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Amy Helen Bell

forensic evidence presented to the judge and jury. The images represented in crime scene photographs became an increasingly vital narrative in the prosecution and reporting of crime, just as the cinematic depictions of policing in post-war films and television programmes became central to public perceptions of crime and its investigation. By 1974, publicity photographs of the Metropolitan Police could depict the archetypal London crime scene: an investigative team surrounds the body of a young woman in a bomb site, while a crime scene photographer takes pictures. These

in Murder Capital
Amy Helen Bell

-pie hat, a description popularized by depictions of professional gangster in post-war films.50 These shootings were reported by The Times on 11 November 1946, the second Armistice Day after the war, as ‘Two murders in the London area: man and woman shot’. The article also reported a third shooting at the Boathouse Hotel, Bush Road, Richmond, which narrowly missed a G. Dawson who was helping the barman clear up.51 These three shootings indicate the persistence of the multiple effects of the war on crime in the years which followed. Post-war policing The Metropolitan

in Murder Capital
Tommy Dickinson

posits that film portrayals promoted the idea of the model family and the heterosexual couple.66 Pre-war films such as Design for Living67 in 1933, which tackles a sexually ambiguous love story between two men and a woman, and Look Up and Laugh68 starring Gracie Fields in 1935 were replaced by post-war films such as Brief Encounter in 1945. Within this film, Celia Johnson played a middle-class housewife who falls in love with another man she meets by chance at a railway station. Overcome by guilt over a few clandestine meetings involving what may have been considered

in ‘Curing queers’