Book Description
Provides a fresh perspective on British fantasy film Combines a methodological approach of textual analysis, critical discourse and production histories to expand current knowledge and appreciation of British fantasy film Promotes new avenues for film studies by investigating a comprehensive range of British film titles previously disputed or overlooked in existing academic scholarship Informs a more general understanding which is focused on contemporary fantasy but contributes to a broader, historical assessment of the fantastic within British cinema In the period since 2001, cinema has witnessed a notable influx in fantasy film. Many constitute adaptations from British fantasy literature, often created and produced in the UK, and showcase domestic talent both in front and behind the screen. This includes massive box office hits such as the Harry Potter series (2001 – 2011) through to smaller scale and independent endeavours like Nanny McPhee (2005), MirrorMask (2005) and Franklyn (2008). However, such films have received minimal critical attention as British fantasy films. The reasons for this absence are manifold; leaving many films contested, ignored and omitted from established canons. This book re-addresses prevailing scholarship on the fantasy genre, national film production and representation on screen, providing readers with a revised appraisal of the contemporary film landscape. It delivers a fresh perspective across a broad range of films which all embrace the fantastic within British cinema.
