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The early British films of Joseph Losey
Neil Sinyard

distinguishing the givers from the takers. Both responses are very revealing about the social class and instincts of the two characters. The film’s acute awareness of class tensions help disguise the occasional illogicality and awkwardness of the plot. Its expressiveness is on the level of style more than overt content: in its typical sensitivity to decor and to structural opposites; in the contrasting sets of

in British cinema of the 1950s
Open Access (free)
Fixing the past in English war films
Fred Inglis

(1943). However that may be, these films and many more like them gradually matched their ideal but not, I think, idealised narratives to the social map of England. That is to say, each social and combat group was provided with a story within which it could find an adequate reflection of its war. Gender, social class, region and division of labour together found a spot on the map, service by service, and

in British cinema of the 1950s