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Jeffrey Richards

(1936), he celebrates the Catholic Scottish Queen Mary as a martyr to Protestant and English imperialism and intolerance. The Hurricane (1937), though ostensibly about a South Sea island under French rule, is a deeply felt indictment of colonial rule and by implication, British imperialism, with the island of Manikura functioning as a substitute Ireland. The British cinema’s

in ‘An Irish Empire’?
Films and the end of empire
Jeffrey Richards

actors have been Scottish (Sean Connery), Irish (Pierce Brosnan) and self-parodying upper-class English (Roger Moore). The one authentically English unparodied stiff-upper-lip Bond (Timothy Dalton) was unsuccessful and rapidly replaced. The attitude of Hollywood is significant as Hollywood films provide the staple viewing of British cinema-goers and during the 1960s at least the bulk of British film

in British culture and the end of empire
Abstract only
Austerity, abundance and race in post-war visual culture
David C. Wall

Blue Lamp (1950), Violent Playground (1958), a film concerned with juvenile delinquency and, perhaps most famously , Victim (1960), the first serious mainstream treatment of homosexuality in British cinema. An attempt to deal with the issue of racism and prejudice, Sapphire is what would be referred to today as a crime procedure narrative and follows the efforts of two

in Cultures of decolonisation
John M. Mackenzie

.M.B., where Tallents established a film unit, and should have dedicated themselves to a form of imperial propaganda seems at first sight ironic, for in their own time they had the reputation of radicals, a reputation which most of them cultivated assiduously in memoirs and autobiographies. They made high claims for themselves, and have been described by one historian of the British cinema as Britain’s most

in Propaganda and Empire
Stuart Ward

defining motifs of ‘empire and metropolitan culture’ emerging into view. Salman Rushdie tackled these issues in the context of the contemporary barrage of popular projections of the British Raj across British cinema and television screens, ranging from television mini-series such as The Far Pavilions and The Jewel in the Crown, to David Lean’s Passage to India and Richard

in Writing imperial histories
Abstract only
Stuart Ward

. The cinema had been one of the prime vehicles for the dissemination of an imperial outlook throughout the inter-war years. Jeffrey Richards reminds us of the ongoing vitality of the empire epic in the post-war era, surveying the extent and variety of the imperial films that were produced. With the advent of decolonisation, the British cinema-going public did not simply lose interest in the Empire. Rather

in British culture and the end of empire
Decolonisation and imperial legacy
Shompa Lahiri

experienced by earlier sojourners. The end of empire in India gave rise to periods of Raj nostalgia in post-war Britain, most notably in the late 1970s and 1980s, both in popular culture and in government. 27 A more general sense of imperial hangover is detectable in post-war British cinema and children’s literature. 28 Attempts to relive the imperial past had special appeal for ‘old colonials’ who had

in British culture and the end of empire
Gordon Pirie

commercial photographer and was shown to British cinema audiences watching Pathé Gazette newsreels. Admirers wrote messages on the wings of Cobham’s aeroplane congratulating him on his efforts to make Britain ‘mistress of the air’. White hands, it appears, were more delicate and restrained than Black hands: in 1923 in North Africa when a crowd of indigenous people gathered round his plane while on a

in Air empire
The Empire Marketing Board and imperial propaganda, 1926–33
Stephen Constantine

education … and even when it is not used avowedly for purposes of instruction, advertisement or propaganda, it exercises indirectly a great influence in shaping the ideas of the very large numbers to whom it appeals’. The commercial implications of this were spelled out the following year when Cunliffe-Lister moved the Cinematograph Films Bill essentially to reduce the American domination of British cinemas

in Imperialism and Popular Culture
Music for imperial films
Jeffrey Richards

proposing; The Girl I Left Behind Me and Auld Lang Syne over scenes of the departure of the troopship for India; D’Ye Ken John Peel over the entraining of the troops; and Rose of Tralee and Little Brown fug at Queen Victoria’s Birthday Ball. British cinema, too, produced its imperial epics and its imperial scores. All the great British producers contributed to the

in Imperialism and music