Cultural and economic relations between the British film industry and
unintentionally, it’s fair to assume) a different Anglo-American relationship, one based in the long-term economic interaction and cultural exchange between the British and American film industries.
This chapter looks closely at this dynamic but highly uneven interaction. The specter of Hollywood features strongly in writing about Britishcinema history, but Britain has generally been given a lower profile in historical accounts of American film. In part, this reflects the general imbalance of Anglo-American cultural and economic relations in the twentieth century and beyond
Social democracy on the home front in Britain during the Second World War
The politics of neighbourliness: social
democracy on the home front in Britain
during the Second World War
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 Britishcinemas, 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
Juvenile actors and humanitarian sentiment in the 1940s
‘ The Pied Piper ’, p. 34.
See M. Lawrence ,
‘“ Bombed into Stardom!”: Roddy McDowall,
“British Evacuee Star” in Hollywood ’, Journal of BritishCinema and Television , 12 : 1 ( 2015 ), pp. 45 – 62 ; K. Cameron , ‘ Monty
Wooley in a Gentle Role ’, Sunday
News (9 August 1942 ), p
Britain. Given there were five thousand Britishcinemas 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
The psychogeography of sectarianism in Northern Irish photography
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 BritishCinema, 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
M. Luckett, ‘Travel and Mobility: Femininity and National Identity in
Swinging London Films’, in J. Ashby and A. Higson (eds), BritishCinema
Past and Present (London: Routledge, 2000), pp. 115 – 33; interview with
Interview with Alan Woodward.
Interview with Bob Light.
11/12/14 2:28 PM
Auteurship and exploitation in the history of punk cinema
1 R. Sabin, ‘Introduction’, in R. Sabin (ed.), Punk Rock: So What?: The Cultural Legacy
of Punk (London: Routledge, 1999), p. 5.
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,
4 K. Donnelly, ‘British Punk Films: Rebellion into Money, Nihilism into Innovation’,
Journal of Popular BritishCinema, 1 (1998), 111