Fades to Black, Slow Motion and Mismatch—Connection and Disconnection in the Editing of James Ivory’s Howards End (1992)
Produced in the heyday of costume dramas and awarded many prizes Howards End stands today as the epitome of Heritage aesthetics. This status has sometimes contributed to a reductive vision of the film as the embodiment of an ‘aesthetics of display,’ in Andrew Higson’s phrase, i.e. as focused mainly...
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| Format: | Article |
| Language: | English |
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Presses Universitaires de la Méditerranée
2020-03-01
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| Series: | Études Britanniques Contemporaines |
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| Online Access: | http://journals.openedition.org/ebc/9021 |