Jump to ContentJump to Main Navigation
British Rural Landscapes on Film$
Users without a subscription are not able to see the full content.

Paul Newland

Print publication date: 2016

Print ISBN-13: 9780719091575

Published to Manchester Scholarship Online: January 2017

DOI: 10.7228/manchester/9780719091575.001.0001

Show Summary Details
Page of

PRINTED FROM MANCHESTER SCHOLARSHIP ONLINE (www.manchester.universitypressscholarship.com). (c) Copyright Manchester University Press, 2017. All Rights Reserved. Under the terms of the licence agreement, an individual user may print out a PDF of a single chapter of a monograph in MSO for personal use (for details see http://www.manchester.universitypressscholarship.com/page/privacy-policy).date: 24 November 2017

The figure (and disfigurement) in the landscape: The Go-Between’s picturesque

The figure (and disfigurement) in the landscape: The Go-Between’s picturesque

Chapter:
(p.86) 5 The figure (and disfigurement) in the landscape: The Go-Between’s picturesque
Source:
British Rural Landscapes on Film
Author(s):

Mark Broughton

Publisher:
Manchester University Press
DOI:10.7228/manchester/9780719091575.003.0006

The Go-Between (Joseph Losey, 1971) emphasises connections between the body and the country estate. These links are brutal: the estate’s grounds have been landscaped and its outlying fields are cultivated, but they in turn seem to affect a figure in the landscape. The protagonist Leo emerges as a new, human incarnation of the genius loci of the picturesque tradition: he performs within the landscape, while he himself is branded by it. Attempting to make sense of how he has been traumatised, Leo struggles with the aesthetic mystification that cloaks the estate’s power relations. In order to contextualise The Go-Between’s complex landscaping, this chapter combines close analysis with cross-disciplinary landscape history. It traces the film’s roots from the emergence of a new discourse about the picturesque in the 1920s, through the psychogeography of L.P. Hartley’s original novel, to Losey’s pioneering approach to filming a country estate for The Gypsy and the Gentleman (1958). It considers how this approach was developed for The Go-Between, which set a precedent for the representation of estates on screen. The chapter ultimately points to parallels between The Go-Between and the revisionist landscape historiography that rose to prominence during the 1970s.

Keywords:   The Go-Between, Joseph Losey, L.P. Hartley, Country-estate cinema, Adaptation, Picturesque, Genius loci, British, Rural, Landscape, Norfolk

Manchester Scholarship Online requires a subscription or purchase to access the full text of books within the service. Public users can however freely search the site and view the abstracts and keywords for each book and chapter.

Please, subscribe or login to access full text content.

If you think you should have access to this title, please contact your librarian.

To troubleshoot, please check our FAQs, and if you can't find the answer there, please contact us.