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Darrell M. Newton

3658 Paving the empire road:Layout 1 30/6/11 08:45 Page 16 1 Radio, race, and the Television Service Well one thing I think that will interest West Indians is what is the attitude – of the English people as a whole, – how do they take to strangers. After all West Indians are coming over here in increasing numbers, and they’d like to know what sort of person they’re going to meet, and how they’re going to be treated. (West Indian humorist and Government Public Relations officer for Jamaica, A.E.T. Henry, on the BBC radio programme We See Britain, 1 June 1949

in Paving the empire road
Darrell M. Newton

more controversial as viewers witnessed West Indian immigrants arriving on the Empire Windrush; an event televised to only a modest portion of the population given that fewer than 130,000 licences were held in 1948. There was no way to ignore this phenomenon, however, particularly when considering newspaper coverage and cinematic newsreels.5 A major component of this televised imagery was footage shot by the British Pathé Film Company that made its way from motion picture theatres into the homes of licence holders. Unlike before the war, programmers at the BBC during

in Paving the empire road
Darrell M. Newton

the colonial empire. He notes how, as the Colonial Development and Welfare Act passed in 1940, after decades of imperialism being ‘least challenged politically by colonial nationalism, the British establishment turned its mind towards colonial development at precisely the point when its rule began to be undermined’.1 The Crown’s need for support among its colonies is apparent in the numerous radio broadcasts, newsreels, and films featuring West Indian troops as part of the war effort. However, as the war ended, concerns continued over an increase of immigration from

in Paving the empire road
Evan Jones’s The Damned (1961), Eve (1962), King and Country (1964) and Modesty Blaise (1966)
Colin Gardner

discontinuity. Perhaps the most underrated of these ‘writerly’ collaborations are the four films that Losey made with the West Indian screenwriter Evan Jones in the early 1960s. The pair first worked together on The Damned (1961), when Jones (who until then had worked largely in television) was brought in at the last minute for a hurried rewrite of Barzman’s original script. Losey had discovered the writer through

in Joseph Losey
Abstract only
Darrell M. Newton

England and Britain represented for generations to come. Audiences soon had a choice of musical variety programmes, and a host of dramatic teleplays and informational talks, each demonstrating the ability of television to hopefully do what BBC radio had done for nearly fifteen years: entertain and inform a variety of publics on current, global, and national events. One such event occurred on 22 June 1948, as the troop transport Empire Windrush arrived at Tilbury Docks with West Indian immigrants eagerly searching for a better life within the British Isles. The group of

in Paving the empire road
The Street, gentrification and Brexit
Charlotte Brunsdon

which the legitimation of xenophobia by the Brexit campaign and the preceding government policy of a ‘hostile environment’ for immigrants have contributed to a kind of ecumenical causality, in which the blaming of the others – foreigners, yuppies, immigrants – can coexist with older nationalist and racist formations. Nelson unearths the long history of white politics in the area in the testimony of the Reverend Gloria about vigilante harassment of the worshippers at the (mainly West Indian) Bethel Tabernacle in the 1970s

in Global London on screen
Scandal, the Profumo Affair, and the end of the Cold War
Jonathan Bolton

reputational damage to his party, Ward's lifestyle uncovered a trove of salacious content and promiscuous relationships that could be used to divert attention away from Profumo's own naughty behavior. Given the radius of Ward's acquaintances, the case dredged up a shocking (for the time) convergence of social and racial spheres: a dancer from Murray's Cabaret, it was discovered, skinny-dipped in a lord's swimming pool; a West Indian jazz singer, a Soho slum landlord and a Member of Parliament shared the same lover; and a man in a mask, naked except for an apron, with a

in The Blunt Affair
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Diasporic subjectivities and ‘race relations’ dramas (Supply and Demand, The Bill, Second Generation)
Geraldine Harris

. Unlike Supply and Demand, there is no disavowal that ‘Carnival’ is a race-relations drama, not least in that it is set against a background of the Notting Hill Carnival, the most publicised celebration of Caribbean and West Indian diasporic cultural identities in Britain. In this and the next but one episode, ‘The Gathering Storm’, officers are also shown attempting to apply the lessons of the Macpherson report concerning institutional racism in the police. Character: professionalism, class and cultural identity However, there are some striking parallels between the

in Beyond representation
Dave Rolinson

-year-old West Indian girl caring for her abandoned nephew. Though she was presented passively, according to Peter Davalle (1983), as ‘the pathetic victim of a totalitarian, albeit well-intentioned society, that makes no provision for youngsters who genuinely believe they can survive outside the system’, in Made in Britain, neither Trevor nor the style which Clarke adopts to channel his character can be described as passive. Sent to an assessment centre after repeated shoplifting, car thefts and racist attacks, Trevor confronts the social workers who attempt to reform him. His

in Alan Clarke

Screening the Hollywood Rebels in 1950s Britain explores the relationship between classic American films about juvenile delinquency and British popular youth culture in the mid-twentieth century. The book examines the censorship, publicity and fandom surrounding such Hollywood films as The Wild One, Blackboard Jungle, Rebel Without a Cause, Rock Around the Clock and Jailhouse Rock alongside such British films as The Blue Lamp, Spare the Rod and Serious Charge. Intersecting with star studies and social and cultural history, this is the first book to re-vision the stardom surrounding three extraordinarily influential Hollywood stars: Marlon Brando, James Dean and Elvis Presley. By looking specifically at the meanings of these American stars to British fans, this analysis provides a logical and sustained narrative that explains how and why these Hollywood images fed into, and disrupted, British cultural life. Screening the Hollywood Rebels in 1950s Britain is based upon a wide range of sources including censorship records, both mainstream and trade newspapers and periodicals, archival accounts and memoirs, as well as the films themselves. The book is a timely intervention of film culture and focuses on key questions about screen violence and censorship, masculinity and transnational stardom, method acting and performance, Americanisation and popular post-war British culture. The book is essential reading for researchers, academics and students of film and social and cultural history, alongside general readers interested in the links between the media and popular youth culture in the 1950s.