Women in Iberian filmic culture: a feminist approach to the cinemas of Portugal and Spain

Donovan and Fairport Convention’ (136); a quotation that This Is England ‘seemingly portrays the East Midlands with a coast’ (143) provides revelation unlikely to surprise Lincolnshire folk. Trivially – nevertheless irritatingly – a hare is called a rabbit (191). The brief conclusion states Forrest ‘has consciously avoided discussion of the institutional and production contexts’ (195) – notwithstanding the Traditions in World Cinema rubric (ix). As British cinema mutates, his ongoing project positions him well to track developments and, crucially, their meanings and causes. New Realism, which could have been clearer in half the words, or have explored in depth and scope within the same limitations, indicates what Forrest could do but frustratingly has not achieved.