The contemporary study of film is dominated by narrative theory yet films include scenes and images which do not perform a narrative task but nevertheless provoke an emotional response. Stella Hockenhull looks at the painterly dimensions inherent in the medium of film, arguing that an aesthetic analysis enables a fuller appreciation of the visual 'spectacle' of cinema. In a reading of the formal aspects in film imagery in contemporary British films spanning social realist, melodrama and horror genres, Hockenhull demonstrates how the spiritual aspects of landscape and nature mobilize a Neo-Romantic effect. She traces the influence of Romanticism and notions of the Sublime in key British films including 'Sweet Sixteen' , 'The Queen' , 'Ratcatcher' , 'Eden Lake' , '28 Days Later' , 'My Summer of Love' and 'The Last Great Wilderness' . Operating at the intersection between film theory, art theory and aesthetics, this is a vital contribution which enables a fuller, multidimensional understanding of cinematic experience.
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