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.
Analysing historical and contemporary examples, this book offers a thematically-informed synthesis of influential research on Irish audio-visual culture.
Thousands of religions have adherents today, and countless more have existed throughout history. What accounts for this astonishing diversity? This extraordinarily ambitious and comprehensive book demonstrates how evolutionary systematics and philosophy can yield new insight into the development of organized religion. Lance Grande—a leading evolutionary systematist—examines the growth and diversification of hundreds of religions over time, highlighting their historical interrelationships. Combining evolutionary theory with a wealth of cultural records, he explores the formation, extinction, and diversification of different world religions, including the many branches of Asian cyclicism, polytheism, and monotheism. Grande deploys an illuminating graphic system of evolutionary trees to illustrate historical interrelationships among the world’s major religious traditions, rejecting colonialist and hierarchical “ladder of progress” views of evolution. Extensive and informative illustrations clearly and vividly indicate complex historical developments and help readers grasp the breadth of interconnections across eras and cultures. The Evolution of Religions marshals compelling evidence, starting far back in time, that all major belief systems are related, despite the many conflicts that have taken place among them. By emphasizing these broad historical interconnections, this book promotes the need for greater tolerance and deeper, unbiased understanding of cultural diversity. Such traits may be necessary for the future survival of humanity.
Analysing historical and contemporary examples, this book offers a thematically-informed synthesis of influential research on Irish audio-visual culture.
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.
This book maps a new cultural history that explores the media and popular culture of late-twentieth century Ireland and asks: How are modernity, popular culture and the media related in Ireland in ways that disjunctively connect to dominant forms of Anglo-American culture? How can we engage in the interpretation of symbolic forms across a range of contemporary, mediated and popular cultural activities? Does an analysis of the forms and activities within this mediascape offer any significant revision of existing narratives of Ireland’s cultural development? Its four-part structure focuses on chapter-length case studies of selected print, electronic, performative and cinematic media, examining how popular forms and processes within the media have acted as sites where particular social and cultural conformities were defined and maintained at different stages in the contemporary history of Ireland. It demonstrates how the unstable nature of media and popular cultural forms also acted as harbingers of dissent and expressions of difference at particular moments and locations. Based on an innovative combination of audio-visual and print archive research, textual analysis, up to date secondary critical sources and selected new interview material, this study is illustrated with stills and relevant statistics to provide the reader with a stimulating critical study of Ireland’s changing mediascape.
This book maps a new cultural history that explores the media and popular culture of late-twentieth century Ireland and asks: How are modernity, popular culture and the media related in Ireland in ways that disjunctively connect to dominant forms of Anglo-American culture? How can we engage in the interpretation of symbolic forms across a range of contemporary, mediated and popular cultural activities? Does an analysis of the forms and activities within this mediascape offer any significant revision of existing narratives of Ireland’s cultural development? Its four-part structure focuses on chapter-length case studies of selected print, electronic, performative and cinematic media, examining how popular forms and processes within the media have acted as sites where particular social and cultural conformities were defined and maintained at different stages in the contemporary history of Ireland. It demonstrates how the unstable nature of media and popular cultural forms also acted as harbingers of dissent and expressions of difference at particular moments and locations. Based on an innovative combination of audio-visual and print archive research, textual analysis, up to date secondary critical sources and selected new interview material, this study is illustrated with stills and relevant statistics to provide the reader with a stimulating critical study of Ireland’s changing mediascape.
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