This book challenges the dominance of narrative theory in film studies by advocating for aesthetic analysis to understand the emotional impact of visual spectacle. Stella Hockenhull examines the painterly dimensions of film, arguing that focusing on formal aspects of imagery, particularly in contemporary British films across social realist, melodrama, and horror genres, allows for a deeper appreciation of cinematic experience. The book demonstrates how the spiritual qualities of landscape and nature can evoke a Neo-Romantic effect, tracing the influence of Romanticism and the Sublime in key British films. This work operates at the intersection of film theory, art theory, and aesthetics, offering a multidimensional understanding of cinema.

This book is positioned as a vital contribution to film studies, offering a counterpoint to the prevailing narrative theories by emphasizing aesthetic analysis. It aims to provide a fuller, multidimensional understanding of cinematic experience by exploring the visual spectacle and emotional responses films can elicit. The work is noted for its interdisciplinary approach, bridging film theory, art theory, and aesthetics. By examining the painterly dimensions and Neo-Romantic effects in contemporary British cinema, it seeks to deepen critical engagement with the medium.