Don't Look Now

Paul Newland is a lecturer in film studies in the Department of Theatre, Film and Television at Aberystwyth University.

• Introduction: Don’t Look Now? British cinema in the 1970s – Paul Newland Keynote Address, Don’t Look Now? Conference, University of Exeter, July 2007 – Sue Harper Stanley Baker and British Lion: a Cautionary Tale – Robert Shail Staccato and wrenchingly modern: reflections on the 1970s stardom of Glenda Jackson – Melanie Williams Alternative Film Exhibition in the English Regions during the 1970s – Vincent Porter Multiple Voices: The Silent Cry and artists’ moving image in the 1970s – William Fowler On the Margins: Anthony Simmons, The Optimists of Nine Elms and Black Joy – Josie Dolan and Andrew Spicer We know where we’re going, we know where we’re from: Babylon – Paul Newland The Power to Create Catastrophe: The idea of apocalypse in 1970s British cinema – Peter Hutchings ‘The "lack" and how to get it’: reading male anxiety in A Clockwork Orange, Tommy and The Man Who Fell to Earth – Justin Smith Hideous Sexy: The Eroticised Body and Deformity in 1970s British Horror Films  – Peri Bradley Masculinity and deviance in British cinema of the 1970s: Sex, Drugs and Rock ‘n’ Roll in The Wicker Man, Tommy and The Rocky Horror Picture Show – E. Anna Claydon The last studio system: a case for British television films – Dave Rolinson ‘Pre-Sold to Millions’: The Sitcom Films of the 1970s – Adrian Garvey Class, Nostalgia and Newcastle: Contested Space in The Likely Lads – Paul Williams Hovis, Ovaltine, Mackeson’s and the Days of Hope debate – Amy Sargeant ‘What is there to smile at?’ Lindsay Anderson’s O Lucky Man! – John Izod, Karl Magee, Kathryn Mackenzie and Isabelle Gourdin Dead End and Private Roads: The 1970s films of Barney Platts-MillsLandscape in The Ruling Class – Mark Broughton Beneath the Surface: Nicolas Roeg’s Don’t Look Now – Andrew Patch

'The essays in this highly stimulating collection reveal, clearly and persuasively, just how diverse, energetic and imaginative British cinematic creativity was during this rather maligned decade... In shining a bright light into one of the remaining dark corners in British cinema history Don’t Look Now is a welcome and extremely valuable contribution to the field.'