Steve Waters examines how the very idea of film has defined him as a playwright and a person in this book. Through the the lens of cinema, it provides a cultural and political snapshot of life in Britain from the 2nd part of the 20th century up to the present day. The films spanning almost a century, starting with The White Hell of Pitz Palu (1929) and moving most recently to Dark Waters (2019), each chapter examines aspects of Waters's journey from his working-class Midlands upbringing to working in professional theatre to living through the Covid epidemic, through the prism of a particular…mehr
Steve Waters examines how the very idea of film has defined him as a playwright and a person in this book. Through the the lens of cinema, it provides a cultural and political snapshot of life in Britain from the 2nd part of the 20th century up to the present day. The films spanning almost a century, starting with The White Hell of Pitz Palu (1929) and moving most recently to Dark Waters (2019), each chapter examines aspects of Waters's journey from his working-class Midlands upbringing to working in professional theatre to living through the Covid epidemic, through the prism of a particular film. From The Wizard of Oz to Code Unknown, from sci-fi to documentary, from queer cinema to world cinema, this honest, comic book offers a view of film as a way of thinking about how we live. In doing so, it illuminates culture and politics in the UK over half a century and provides an intimate insight into drama and writing.
Introduction - Dark Waters (2019, Todd Haynes) Watching film in an age of Covid The Wizard of Oz (1939, Victor Fleming) Working-class cinema-going in the Midlands children and adult film the Western film as an embodiment of maleness Logan's Run (1976, Michael Anderson) Rural England and the appeal of horror and sci-fi rural v city class conflict Nosferatu The Vampyre (1979, Werner Herzog) Grammar school in the 80s uncinematic nature of provincial Britain discovery of art and European film Solaris (1972, Andrei Tarkovsky) Coming of age during Thatcher and punk film and cycling the rise of Channel 4 as a vector for film second cold war Solaris v Apocalypse Now Shoah (1985, Claude Lanzmann) Kibbutz Dalia, Israel Film and internationalism film and the Holocaust travels in the Middle East confirmation bias Vagabond (1985, Agnès Varda) Film and intellectualism at Oxford University feminist and queer film making film Comrades (1986, Bill Douglas) Film, work and radical politics Communist and the city of Bristol theatre and radical film-making John Akomfrah and Julian Isaac The White Hell of Pitz Palu (1929, Arnold Fanck and GW Pabst) Becoming a teacher film history and education falling in love through film Reservoir Dogs (1992, Quentin Tarantino) Studying with playwrights Sarah Kane and David Edgar Reservoir Dogs and Blasted caught between film and theatre influence of David Mamet, Quentin Tarantino and Sarah Kane Winter Light (1963, Ingmar Bergman) Film, marriage and faith Bergman and Bresson film as ritual becoming a theatre director becoming a playwright Code Unknown (2001, Michael Haneke) Film and London residential playwright at Hampstead Theatre writing and multi-culturalism Haneke's pessimism versus 'Cool Britannia' The Wind Will Carry Us (2000, Abbas Kiarostami) After 9/11 film and the War on Terror film and having children writing World music influence of Iranian film An Inconvenient Truth (2006, Davis Guggenheim) Film and ecology climate change activism and writing The Contingency Plan adapting theatre to film Hell or High Water (2016, David Mackenzie) Film and precarity parents' death illness end of cinema growth of populism Afterword - Girlhood (2019, Céline Sciamma) Watching films with my daughter Index
Introduction - Dark Waters (2019, Todd Haynes) Watching film in an age of Covid The Wizard of Oz (1939, Victor Fleming) Working-class cinema-going in the Midlands children and adult film the Western film as an embodiment of maleness Logan's Run (1976, Michael Anderson) Rural England and the appeal of horror and sci-fi rural v city class conflict Nosferatu The Vampyre (1979, Werner Herzog) Grammar school in the 80s uncinematic nature of provincial Britain discovery of art and European film Solaris (1972, Andrei Tarkovsky) Coming of age during Thatcher and punk film and cycling the rise of Channel 4 as a vector for film second cold war Solaris v Apocalypse Now Shoah (1985, Claude Lanzmann) Kibbutz Dalia, Israel Film and internationalism film and the Holocaust travels in the Middle East confirmation bias Vagabond (1985, Agnès Varda) Film and intellectualism at Oxford University feminist and queer film making film Comrades (1986, Bill Douglas) Film, work and radical politics Communist and the city of Bristol theatre and radical film-making John Akomfrah and Julian Isaac The White Hell of Pitz Palu (1929, Arnold Fanck and GW Pabst) Becoming a teacher film history and education falling in love through film Reservoir Dogs (1992, Quentin Tarantino) Studying with playwrights Sarah Kane and David Edgar Reservoir Dogs and Blasted caught between film and theatre influence of David Mamet, Quentin Tarantino and Sarah Kane Winter Light (1963, Ingmar Bergman) Film, marriage and faith Bergman and Bresson film as ritual becoming a theatre director becoming a playwright Code Unknown (2001, Michael Haneke) Film and London residential playwright at Hampstead Theatre writing and multi-culturalism Haneke's pessimism versus 'Cool Britannia' The Wind Will Carry Us (2000, Abbas Kiarostami) After 9/11 film and the War on Terror film and having children writing World music influence of Iranian film An Inconvenient Truth (2006, Davis Guggenheim) Film and ecology climate change activism and writing The Contingency Plan adapting theatre to film Hell or High Water (2016, David Mackenzie) Film and precarity parents' death illness end of cinema growth of populism Afterword - Girlhood (2019, Céline Sciamma) Watching films with my daughter Index
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