public archives, The Last Bohemian addresses these questions and in doing so makes a significant contribution to British and Irish cinema studies.

The Last Bohemian offers the first extended, critical evaluation of all of Brian Desmond Hurst's films, reappraising the reputation of a director who was born in 1895 in Belfast and died in Belgravia, London, in 1986. Pettitt skillfully weaves together film analyses, biography, and cultural history with the aim of bringing greater attention to Hurst's qualities as a director and exploring his significance within Irish film and British cinema history between the 1930s and the 1960s.The director of Dangerous Moonlight (1941), Theirs Is the Glory (1946), and his best-known Scrooge (1951) made most of his films for British studios but developed an exile's attachment to Ireland. How in the early twenty-first century has Hurst's career been reclaimed and recognized, and by whom? Why in 2012 was Hurst's name given to one of the new Titanic Studios in Belfast? What were his qualities as a filmmaker? To whose national cinema history, if any, does Hurst belong?Richly illustrated with film stills and other visual material from public archives, The Last Bohemian addresses these questions and in doing so makes a significant contribution to British and Irish cinema studies.

Sam Hanna Bell's debut novel (1951), about life in a tight-knit Presbyterian community in turn-of-the-century Northern Ireland, was adapted for the screen by David Rudkin and directed by Thaddeus O'Sullivan in 1990. Both as a novel and as a film, December Bride is a remarkable combination of passion and politics set against a rural backdrop of communal constraint and individual action. Visually and thematically, the film is a timely reinvestigation of Ulster Protestant history and culture, and in particular reclaims a tradition of radical independent thought exemplified by the work of Sam Hanna Bell. Drawing on previously unpublished archival material and new interviews, Lance Pettitt explores the intricate relationship between novel, screenplay and the wider film culture. December Bride is a consummate and provocative challenge to the politics of Irish society, its cinematic representations, and to the very process of film adaptation itself.