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Social democracy on the home front in Britain during the Second World War
Clare Griffiths

8 The politics of neighbourliness: social democracy on the home front in Britain during the Second World War Clare Griffiths We found out in this war as how we’re all neighbours. And we haven’t gotta forget it when it’s all over. (The Dawn Guard, 1941) In the early days of 1941, projected on the screens of British cinemas, two home guards shared their visions of the future. Roy Boulting’s film The Dawn Guard lasts just five minutes – one of many short propaganda pieces distributed by the Ministry of Information during the Second World War, dropped into cinema

in Making social democrats
Germans as aliens in post- war British popular culture
Judith Vonberg

( Oxford : Oxford University Press ). Colls , Robert ( 2002 ), Identity of England ( Oxford : Oxford University Press ). Dummett , An n and Andrew Nicol ( 1990 ), Subjects, Citizens, Aliens and Others: Nationality and Immigration Law ( London : Weidenfeld & Nicolson ). Falcon , Richard ( 1995 ), ‘ Images of Germany and the Germans in British Film and Television Fictions ’ in Cedric Cullingford and Harald Husemann (eds), Anglo-German Attitudes (Aldershot: Avebury ), pp. 67 – 89 . Geraghty , Christine ( 2000 ), British Cinema in the

in The road to Brexit
Auteurship and exploitation in the history of punk cinema
Bill Osgerby

mischievously tongue-in-cheek. Notes    1 R. Sabin, ‘Introduction’, in R. Sabin (ed.), Punk Rock: So What?: The Cultural Legacy of Punk (London: Routledge, 1999), p. 5.   2 Ibid.    3 See R. Bestley and A. Ogg, The Art of Punk (London: Omnibus Press, 2012); J. Kugelberg and J. Savage (eds), Punk: An Aesthetic (New York: Rizzoli, 2012); and M. Sladen and A. Yedgar (eds), Panic Attack!: Art in the Punk Years (London: Merrell, 2007).      4 K. Donnelly, ‘British Punk Films: Rebellion into Money, Nihilism into Innovation’, Journal of Popular British Cinema, 1 (1998), 111

in Fight back
A British radical in tumultuous times
Richard Carr

bought into Britain. Given there were five thousand British cinemas in operation and Chaplin released twenty films from the introduction of the so-called McKenna Duties on imported luxuries in September 1915 to the end of the war, the economics of keeping Chaplin out of uniform and in the studio were again obvious. Both Chaplin’s capitalism and his early political thoughts are worth teasing out partly because of the consistently pro-Communist views opponents in America would later attempt to pin on him. Despite his Charlie Chaplin’s war  177 wealth by the early 1920s

in Labour, British radicalism and the First World War
Film, television drama and the Northern Irish conflict in Britain
John Hill

Kosminsky, Stephen Frears, and British television docudrama’, Journal of British Cinema and Television, 10:1 (2013), 171–86. 31 For further discussion, see R. Barton, Jim Sheridan: Framing the Nation (Dublin: The Liffey Press, 2002). DAWSON 9780719096310 PRINT (v2).indd 259 14/10/2016 12:19 260 Culture and representation 32 A. Roberts, ‘“The spine of the story is true and responsible”’, The Times (8 February 1994), p. 34. 33 For a discussion of this issue, see M. McLoone, ‘In the Name of the Father’, Cineaste, 20:4 (1994), 44–7. 34 R. A. Rosenstone (1995), Visions

in The Northern Ireland Troubles in Britain
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New histories of Labour and the left in the 1980s
Jonathan Davis and Rohan McWilliam

complexities. For example, many of the key figures in New Labour had a history on the left which they never formally renounced.59 This subject lends itself to exposition in a tragic mode. The labour struggles of the 1980s have provided subject matter for a wave of populist British cinema: Brassed Off (1996), Billy Eliot (2000), Pride (2014). Lacking a name, this genre celebrates the decency of ordinary humanity and evokes a sense of solidarity that appears poignant because it is fast disappearing in contemporary Britain. These films show how far we have come. The 1980s

in Labour and the left in the 1980s
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The psychogeography of sectarianism in Northern Irish photography
George Legg

’s broadcast. 58 Quoted in Alan Clarke ed. by Richard Kelly (London: Faber, 1998), p. 198. 59 Michael Walsh, ‘Thinking the Unthinkable: Coming to Terms with Northern Ireland in the 1980s and 1990s’, in British Cinema, Past and Present ed. by Justine Ashby and Andrew Higson (London: Routledge, 2000), p. 295. 60 Susie Linfield, Cruel Radiance: Photography and Political Violence (Chicago: University of Chicago Press, 2010), p. 164. 61 Azoulay, The Civil Contract of Photography, p. 14. 62 Quoted in Kelly, Alan Clarke, p. 197. 63 Ibid., p. 199. 64 Quoted in Shinkle

in Northern Ireland and the politics of boredom
Abstract only
Celia Hughes

Di Parkin. M. Luckett, ‘Travel and Mobility: Femininity and National Identity in Swinging London Films’, in J. Ashby and A. Higson (eds), British Cinema Past and Present (London: Routledge, 2000), pp. 115 – 33; interview with Bronwen Davis. Interview with Alan Woodward. Interview with Bob Light. 9780719091940_4_002.indd 101 11/12/14 2:28 PM

in Young lives on the Left
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A rightwards turn and the coalescence of the extreme right, 1964–70
Mark Pitchford

. Society’s ills presented problems for a broad-church party that included progressives and reactionaries because morality was often at the heart of debate. Films, books, and newspapers made it difficult to ignore the fact that society’s trends had changed and continued to do so. In the Oscar-winning Darling (1965), Julie Christie portrayed an amoral single woman who used sex to achieve success. Murder and, for the first time in British cinema, full-frontal female nudity, were the main features of Blowup (1966). Teenage marriage, domestic abuse, and a life degenerating

in The Conservative Party and the extreme right 1945–75