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Dawn Lyon

going coming out and if you stood there you’ll get crushed with the bikes coming out and people coming out. It was just like the Tour de France, everybody was hurtling up the High Street here, getting out on their bikes. (Kevin Riley) Harriet Esham recalls a second-hand account of the lunchtime ‘rush’ and marvels at the mental image it conjures up for her. He said, ‘You wouldn’t dare set foot out of, of the shop when the men were coming home for lunch’, and he said, ‘Anyone on a bike would never fall off’, because, you know, the road was just

in Revisiting Divisions of Labour
Edward Tomarken

, The Railway Man is, as we are informed at the outset, ‘a true story’. In fact, the film derives from an autobiography of the main character, Eric Lomax (Colin Firth), who was still alive when the film was being made: Colin Firth, who met Eric Lomax in Berwick-upon-Tweed where part of the film is set, is reported to have said the following: I think what is not often addressed is the effect over time. We do sometimes see stories about what it’s like coming home from war, we very rarely see stories about what it’s like decades later. This is not just

in Why theory?
Helen Boak

per cent of farms in Baden headed by women in 1917. 57 Soldiers coming home on leave at key points in the farming year, such as ploughing and harvest times, were shocked at their wives’ poor health and loss of weight as the hard physical work took its toll on these women. 58 As one woman wrote to her husband, a prisoner of war: ‘3 years of working alone like a huge brute, people can’t take it any more. We’ve already done a lot for God, and no end in sight. We had enough work to do before the war but no human being would have believed it would get as bad as this

in Women in the Weimar Republic
Abstract only
Andy Lawrence

called Ain’t No Shame in Coming Home that seemed to fit the themes of the film, but the lyrics were confusing for me. Vik’s journey encompassed his whole lifetime and this latest dream, to build a boat and sail it home, seemed like a heroic adventure for a man in his seventieth year rather than a shame. Later I discovered how this journey had another more strategic meaning. Vik struggled to unite his need for closeness to family with a desire for personal independence, so he sought a place far away from home to process his thoughts and emotions. The boatyard became

in Filmmaking for fieldwork