Screening the Hollywood Rebels in 1950s Britain explores the relationship between classic American films about juvenile delinquency and British popular youth culture in the mid-twentieth century. The book examines the censorship, publicity and fandom surrounding such Hollywood films as The Wild One, Blackboard Jungle, Rebel Without a Cause, Rock Around the Clock and Jailhouse Rock alongside such British films as The Blue Lamp, Spare the Rod and Serious Charge. Intersecting with star studies and social and cultural history, this is the first book to re-vision the stardom surrounding three extraordinarily influential Hollywood stars: Marlon Brando, James Dean and Elvis Presley. By looking specifically at the meanings of these American stars to British fans, this analysis provides a logical and sustained narrative that explains how and why these Hollywood images fed into, and disrupted, British cultural life. Screening the Hollywood Rebels in 1950s Britain is based upon a wide range of sources including censorship records, both mainstream and trade newspapers and periodicals, archival accounts and memoirs, as well as the films themselves. The book is a timely intervention of film culture and focuses on key questions about screen violence and censorship, masculinity and transnational stardom, method acting and performance, Americanisation and popular post-war British culture. The book is essential reading for researchers, academics and students of film and social and cultural history, alongside general readers interested in the links between the media and popular youth culture in the 1950s.
This chapter examines Irving’s 1824 story The Adventure of the German Student alongside his two earlier tales,The Legend of Sleepy Hollow and Rip Van Winkle, focusing on Irving’s radical rethinking of the historical tale as a site of ghostly returns. The presence of death and ghostly figures at the heart of foundational historical moments makes the telling and retelling of the historical tale a fraught endeavour. Irving’s seemingly harmless ‘ghost stories’ are in effect radical reinventions of ‘History’ as a constant problem to be grappled with in the here and now. In The Adventure of the German Student, the figure of the guillotine offers a prime symbol for this deathly presence at the heart of the historical event, casting it as always already horrific and showcasing History’s deadly and beheading forces at work on the individual and the collective alike.
In “The Wonderfull Discoverie,” Thomas Potts explains that the accused were involved in a dark conspiracy, and had all at some time made pacts with the Devil. These were relatively new, imported ideas, imposed upon the evidence by the prosecution. This chapter confirms his skeptical approach to the charge of organized Satanism, casting the net beyond Pendle and 1612 and coming up with evidence of nearly a hundred other cases of witchcraft and magic from the records of the lower courts, the Lancashire Quarter Sessions. Here, magic is accepted as a familiar part of life, with witchcraft merging into the activities of village healers and cunning folk, and with the counter-magic used by ordinary people. The fact that they used spells and charms based on garbled versions of old Catholic prayers shows that the witches and their clients remained untouched by Puritan campaigns of reformation, carrying down the generations elements of the old popular religious culture of Catholic Lancashire.
The first collection of its kind, Chartist Drama makes available four plays written or performed by members of the Chartist movement of the 1840s. Emerging from the lively counter-culture of this protest campaign for democratic rights, these plays challenged cultural as well as political hierarchies by adapting such recognisable genres as melodrama, history plays, and tragedy for performance in radically new settings. A communal, public, and embodied art form, drama was linked for the Chartists with other kinds of political performance: the oratory of the mass platform, festival-like outdoor meetings, and the elaborate street theatre of protest marches. Plays that Chartists wrote or staged advanced new interpretations of British history and criticised aspects of the contemporary world. And Chartist drama intervened in fierce strategic arguments within the movement. Most notably, poet-activist John Watkins’s John Frost, which dramatises the gripping events of the Newport rising of 1839, in which twenty-two Chartists lost their lives, defends the rebellion and the Chartist recourse to violence as a means for the movement to achieve its aims. The volume’s appendices document over one hundred Chartist dramatic performances, staged by activists in local Chartist associations or at professional benefits at some of London’s largest working-class theatres. Gregory Vargo’s introduction and notes elucidate the previously unexplored world of Chartist dramatic culture, a context that promises to reshape what we know about early Victorian popular politics and theatre.
There is no soundtrack is a specific yet expansive study of sound tactics deployed in experimental media art today. It analyses how audio and visual elements interact and produce meaning, drawing from works by contemporary media artists ranging from Chantal Akerman, to Nam June Paik, to Tanya Tagaq. It then links these analyses to discussions on silence, voice, noise, listening, the soundscape, and other key ideas in sound studies. In making these connections, the book argues that experimental media art – avant-garde film, video art, performance, installation, and hybrid forms – produces radical and new audio-visual relationships that challenge and destabilize the visually-dominated fields of art history, contemporary art criticism, cinema and media studies, and cultural studies as well as the larger area of the human sciences. This book directly addresses what sound studies scholar Jonathan Sterne calls ‘visual hegemony’. It joins a growing body of interdisciplinary scholarship that is collectively sonifying the study of culture while defying the lack of diversity within the field by focusing on practitioners from transnational and diverse backgrounds. Therefore, the media artists discussed in this book are of interest to scholars and students who are exploring aurality in related disciplines including gender and feminist studies, queer studies, ethnic studies, postcolonial studies, urban studies, environmental analysis, and architecture. As such, There Is No Soundtrack makes meaningful connections between previously disconnected bodies of scholarship to build new, more complex and reverberating frameworks for the study of art, media, and sound.
Victorian medical men could suffer numerous setbacks on their individual paths to professionalisation, and Thomas Elkanah Hoyle's career offers a telling exemplar. This book addresses a range of the financial, professional, and personal challenges that faced and sometimes defeated the aspiring medical men of England and Wales. Spanning the decades 1780-1890, from the publication of the first medical directory to the second Medical Registration Act, it considers their careers in England and Wales, and in the Indian Medical Service. The book questions the existing picture of broad and rising medical prosperity across the nineteenth century to consider the men who did not keep up with professionalising trends. Financial difficulty was widespread in medical practice, and while there are only a few who underwent bankruptcy or insolvency identified among medical suicides, the fear of financial failure could prove a powerful motive for self-destruction. The book unpicks the life stories of men such as Henry Edwards, who could not sustain a professional persona of disinterested expertise. In doing so it uncovers the trials of the medical marketplace and the pressures of medical masculinity. The book also considers charges against practitioners that entailed their neglect, incompetence or questionable practice which occasioned a threat to patients' lives. The occurrence and reporting of violent crime by medical men, specifically serious sexual assault and murder is also discussed. A tiny proportion of medical practitioners also experienced life as a patient in an asylum.
This book analyses Anna of Denmark’s material and visual patronage at the Stuart
courts, examining her engagement with a wide array of expressive media including
architecture, garden design, painting, music, dress, and jewellery. Encompassing
Anna’s time in Denmark, England, and Scotland, it establishes patterns of
interest and influence in her agency, while furthering our knowledge of
Baltic-British transfer in the early modern period. Substantial archival work
has facilitated a formative re-conceptualisation of James and Anna’s
relationship, extended our knowledge of the constituents of consortship in the
period, and has uncovered evidence to challenge the view that Anna followed the
cultural accomplishments of her son, Prince Henry. This book reclaims Anna of
Denmark as the influential and culturally active royal woman that her
contemporaries knew. Combining politics, culture, and religion across the courts
of Denmark, Scotland, and England, it enriches our understanding of royal
women’s roles in early modern patriarchal societies and their impact on the
development of cultural modes and fashions. This book will be of interest to
upper level undergraduate and postgraduate students taking courses on early
modern Europe in the disciplines of Art and Architectural History, English
Literature, Theatre Studies, History, and Gender Studies. It will also attract a
wide range of academics working on early modern material and visual culture, and
female patronage, while members of the public who enjoy the history of courts
and the British royals will also find it distinctively appealing.
This book recounts the little-known history of the mixed-race children born to
black American servicemen and white British women during the Second World War.
Of the three million American soldiers stationed in Britain from 1942 to 1945,
about 8 per cent (240,000) were African-American; the latter’s relationships
with British women resulted in the birth of an estimated 2,000 babies. The
African-American press named these children ‘brown babies’; the British called
them ‘half-castes’. Black GIs, in this segregated army, were forbidden to marry
their white girlfriends. Up to half of the mothers of these babies, faced with
the stigma of illegitimacy and a mixed-race child, gave their children up for
adoption. The outcome for these children tended to be long-term residency in
children’s homes, sometimes followed by fostering and occasionally adoption, but
adoption societies frequently would not take on ‘coloured’ children, who were
thought to be ‘too hard to place’. There has been minimal study of these
children and the difficulties they faced, such as racism in a (then) very white
Britain, lack of family or a clear identity. Accessibly written and illustrated
with numerous photographs, this book presents the stories of over forty of these
children. While some of the accounts of early childhood are heart-breaking,
there are also many uplifting narratives of finding American fathers and gaining
a sense of self and of heritage.
Responding to the resurgence of verbatim theatre that emerged in Britain, Australia, the United States and other parts of the world in the early 1990s, this book offers one of the first sustained, critical engagements with contemporary verbatim, documentary and testimonial dramaturgies. Offering a new reading of the history of the documentary and verbatim theatre form, the book relocates verbatim and testimonial theatre away from discourses of the real and representations of reality and instead argues that these dramaturgical approaches are better understood as engagements with forms of truth-telling and witnessing. Examining a range of verbatim and testimonial plays from different parts of the world, the book develops new ways of understanding the performance of testimony and considers how dramaturgical theatre can bear witness to real events and individual and communal injustice through the re-enactment of personal testimony. Through its interrogation of different dramaturgical engagements with acts of witnessing, the book identifies certain forms of testimonial theatre that move beyond psychoanalytical accounts of trauma and reimagine testimony and witnessing as part of a decolonised project that looks beyond event-based trauma, addressing instead the experience of suffering wrought by racism and other forms of social injustice.
Reconstructing modernity assesses the character of approaches to rebuilding British cities during the decades after the Second World War. It explores the strategies of spatial governance that sought to restructure society and looks at the cast of characters who shaped these processes. It challenges traditional views of urban modernism as moderate and humanist, shedding new light on the importance of the immediate post-war for the trajectory of urban renewal in the twentieth century. The book shows how local corporations and town planners in Manchester and Hull attempted to create order and functionality through the remaking of their decrepit Victorian cities. It looks at the motivations of national and local governments in the post-war rebuilding process and explores why and how they attempted the schemes they did. What emerges is a picture of local corporations, planners and city engineers as radical reshapers of the urban environment, not through the production of grand examples of architectural modernism, but in mundane attempts to zone cities, produce greener housing estates, control advertising or regulate air quality. Their ambition to control and shape the space of their cities was an attempt to produce urban environments that might be both more orderly and functional, but also held the potential to shape society.