‘The best of both worlds’
in Picturing home
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Tea-table politics, pastoral images, dream palaces and private visions of home in the 1940s films analysed throughout this book embodied a debt to an interwar culture in which picturing home was a means of conveying modern ideals of social reform, national identity, comfort and citizenship. In the selection of films featured, the recurring trope of crossing from exterior to domestic interior situates the homes onscreen in relation to industrial working-class townscapes, national landscapes, consumer daydreams, and feminine subjectivities: images of domestic life onscreen are constructed through processes of mapping, capturing, transforming and imagining. This conclusion brings together the depictions of domestic life examined throughout the book, exploring their relevance to the study of modernity in mid-twentieth-century Britain and suggesting their significance as nuanced, modern and dynamic portraits of home and society that both promised a return to the past and projected dreams of the future.


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