Although Joseph Losey was ambivalent about how to represent an active class consciousness, as he focused exclusively on the foibles of the bourgeoisie through the representation of hermetic upper- and middle-class milieu, this limited focus starts to expand later. Losey introduces some form of class analysis into each of his next four films, Time Without Pity, The Gypsy and the Gentleman, Blind Date and The Criminal, his first English features released under his own name. Each represents an initial stab at exploring the complex codes and mores of the British class system, a project that will reach full fruition in the Harold Pinter-scripted films of the 1960s. Usually in Losey, the victims of impulse resort to an over-reliance on the structure of segmented time as a security blanket against the annihilating effects of non-linear duration. The irony is that in Time Without Pity the situation is reversed.
As moving pictures became a reality during 1895-6, Europe's crowned heads discovered the new medium and what it could do for their image. The earliest royal films made in Britain showed Victoria's extended family with a new informality, and were eagerly viewed by their subjects. However, it was the staging of Victoria's 1897 Diamond Jubilee as a vast procession through London, filmed by 18 companies whose products were distributed throughout Britain and the distant territories of the Empire, that showed how powerfully film could project the monarchy in a new way - immediate, accessible and impressive. Victoria's successors, her sons Edward and George, came to the throne having grasped the potential of film. Meanwhile, two of her relations Kaiser Wilhelm and Tsar Nicholas, were also the subjects of early filming Nicholas's coronation in 1896 was the first such event to be recorded on film, but a record of the disaster that followed, when thousands were killed in a crowd panic, was quickly suppressed. Nicholas would remain suspicious of film as a mass medium, while enjoying it as a private family record, until he gave permission for a film to celebrate the tercentenary of the Romanov dynasty in 1913 - the same year that a full-scale acted tribute to Victoria, Sixty Years a Queen, appeared.