This book demonstrates a fruitful cross-fertilisation of ideas between British queer history and art history. It engages with self-identified lesbians and with another highly important source for queer history: oral history. The book highlights the international dimension of what to date has been told as a classic British tale of homosexual law reform and also illuminates the choices made and constraints imposed at the national level. It embarks on a queer critical history, arguing for the centrality, in John Everett Millais's life-writing, of the strange-to-us category of unconventionality. The book aims to expose the queer implications of celebrity gossip writing. It offers a historical analysis of the link between homosexual men and gossip by examining the origins of the gossip column in the British tabloid press in the three decades after 1910. The book provides an overview of the emergence and consolidation of a number of new discourses of homosexuality as a social practice in postwar Britain. It explores a British variant on homophile internationalism before and immediately after the 1967 Sexual Offences Act by mapping Grey's cross-border connections while noting strain against transnational solidarity. The book focuses on evidence collected by the 1977 Committee on Obscenity and Film Censorship to illustrate how gay men conceptualised the place of pornography in their lives and its role in the broader struggle for the freedom.
The homophile internationalism of Britain’s Homosexual Law Reform Society
internationalism realised by ICSE, the case of HLRS may help further to elucidate that culture’s possibilities and limitations.
This chapter, then, explores a British variant on homophile internationalism before and immediately after the 1967 SexualOffencesAct by mapping Grey’s cross-border connections while noting strain against transnational solidarity. In charge of HLRS’s day-to-day operation during this period, Grey authored and received much of the correspondence on which this chapter is based, although his work more generally depended on HLRS’s Executive
The making of a queer marketplace in pre-decriminalisation Britain
female sexual partners, a more bisexual use of the term that was in use by the late 1950s. 53 Either way, the term held definite sexual connotations that made clear the posters’ interest in homosexual activity.
By the December 1966 issue, published just months before the new SexualOffencesAct legalised consensual homosexual acts between men aged twenty-one and over conducted in private, the contact ads were gone but the magazine’s other queer elements all remained. 54 The Filk’ns were still advertising their Brighton bachelor rental apartment, now costing
commercialised sexual landscape in the decade of the Teddy Boy and the Suez Crisis and, in the process, rightly questioned the somewhat triumphalist and whiggish narrative of 1960s ‘permissiveness’, no one can deny that the visual, material and literary culture of queerness, embodied in the form of the physique magazine and other products, expanded dramatically in the years following the passage of the 1967 SexualOffencesAct. 4 As a new gay culture and politics took hold in the late 1960s and 1970s, the growing sense that same-sex-desiring men needed to produce ./figures
caught fire and spread, these organisations – and in particular the Anglo-American network – shared magazines, letters, people and strategies in a mutual search for inspiration, support and legitimacy. In the wake of the 1967 SexualOffencesAct, which partially decriminalised gay sex in Britain, Grey set off on a speaker’s tour of the US at the invitation of American activists committed to law reform. He was broadly welcomed, but his tour brought out not only the infighting between competing US homophile factions but also the differences in tactics on both sides of
the counter in local pharmacies reignited controversy.
Mrs Gillick had, however, a second line of attack. The SexualOffencesAct 1956 made it a criminal offence ‘to cause or encourage … the commission of unlawful sexual intercourse with … a girl for whom [the] accused is responsible’. So Mrs Gillick argued that providing contraception for a girl under 16 amounted to ‘encouraging’ that crime. The Law Lords dismissed this second claim too. The SexualOffencesAct 2003 replaces the 1956 Act. It creates a raft of new criminal offences and toughens up the law relating
, including the Domestic Violence Bill 2017 and the Criminal Law (SexualOffences) Act 2017, which supplement existing legislation and fulfil some of the obligations under the Directive. However, the primary piece of legislation in this regard is the Criminal Justice (Victims of Crime) Act 2017, the long title of which identifies it as ‘an act to give effect to provisions of Directive 2012/29/EU … establishing minimum standards on the rights, support and protection of victims of crime’. This Act therefore purports to fulfil Ireland's obligations under the Directive, yet it
domestic violence legislation such as barring and safety orders and hearings relating to breaches of these orders. As regards participation , a notable feature of the Bill is the introduction of victim impact statements for all victims who have suffered harm directly caused by an offence. Previously, such a provision applied to only a limited number of offences.
The Criminal Law (SexualOffences) Act 2017 increases protection for victims of sexual offences in a number of significant ways. Perhaps most notably, the Act introduces a procedure for regulating the
risks. They are no nearer agreement on
how girls under 16 may best be protected than on the day Mrs Gillick
first went to court.
Mrs Gillick had, however, a second line of attack.
The SexualOffencesAct 1956 made it a criminal offence ‘to
cause or encourage … the commission of unlawful sexual
intercourse with … a girl for whom [the] accused is
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.