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Richard Farmer

event’ of quite extraordinary prominence and duration, and time and again the trade press 5 6 Cinemas and cinemagoing in wartime Britain, 1939–45 c­ontained reports of attendances fluctuating in response to events as dramatic as the blackout or the blitz, or as prosaic as the changing of the clocks or the seasons. This book will explore the interconnectedness of cinema and society in Britain during the Second World War not only in terms of the impact that the war had on British cinemas and cinemagoing between 1939 and 1945, but also in terms of how the cinema

in Cinemas and cinemagoing in wartime Britain, 1939–45
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Portrayals of the working-class family
Philip Gillett

). 3 Geoff Brown, Launder and Gilliat (London: BFI, 1977), p. 111. 4 Marcia Landy, British Genres: Cinema and Society 1930–1960 (Princeton, NJ: Princeton University Press, 1991), p. 301. 5 Elizabeth Wilson, Women and the Welfare State

in The British working class in postwar film
Goodbye to the working class
Philip Gillett

British: Cinema and Society 1930–1970 (Oxford: Basil Blackwell, 1983), pp. 75–8. 4 Howard Spring, Fame is the Spur (London: Collins, 1940). 5 The Cinema (24 September 1947), p. 19. 6 Roy Boulting, interviewed in Brian McFarlane

in The British working class in postwar film
Who were the criminals?
Philip Gillett

, interviewed in ibid ., p. 15. 13 Richard Winnington, Film Criticism and Caricatures, ed. Paul Rotha (London: Paul Elek, 1975), p. 73; Greene, Brighton Rock, pp. 242–3. 14 Marcia Landy, British Genres: Cinema and Society 1930–1960 (Princeton, NJ: Princeton University

in The British working class in postwar film
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The treatment of the young offender
Philip Gillett

Brian McFarlane, Sixty Voices: Celebrities Recall the Golden Age of British Cinema (London: BFI, 1992), p. 149; Robert Murphy, Realism and Tinsel: Cinema and Society in Britain 1939–49 (London: Routledge, 1992), p. 91. 27 La Bern, Night Darkens the Street, pp. 16

in The British working class in postwar film
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From music hall to celluloid
Philip Gillett

–64. 24 Marcia Landy, British Genres: Cinema and Society 1930–1960 (Princeton, NJ: Princeton University Press, 1991), pp. 356–7. 25 Fisher, Funny Way to Be a Hero , p. 80. 26 Ibid., p. 76. 27 Jeffrey

in The British working class in postwar film
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‘We must love one another or/and die?’
Nigel Mather

be a ‘good’ person and to ‘Look after your mum’, while hoping that ‘everything works out’. Both promise to ‘remember’ each other, even if it is unlikely that they will ever meet again. As words of wisdom, warmth and hope to conclude this study of love, sex and desire in British cinema and society in a transitional and transformative era, they can scarcely – in the last resort – be improved upon.

in Sex and desire in British films of the 2000s
Philip Gillett

Representative of their approaches are Jeffrey Richards, The Age of the Dream Palace: Cinema and Society in Britain 1930–39 (Basingstoke and London: Routledge, 1989); Sue Harper, Picturing the Past: The Rise and Fall of the British Costume Film (London: BFI, 1994). 11 Arthur Marwick, Culture in Britain since 1945 (Oxford: Basil Blackwell

in The British working class in postwar film
Brian Mcfarlane

. 16 News of the World, 24 August 1941. LCC. 17 Reynolds News, 24 August 1941. LCC. 18 Kinematograph Weekly, 1788 (24 July 1941), p. 23. 19 Marcia Landy, British Genres. Cinema and Society

in Lance Comfort
Abstract only
Guy Austin

the more remarkable when one notes that in recent years several previously successful French film directors have been more or less obliged to abandon the cinema, including Léos Carax, Jean-Jacques Beineix and Bertrand Blier.) Chabrol’s forty-year career is in some ways a history of recent French cinema and society: neorealism, the new wave, the trauma of the Algerian War, the political legacy of 1968, the rise of the consumer society

in Claude Chabrol