Featuring more than 6,500 articles, including over 350 new entries, this fifth edition of The Encyclopedia of British Film is an invaluable reference guide to the British film industry. It is the most authoritative volume yet, stretching from the inception of the industry to the present day, with detailed listings of the producers, directors, actors and studios behind a century or so of great British cinema. Brian McFarlane's meticulously researched guide is the definitive companion for anyone interested in the world of film. Previous editions have sold many thousands of copies, and this fifth instalment will be an essential work of reference for universities, libraries and enthusiasts of British cinema.
/Can/US), Absolutely Anything (2015, UK/US).
( b London, 1928). Actor. In his 50-year career, tall, burly Ackland (trained at Central School) made his name in the theatre, including a major season at the Old Vic, and appeared in a good deal of TV before becoming a fixture as a character actor in Britishcinema from the early 70s. He has also appeared in American films such as The Hunt for Red October (1990) and Miracle on 34th Street (1994). With mellifluous voice (he has been much in demand for voice-overs) and imposing presence, he can register equally
the first century of US film exhibition by journalists, architects, management gurus and others.
Cinema Theatre Association, http://cinema-theatre.org.uk .
Home page of the UK-based Cinema Theatre Association: besides information on and images of Britishcinemas, includes links to resources on cinemas worldwide.
Eyles, Allen, ‘Cinemas and Cinemagoing’, www.screenonline.org.uk/film/cinemas .
Helpful, multi-part overview, hosted by the BFI website, of changing contexts of film exhibition in Britain from the
the Great War’, Gender and History , 17:1 (2005), 29–61; Alison Oram, ‘Her Husband was a Woman!’ Women’s Gender Crossing and Modern British Popular Culture (London: Routledge, 2007); Angus McLaren, ‘Smoke and mirrors: Willy Clarkson and the role of disguises in interwar England’, Journal of Social History , 40:3 (2007), 597–618.
26 John Goodwin, Sidelights on Criminal Matters (London: Hutchinson, 1923), p. 127.
27 Lawrence Napper, BritishCinema and Middlebrow Culture in the Interwar Years (Exeter: University of Exeter Press, 2009), pp. 7
Schwartz, ‘On the origin of the phrase “social problems”’, Social Problems , 44:2 (1997), 276–96, esp. 281–2.
27 Malcolm Spector and John I. Kitsuse, Constructing Social Problems (New Brunswick, NJ: Transaction Publishers, 2001 ), p. xi.
28 John Hill, Sex, Class and Realism: BritishCinema 1956 – 1963 (London: British Film Institute, 1986), esp. chapters 4–5.
29 Kenneth Soddy, ‘Homosexuality’, The Lancet , 264 (11 September 1954), 541.
30 British Society for the Study of Sex Psychology, Policy & Principles. General Aims