World War, 1939–60’, Twentieth Century British History (2011), p. 10, https://doi.org/10.1093/tcbh/hwr001 ; Philip Gillett, The British Working Class in Postwar Film (Manchester: Manchester University Press, 2003), p. 2.
9 Jeffrey Richard, ‘New Waves and Old Myths: BritishCinema in the 1960s’, in Bart Moore-Gilbert and John Seed (eds) Cultural Revolution? The Challenge of the Arts in the 1960s (London: Routledge, 1992), p. 172.
10 Haggett, Desperate Housewives , p. 85.
depressing or morbid’ while another one in ten
believed that such a programme ‘might itself produce mental illness’.23 These
fears about the potential impact of such a programme point to a shared belief
amongst medical and lay groups regarding the capacity of television to shape
opinion: the psychiatrist William Sargant, for example, expressed his belief in
‘the tremendous power of television for good or evil in matters of medicine’.24
They echoed concerns surrounding the release of The Snakepit in Britishcinemas seven years earlier, when several national newspapers