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Tom Ryall

4 Wartime British cinema Asquith, with a now established reputation as one of Britain’s leading film-makers, was ideally placed to play a key role in the specific demands placed upon the British cinema in the wartime period. Yet, neither Pygmalion nor French Without Tears, the films which had helped to consolidate his standing, prefigured the active engagement with wartime subject matter which Asquith was to demonstrate during the period of conflict. Indeed, most of his wartime films – six out of the eight features – have wartime subject matter and can be seen

in Anthony Asquith
Richard Matheson’s I Am Legend and Hammer’s The Night Creatures
Peter Hutchings

Originally published in Dan North (ed.), Sights Unseen: Unfinished British Films (Newcastle upon Tyne: Cambridge Scholars Publishing, 2008), 53–69. I Am Legend : on (and off) screen ‘Begone! Van Helsing and Mina and Jonathan and blood-eyed Count and all.’ ( The Night Creatures ) The story of the relation between the vampire novel I Am Legend (1954) and horror cinema is, to put it mildly, convoluted. It begins in

in Hammer and beyond
Open Access (free)
Christine E. Hallett

8 The British ‘VAD’ Introduction: becoming a VAD The allied nursing workforce of the First World War was a complex, heterogeneous group of the trained, the semi-trained, and the almost completely untrained. In Britain, instruction for volunteer nurses (the so-called ‘VADs’) was administered by Voluntary Aid Detachments, acting under the auspices of the British Society of the Red Cross and the St John Ambulance Association, a branch of the Order of St John of Jerusalem. Most British VADs took courses, passed examinations, and obtained certificates in four

in Nurse Writers of the Great War
Bill Jones

How the electorate votes is a key element in the politics of any democracy and comprises, along with polls, a major part of media coverage of political matters. Voting behaviour is closely connected to many aspects of society, as this chapter explains. Who votes and who stands? Most British subjects aged eighteen years or over are entitled to vote in local, parliamentary and European elections. To do so, they have to be a citizen of the UK, a Commonwealth country or the Republic of Ireland, and to be resident in a constituency and on the electoral register

in British politics today
Integration and separation
Aaron Kent

Rosenthal suggested that ‘in central and western Europe assimilation was the price demanded from the Jews for their legal and social emancipation’. 14 The flight from Eastern Europe was not one made simply as an individual Jew but also one made as a community. Arrival in Leeds and other cities throughout Britain did not rob migrants of identity; rather, it afforded them an opportunity to assess in their own minds what was Jewish and what it meant to be Jewish in Leeds. However, at the same time, those who already resided there and jealously guarded hard won positions in

in Leeds and its Jewish Community
How Brexit unsettled what had been normalised
Brigid Laffan and Jane O'Mahoney

Britain and Ireland, but Ireland was never a settled or satisfied region of the UK. The “Irish question” bedevilled British politics in the nineteenth century as demands for Home Rule gathered pace driven by modern Irish nationalism. Irish opposition to British rule unfailingly followed a dual track of both constitutional and armed struggle that proved potent enough to take much of Ireland out of the UK

in Ireland and the European Union
Gill Allwood and Khursheed Wadia

Allwood 03 24/2/10 3 10:28 Page 73 Refugee women in Britain Research that focuses on the lives of refugee women in Britain is recent: one of the first studies of their specific needs and experiences was published in 1996 (Ahmed 1996). Such research is important in identifying and raising awareness of experiences of asylum which may differ from the assumed male norm. Whilst they share the difficulties all asylum seekers face in Britain, women asylum seekers experience additional problems often overlooked by policy-makers (Dumper 2002a: 20). Research on the

in Refugee women in Britain and France
Robert Duggan

Chapter 1 The contemporary British grotesque The object of this chapter is to give a brief account of the historical tradition of the grotesque in literature and the visual arts and so to develop, rather than a singular definition of the grotesque, a set of core qualities and theoretical debates in which the grotesque partakes and with which we can examine the works of Angela Carter, Martin Amis, Ian McEwan, Iain Banks, Will Self and Toby Litt as well as the links between their texts. Through an examination of manifestations of the grotesque throughout history

in The grotesque in contemporary British fiction
Science and service in oral history with government scientists
Sally Horrocks and Thomas Lean

8 Doing it for Britain: science and service in oral history with government scientists Sally Horrocks and Thomas Lean The existing literature on government science says very little about the people who actually carried out the research. It tells us much about how research policy was formulated and funded, the strategic goals it was intended to achieve and the practical outcomes (or lack thereof) of research programmes but reveals much less about those whose working lives were spent on these projects, either individually or collectively. We know very little

in Scientific governance in Britain, 1914–79
The Heart of It, the miners’ strike plays, Looking at the Sun, Shooting Stars, Born Kicking, Elvis Over England
David Forrest and Sue Vice

4 Imagining post-­industrial Britain The Heart of It, the miners’ strike plays, Looking at the Sun, Shooting Stars, Born Kicking, Elvis Over England As becomes clear over the course of this chapter, the exceptionally divisive events of the miners’ strike of 1984–85 had an acute effect on Hines’s writing, just as they did on the terrain and communities of the South Yorkshire that he invariably depicts. The events proved so resistant to Hines’s efforts to represent them that none of the three plays he wrote in the wake of the strike was ever produced. His radio

in Barry Hines