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Abstract only
Stephanie Dennison
and
Lisa Shaw

Introduction The first half of the 1940s witnessed a continuation of Vargas’s quest for economic expansion based on the creation of a dignified workforce, rewarded for its efforts by improvements in the welfare system. National integration remained at the top of his political agenda, and in 1944 the regime’s Press and Propaganda Department (DIP) hosted the so-called ‘Congress on Brazilian Identity

in Popular cinema in Brazil, 1930–2001
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Love and death
Peter William Evans

’ ( 1968 : 439–41). Both this judgement and Robert Moss’s view that the earlier films were little more than the first fruits of a young director feeling his way do justice neither to early films like Laburnum Grove, A Girl Must Live, Bank Holiday or even Climbing High nor to the masterpieces of the late 1940s. A newly formed film company, Grand National, acquired the rights to The Stars Look Down (first published 1935) and

in Carol Reed
Michael Goodrum
and
Philip Smith

3 ‘Confusion turns to fear’ – race in the 1940s and 1950s In 1956, J. W. Milam told Time magazine that ‘Niggers ain’t gonna vote where I live. If they did, they’d control the government’.1 Milam and those who shared his views used violence and intimidation to prevent the enfranchisement of black citizens; he was one of the two men who murdered fourteen-year-old Emmet Till in 1955 after Till interacted with a white woman.2 Milam was not necessarily representative of white Americans at the time, but his assertion makes overt a recurring anxiety in national

in Printing terror
Elaine A. Byrne

3 Setting standards: 1930s–1940s Introduction In 1932, the newly formed Fianna Fáil party entered government for the first time. Éamon de Valera’s party came to dominate Irish politics, emerging as the largest party at every general election until 2011. Fianna Fáil’s protectionist platform centred on a policy of economic self-sufficiency and was a significant shift from W. T. Cosgrave’s Cumann na nGaedheal policy of economic liberalism. Translated as ‘soldiers of destiny’ in English, Fianna Fáil promised to protect Irish industry through the imposition of

in Political corruption in Ireland, 1922–2010
Michael Goodrum
and
Philip Smith

2 ‘Men are beasts! Wild beasts! Wild beasts must be destroyed!’ – gender in the 1940s and 1950s In ‘The Frenzy of Sheila Lord’, from Beyond #5 (1951), a wealthy widow – the eponymous Sheila Lord – takes a new husband. Her new beau is, in every sense, different from the first. Harry was fat, Zack is muscular; Harry was bald, Zack has a full head of hair. Most notably, Harry was rich whereas Zack, an unemployed mechanic, is financially dependent on his new wife. Their fortunes change, however. Zack creates an invention that earns him a fortune, while Sheila loses

in Printing terror
Michael Goodrum
and
Philip Smith

1 ‘The dead – the slain – the unavenged’ – trauma in the 1940s and 1950s When Man entered the atomic age, he opened a door into a new world. What we’ll eventually find in that new world, nobody can predict. (Dr Harold Medford, Them!, 1954) In the story ‘Hollow Horror’, which appeared in Fantastic Fears #6 in March 1954, Swilbur, a factory worker, is bullied by his co-workers, who joke that he has ‘holes in his head’. His frustration grows until, in a wild rage, he decapitates one of his tormentors, an office secretary. In the final panel he reveals that those

in Printing terror
Richard Rathbone

… that by divers forms of agitation and coercion, self-rule can be wrested from the British Government … at no distant date’. 15 Their perceptions had, however, moved a slight distance from an earlier set of fears, informed not least by the more general apprehensions of the 1940s, that the CPP was both utterly insurrectionary and communist. The slightly more relaxed tone seems, and only seems, to have

in Policing and decolonisation
Author:

The 1940s represent a high point in the history of British film, characterised by the works of such recognised greats as David Lean and Michael Powell. But alongside this ‘quality cinema’ there exists a body of popular productions by film-makers who have not yet been the objects of detailed scholarly attention. Four from the forties addresses this oversight, drawing attention to four directors whose career trajectories had a good deal in common and can tell us much about what British film-goers expected from the cinema in this crucial decade. Leslie Arliss, Arthur Crabtree, Bernard Knowles and Lawrence Huntington were all born at the turn of the century. All had been active in a range of film-making functions in the 1930s, and all would do their most proficient and popular work in the 1940s, thereafter prolonging their careers into the 1960s through ‘B’ movies, co-features and television. Taken together, they offer a commentary on the changing fortunes of mid-century British cinema.

Abstract only
Author:

This book explores the depiction of domestic life in British films made and released during the Second World War and the immediate postwar years. It closely examines the modes of address used to picture home in a selection of feature films including Love on the Dole, It Always Rains on Sunday, This Happy Breed, The Captive Heart, Spring in Park Lane, The Glass Mountain, Brief Encounter and The Small Back Room. Exemplary of popular modes of address shaping onscreen homes in this period, these films encompass realist mappings of industrial working-class homes, domestic landscapes infused with pastoral imagery, dream palaces offering escape and uncanny homes characterised by interiority and introspection. Picturing home explores how such depictions of domestic life engaged with modes of address established during the interwar years. These modes featured in Picture Post magazine’s photo-essays, illustrations of peaceful domestic interiors in Ideal Home magazine, displays at the Daily Mail Ideal Home Exhibition, advertisements for modern furnishings and fittings, and in women’s magazine stories – all of which conveyed ideas of conservative, domestic and suburban culture and modernity. Through a close analysis of the films in question and of extra-cinematic culture surrounding the suburban home, this book offers a new reading of British films in the 1940s as reimagining interwar visions of modernity, and, as such, looking to the prewar past while also laying claim to the postwar future.

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Pictures in the margins
Author:

From 1943 until 1950, Emilio Fernández was regarded as one of the foremost purveyors of 'Mexicanness,' as one of the most important filmmakers of the Mexican film industry. This book explores the contradictions of post-Revolutionary representation as manifested in Fernández' canonical 1940s films: María Candelaria, Víctimas del pecado, Las abandonadas, La perla, Enamorada, Río Escondido, Maclovia and Salón Mexico. It examines transnational influences that shaped Fernández' work. The book acknowledges how the events of the Mexican revolution impacted on the country's film industry and the ideological development of nationalism. It takes note of current tendencies in film studies and postcolonial theory to look for the excesses, instabilities and incoherencies in texts, which challenge such totalizing projects of hegemony or cultural reification as 'cultural nationalism' or ' mexicanidad.' The book looks at how classical Mexican cinema has been studied, surveying the US studies of classical Mexican cinema which diverge from Mexican analyses by making space for the 'other' through genre and textual analyses. Fernández's Golden Age lasted for seven years, 1943-1950. The book also examines how the concept of hybridity mediates the post-Revolutionary discourse of indigenismo (indigenism) in its cinematic form. It looks specifically at how malinchismo, which is also figured as a 'positive, valorisation of whiteness,' threatens the 'purity' of an essential Mexican in María Candelaria, Emilio Fernández's most famous indigenist film. Emilio Fernandez's Enamorada deals with the Revolution's renegotiation of gender identity.