), pp. 15, 16.
19 Pierre Sorlin, ‘Cinema and the Memory of the Great War’, in Michael
Paris (ed.), The First World War and Popular Cinema, 1914 to the
Present (Edinburgh: Edinburgh University Press, 1999), p. 18.
20 Laura Marcus, ‘The Great War in Twentieth-Century Cinema’, in
Vincent Sherry (ed.), The Cambridge Companion to the First World
War (Cambridge: Cambridge University Press, 2005), p. 292.
21 See Nicholas Hiley, ‘The BritishCinema Auditorium’, in Karel Dibbets
and Bert Hogenkamp (eds), Film and the First World War (Amsterdam:
Amsterdam University Press
According to McAleer: ‘Although … Romantic Fiction: The New Writers’ Guide
urged authors “Never set a whole book in a country you have not visited …”,
many successful Mills & Boon authors did just that’. Passion’s Fortune, p. 260.
10 E.H. Carter, Across the Seven Seas: The story of the British Commonwealth and
empire (London: Thomas Nelson and Sons, 1954, pp. v–vi).
11 Official website of the British Monarchy, www.royal.gov.uk (accessed
12 Christine Geraghty, BritishCinema in the Fifties: Gender, genre and the ‘New Look’
(London: Routledge, 2000
Essay on Abjection , trans. Leon S. Roudiez (New York: Columbia University Press, 1982), p. 92.
25 Kristeva, Powers of Horror , p. 70.
26 Kristeva, Powers of Horror , p. 135.
27 See: Stuart Hall, ‘New ethnicities’, Black Film/BritishCinema , ICA Documents 7 (London: Institute of Contemporary Arts, 1988), pp. 27–31 and Francis Affergan, Exotisme et altérité: essai sur les fondements d’une critique de la anthropologie (Paris: Press Universitaire de France), 1987
The representation of violence in Northern Irish art
-Bakargiev and Mac Giolla Léith, Willie Doherty, p. 158.
23 Michael Walsh, ‘Thinking the Unthinkable: Coming to Terms with
Northern Ireland in the 1980s and the 1990s’, in Justine Ashby and Andrew
Higson (eds), BritishCinema, Past and Present (London: Routledge,
2003), pp. 288–98: pp. 294–5.
24 Ibid., p. 296.
25 Brian McIlroy, Shooting to Kill: Filmmaking and the ‘Troubles’ in
Northern Ireland (Richmond: Steveston Press, 2001), p. 128.
26 Richard Kirkland, ‘The Spectacle of Terrorism in Northern Irish Culture’.
Critical Survey, 15:1 (2003), pp. 77–90: p. 77.
27 Andrea Grunert
Manchester and the devolution of British literary culture
Corinne Fowler and Lynne Pearce
image of the north existing at a cultural
remove from multiracial Britain’ (Procter, 2006: 73). Citing a range of
recent films, including The Full Monty (1997) and Billy Elliot (2000),
Procter argues that Britishcinema represents northern England as
‘closeted from and innocent of . . . cultural difference’ as it is encountered in London (Procter, 2006: 73). It is precisely this imbalance that
Postcolonial Manchester seeks to redress. Six years’ observation of the
vibrant literary scene that flourishes in one of Britain’s largest conurbations has permitted many
The ambivalence of queer visibility in audio- visual archives
Filminstitutet, 2016). Unlike other themes on the platform,
such as ‘Football’ or ‘Radio’, the category ‘Queer’ does not yet have introductory text. On what grounds the films are selected thus remains unclear for
the users. To compare, the BFI Player introduces its theme ‘LGBT Britain’
Britishcinema boasts a long history of carefully coded queerness, but for
much of the 20th century explicit depictions of gay life in drama or documentary were more or less taboo. Gay men were subject to vicious state-
sanctioned persecution, while lesbians were socially
camera an agent and not a witness.
The performance was created as a single work and has been shown in cinema exhibition. It was shot on a sound-stage similar to that used in the production of feature films. Its actors, Alan Rickman, Kristen Scott Thomas and Juliet Stevenson, are also familiar from Britishcinema. Yet the use of a studio set, and the financing of the film by Channel 4 and the Irish national broadcaster RTE connect the drama to television institutions and exhibition. Although a wide-screen image was recorded, this is a frame
Sexuality, trauma and history in Edna O’Brien and John McGahern
Michael G. Cronin
novels, in which she doesn’t include O’Brien’s
trilogy, see Imelda Whelehan, The Feminist Bestseller (Basingstoke: Palgrave
Macmillan, 2005), pp. 34–6.
19 Betty Freidan, The Feminine Mystique (New York: Norton, 2001), p. 2.
20 John Hill, Sex, Class and Realism: Britishcinema 1956–1963 (London: British
Film Institute, 1986), pp. 5–34.
21 Edna O’Brien, The Country Girls (New York: Signet Books, 1965), pp. 7–46.
22 Ibid., p. 20.
23 Ibid., p. 7.
24 Ibid., p. 46.
25 Ibid., pp. 156–9.
26 Edna O’Brien, Girl with Green Eyes (London: Penguin, 1964), pp. 11–15. This
University Press, 2007),
and her Imagining Home: Gender, ‘race’ and national identity, 1945–1964 (London:
University College Press, 1998); Priya Jaikumar, Cinema at the End of Empire: A
politics of transition in Britain and India (Durham: Duke University Press, 2006)
and Christine Geraghty, BritishCinema in the Fifties: Gender, genre and the ‘New
Look’ (London: Routledge, 2000); Simon Faulkner and Anandi Ramamurthy
(eds), Visual Culture and Decolonisation in Britain (Aldershot: Ashgate, 2006);
and Mark Crinson (ed.), Modern Architecture and the End of Empire (Aldershot
which women have moved into
33 Geoff Mayer, Guide to BritishCinema (Westport, CT: Greenwood Press, 2003), 366–8.
34 In ‘Virgin Territory’, The Virgin Queen (2008).
36 Jay Matthews terms D-Day: The Sixth of June one of the three best films about D-Day.
See ‘Battle to Buy D-Day Movie’, Washington Post, 3 June 1994, N63. Further, Melanie
Williams notes that Todd’s war films were seen as a ‘mainstay of British national cinema’.
See ‘The Most Explosive Object to Hit Britain Since the V2!’ Cinema Journal 46 (2006),
85–107. See D-Day: The Sixth of June. Dir