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H. B. Charlton
Bulletin of the John Rylands Library
Abstract only
H. B. Charlton
Bulletin of the John Rylands Library
Jonathan Rayner

TNWC02 16/11/06 11:27 AM Page 54 2 Post-war British naval films and the service comedy The war films of the 1950s together constitute the assented-to record of the emotions and moral judgments called upon to set in order those disorderly events. Absolutely true to the feelings of the 1950s, sufficiently true to the facts of 1939 to 1945, they now serve as an extraordinarily detailed as well as compact encyclopaedia of these facts and feelings.1 The treatment of World War II in British cinema persisted and even extended in the post-war period. The insistence

in The naval war film
Kathrina Glitre

Genre, cycles and critical traditions 7 Part I Hollywood romantic comedy Clark Gable and Claudette Colbert in It Happened One Night (1934). Courtesy of Columbia Tristar. HRCC01 7 27/4/06, 8:37 AM 8 HRCC01 Hollywood romantic comedy 8 27/4/06, 8:37 AM

in Hollywood romantic comedy States of the union, 1934–65
Gillian Avery
Bulletin of the John Rylands Library
T. B L Webster
Bulletin of the John Rylands Library
T. B L Webster
Bulletin of the John Rylands Library
Bulletin of the John Rylands Library
Bulletin of the John Rylands Library
John Hughes Family Films and Seriality in 1990s Hollywood
Holly Chard

This article explores serial production strategies and textual seriality in Hollywood cinema during the late 1980s and early 1990s. Focusing on John Hughes‘ high concept family comedies, it examines how Hughes exploited the commercial opportunities offered by serial approaches to both production and film narrative. This article first considers why Hughes‘ production set-up enabled him to standardise his movies and respond quickly to audience demand. The analysis then explores how the Home Alone films (1990–97), Dennis the Menace (1993) and Baby‘s Day Out (1994) balanced demands for textual repetition and novelty.

Film Studies