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| | Historical Journal of Film, Radio and Television: Liberal Directions: Basil Dearden and Postwar British Film Culture - ... (Site not responding. Last check: 2007-10-19) |
 | | Dearden's films, however, are positioned very uncomfortably within these oppositional pairs which helps to explain the critical tendency to pigeonhole his oeuvre as 'consensus' and to level his generic preferences to 'social drama'. |
 | | Victim (Allied Film Makers, 1961), on one hand a liberalist and arguably establishmentarian plea for tolerance of homosexuality, is, on the other hands as Andy Medhurst once suggested, a text that can more radically be read as activating and promoting homosexual desire, again within the visual and narrative economies of melodrama. |
 | | In Ealing's classic portmanteau horror film Dead of Night (Ealing, 1945), his contributions develop their uncanny atmosphere not from historical displacement or traditional Gothic devices and motifs (as in the film's more celebrated episodes 'The Haunted Mirror' and 'The Ventriloquist's Dummy'), but out of familiar, middle-class settings and the monotony of ordinary, everyday life. |
| www.findarticles.com /p/articles/mi_m2584/is_4_18/ai_53747551 (1106 words) |
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