Marcia Landy, British Genres: CinemaandSociety, 1930–1960, Princeton: Princeton
University Press, 1991, p. 272.
27 Monthly Film Bulletin, June 1947, p. 78.
28 Lionel Collier, ‘Shop for your films’, Picturegoer, 2 August 1947, p.12.
29 Kinematograph Weekly, 19 June 1947, p. 22.
30 Robert Murphy, Realism and Tinsel: CinemaandSociety in Britain 1939–48,
London: Routledge, 1989, p. 182.
31 Quoted in Andrew Spicer, Sydney Box, Manchester: Manchester University Press,
2006, p. 210.
32 Sydney Box, ‘Puzzle – find the director’, in Peter Noble (ed.), The British
weaving which enables the factory to reopen at the close of the film, making
the intervening period of unemployment depicted in the film seem as if it
were merely an extended holiday for the workers in which they were able to
enjoy a state of freedom and mobility normally denied to them.
Marcia Landy in British Genres: CinemaandSociety
1930–1960 (1991), however, warned against too easily assuming that
1930s audiences would
1944, in Film Criticism
and Caricatures: 1943–53, London: Paul Elek, 1975, p. 46.
42 Robert Murphy, Realism and Tinsel: CinemaandSociety in Britain 1939–48,
London: Routledge, 1989, p. 50.
43 Lockwood, pp. 108–9.
4 4 Robert Murphy, ‘Gainsborough after Balcon’, in Cook (ed.), Gainsborough Pictures,
45 Arliss in Picturegoer, 10 November 1945, p. 7.
46 Lockwood, p. 108.
47 Barbara Klinger, Melodrama and Meaning, Bloomington and Indianapolis: Indiana
University Press, 199, p. 70.
48 Lockwood, p. 109.
49 Raymond Durgnat, Films and Feelings, London
Rachael Low, Film Making in 1930s Britain, London: George Allen & Unwin,
1985, p. 142.
4 Peter Graham Scott, British Television: An Insider’s History, Jefferson, NC:
McFarland & Co., 2000, p. 12.
5 Petrie, British Cinematographer, p. 113.
6 Robert Murphy, Realism and Tinsel: CinemaandSociety in Britain 1939–48,
London: Routledge, 1989, p. 171.
7 Picturegoer, 11 November 1944, p. 5.
8 Lionel Collier, ‘Shop for your films’, Picturegoer, 26 May 1947, p. 12.
9 James Mason, Before I Forget, London: Hamish Hamilton, 1981, p. 143.
10 Monthly Film Bulletin, April 1945
: University of Chicago Press, 2006); Victor Fan, Cinema Approaching Reality: Locating Chinese Film Theory (St Paul: University of Minnesota Press, 2015); Bao Weihong, Fiery Cinema: The Emergence of an Affective Medium in China, 1915–1945 (St Paul: University of Minnesota Press, 2015).
34 Michael Berry, Speaking in Images: Interviews with Contemporary Chinese Filmmakers (New York: Columbia University Press, 2005); Zhang Zhen, ed., The Urban Generation: Chinese CinemaandSociety at the Turn of the Twenty-First Century (Durham: Duke University Press, 2007
The importance of cartoons, caricature, and satirical art in imperial
Richard Scully and Andrekos Varnava
University Press, 2003; Stephen Clark, Travel Writing and Empire: Postcolonial Theory in Transit , London: Zed, 1999; Mary Louise Pratt, Imperial Eyes: Travel Writing and Transculturation , second edition, London: Routledge, 2007; James Burns, CinemaandSociety in the British Empire, 1895–1940 , Basingstoke: Palgrave Macmillan, 2013.
Brian Maidment, Comedy, Caricature and the Social Order, 1820–50 , Manchester and New York
Press, 1994 ); J. Richards,
Films and British National Identity: From Dickens to ‘Dad’s Army’ (Manchester:
Manchester University Press, 1997); A. Aldgate and J. Richards, Best of British:
CinemaandSociety from 1930 to the Present (London: I. B. Tauris, 1999); J.
Chapman, The British at War: Cinema, State and Propaganda, 1939–1945
(London: I. B. Tauris, 1998).
A. Lant, Blackout: Reinventing Women for Wartime British Cinema (Princeton:
Princeton University Press, 1991); C. Gledhill
, Britain 1939–45 (London: Panther Books, 1971), pp. 583–584.
4 V. Holman and D. Kelly, ‘Introduction. War in the Twentieth Century: The
Functioning of Humour in Cultural Representation’, Journal of European
Studies, 31:3–4 (2001), especially pp. 252–253 and 262.
5 See also C. Peniston-Bird and P. Summerﬁeld, ‘“Hey, You’re Dead”: The
Multiple Uses of Humour in Representations of British National Defence in
the Second World War’, Journal of European Studies, 31:3–4 (2001), pp. 413–
6 A. Aldgate and J. Richards, Best of British: CinemaandSociety from 1930 to the
remains the leading text on black
GIs in wartime Britain.
15 Ministry of Information, British Public Feeling about America:
A Report by Home Intelligence Division (London, 1943), FO
16 Jeffrey Richards, The Age of the Dream Palace: CinemaandSociety
in 1930s Britain (London, 2010); Richard Farmer, Cinemas and
Cinemagoing in Wartime Britain, 1939–45 (Manchester, 2016).
17 Quoted in Sheila Ferguson and Hilde Fitzgerald, History of the
Second World War: Studies in the Social Services (London, 1954),
p. 97. See also Marilyn Lake, ‘The desire for a
-going and reading habits
personnel were also keen to understand it. Both attempted to improve it.
The next chapter, then, assesses official attitudes towards both the cinema
and popular fiction; Chapter 3 looks at trade attitudes towards them. Both
chapters reveal contemporary attitudes towards working-class taste.
1 A.J.P. Taylor is cited in Jeffrey Richards, The Age of the Dream Palace: CinemaandSociety in Britain 1930–1939, London, 1984, p. 11.
2 H.L. Llewellyn Smith, ed., New Survey of London Life and Labour, vol. 9, London,
1935, pp. 43 and 47.