Front Cover -- Preliminary Pages -- Contents -- Acknowledgements -- Introduction: Don't Look Now -- Chapter 1: Keynote Lecture, Don't Look Now: British Cinema in the 1970s Conference, University of Exeter, July 2007 -- Section I: Individuals and the Industry -- Chapter 2: Stanley Baker and British Lion: A Cautionary Tale -- Chapter 3: Staccato and Wrenchingly Modern: Reflections on the 1970s Stardom of Glenda Jackson -- Section II: On the Margins of British Cinema -- Chapter 4: Alternative Film Exhibition in the English Regions during the 1970s -- Chapter 5: Multiple Voices: The Silent Cry and Artists' Moving Image in the 1970s -- Chapter 6: On the Margins: Anthony Simmons, The Optimists of Nine Elms and Black Joy -- Chapter 7: We Know Where We're Going, We Know Where We're From: Babylon -- Section III: Anxiety and Alienation, Deviance and Desire -- Chapter 8: The Power to Create Catastrophe: The Idea of Apocalypse in 1970s British Cinema -- Chapter 9: Hideous Sexy: The Eroticized Body and Deformity in 1970s British Horror Films -- Chapter 10: Masculinity and Deviance in British Cinema of the 1970s: Sex, Drugs and Rock 'n' Roll in The Wicker Man, Tommy and The Rocky Horror Picture Show -- Chapter 11: 'The "lack" and How to Get It': Reading Male Anxiety in A Clockwork Orange, Tommy and The Man Who Fell to Earth -- Section IV: British Cinema and Television -- Chapter 12: The Last Studio System: A Case for British Television Films -- Chapter 13: 'Pre-sold to Millions': The Sitcom Films of the 1970s -- Chapter 14: Class, Nostalgia and Newcastle: Contested Space in The Likely Lads -- Chapter 15: Hovis, Ovaltine, Mackeson's and the Days of Hope Debate -- Section V: British Films and British Filmmakers -- Chapter 16: 'What is there to Smile At?' Lindsay Anderson's O Lucky Man!.

Chapter 17: Dead Ends and Private Roads: The 1970s Films of Barney Platts-Mills -- Chapter 18: Landscape Gardens in The Ruling Class -- Chapter 19: Beneath the Surface: Nicolas Roeg's Don't Look Now -- Notes on Contributors -- Index.