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Brian McFarlane

, 1987, p. 15. 9 For example, Sue Harper’s essay ‘Art Direction and Costume Design’, in Sue Aspinall and Robert Murphy (eds), Gainsborough Melodrama, BFI Dossier 18, London: BFI Publishing, 1983, pp. 40–52. 10 Pam Cook, ‘Melodrama and the women’s picture’, in Aspinall and Murphy, p. 23. 11 Robert Murphy, Realism and Tinsel: Cinema and Society in Britain 1939–48, London: Routledge, 1989, p. 50. 12 Duncan Petrie, The British Cinematographer, London: BFI Publishing, 1996, p. 87. 13 K.J. Donnelly, ‘Wicked sounds and magic melodies: Music in 1940s Gainsborough

in Four from the forties
A certain tendency?
B. F. Taylor

characters’ fates and fortunes’ (Lay, British Social Realism, pp. 5–19). Neil Sinyard, Jack Clayton, Manchester and New York, Manchester University Press, 2000, pp. 11–17. Anthony Aldgate and Jeffrey Richards, Best of British: Cinema and Society from 1930 to the Present, London and New York, I.B. Tauris, 1999, p. 186. Jeffrey Richards, ‘Rethinking British Cinema’, in Justine Ashby and Andrew Higson, ed., British Cinema: Past and Present, London and New York, Routledge, 2000, pp. 21–34, p. 21. See John Hill’s Sex, Class and Realism: British Cinema 1956–1963, London, BFI

in The British New Wave
Brett Bowles

. Kenez , Peter ( 1992 ), Soviet Cinema and Society, 1917–1953 , Cambridge, Cambridge University Press. Koos , Cheryl ( 1996 ), ‘Gender, Anti-Individualism, and Nationalism: the Alliance Nationale and the Pronatalist Backlash against the Femme Moderne , 1933–1940 ’, French Historical Studies 19.3: Spring, 699–723 . Lamy , J.-P. ( 1935

in Marcel Pagnol
The wider impact of the South African War
Donal Lowry

–80. 110 A. Aldate and J. Richards, Best of British: Cinema and Society from 1930 to the Present (London, 1999), pp. 79–94; A. Aldate and J. Richards, Britain Can Take It: The British Cinema and the Second World War (London, 1986), pp. 17, 196. 111 R

in The South African War reappraised
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Brian McFarlane and Anthony Slide

Featuring more than 6,500 articles, including over 350 new entries, this fifth edition of The Encyclopedia of British Film is an invaluable reference guide to the British film industry. It is the most authoritative volume yet, stretching from the inception of the industry to the present day, with detailed listings of the producers, directors, actors and studios behind a century or so of great British cinema.

Brian McFarlane's meticulously researched guide is the definitive companion for anyone interested in the world of film. Previous editions have sold many thousands of copies, and this fifth instalment will be an essential work of reference for universities, libraries and enthusiasts of British cinema.

in The Encyclopedia of British Film