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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

’ ( 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

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

… 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

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.

The Whistler Film Series

This article explores the serial dynamics behind and within the succession of B-films Columbia Pictures developed from the popular CBS radio programme The Whistler. It examines how this anthology series developed within Columbias on going strategy of low-budget production, while responding to specfiic industrial challenges facing 1940s B-films. Besides looking at broader synergies between radio and cinema during this period, the article also qualies the tendency to categorise the Whistler movies as films noir, suggesting it is more productive to view them as products of a broader pulp serialscape that is shaped by alternative cultural and industrial logics.

Film Studies
Gothic Continuities, Feminism and Postfeminism in the Neo-Gothic Film

The article seeks to explore questions of fictional female victimhood by examining feminist and post-feminist critical engagements with the Gothic heroine figure. The paper traces instances of this figure in literary and filmic versions of the ‘female gothic’ narrative, focusing in particular on the female gothic film cycle of the 1940s, in films such as Rebecca (1940) and Suspicion (1941), and the cycles recurrence in more contemporary female-addressed suspense thrillers, such as Deceived (1991), Sleeping with the Enemy (1991), Shadow of Doubt (1998), and What Lies Beneath (2000). The paper reveals that the neo-gothic heroine condenses key issues pertinent to shifts in feminist and post-feminist critique, such as woman-as-victim, negotiations about the meanings of femininity, and the relationship between women and domestic space.

Gothic Studies

The intellectual connection between James Baldwin and Lionel Trilling, and the resonances across their criticism, are more substantial than scholarly and biographical treatments have disclosed. For Trilling, Baldwin’s writings were notable for their deviation from most humanistic inquiry, which he considered insufficiently alert to the harms and depredations of culture. Baldwin’s work became for Trilling a promising indication that American criticism could be remade along the lines of a tragic conception of culture deriving from Freud. This essay concentrates on a relevant but neglected dynamic in American letters—the mid-twentieth-century tension between Freudian thought and American humanistic inquiry evident in fields like American Studies—to explain the intellectual coordinates within which Trilling developed an affinity for Baldwin’s work. The essay concludes by suggesting that the twilight of Freud’s tragic conception of culture, which figured centrally in the modernist critical environment in which Baldwin and Trilling encountered one another, contributed to an estrangement whereby the two came to be seen as unrelated and different kinds of critics, despite the consonance of their critical idioms during the 1940s and 1950s.

James Baldwin Review
Imperial Fantasies for a Post-Colonial World

In an age of Imperial confidence, the social rhetoric of Victorian Britain frequently manifested a perceptible unease when considering cultural problems within the home nation. The imagery of ‘darkest England’, dependant as it was upon a powerful colonialist discourse, authorised and transmitted a register of language whereby an internal Other might be configured as uncivilised, and thus capable of being subject to the explorer and the missionary. Much, of course, has already been written upon the Gothic possibilities of this phenomena which characterised an Imperial age which allegedly declined with the nineteenth century. No similar consideration, however, has yet been made of its continuation into the twentieth century, a progressively post-colonial era in which the Imperial (or Imperialised) Other, in consequence, functions differently. This article considers two Gothic short stories, one in a reprinted Edwardian collection, the other a component of an original collection, both of which were issued in volume form in the late 1940s. The two narratives examine classic ‘cultures-within-cultures’, pockets of resistance within the fabric of the Imperial nation, though in a cultural context radically different from their Victorian predecessors. Algernon Blackwood‘s ‘Ancient Sorceries’ (1908), published in the 1947 reprint of his John Silence, and L.T.C. Rolt‘s ‘Cwm Garon’ published in Sleep No More (1948) share a preoccupation with the casual, localised, travelling which has replaced Imperial adventure, and with the decline of identifiable Christian institutions and landmarks themselves the products of earlier missionary activity in a familiar, though threatening, European landscape. In both short stories a form of devil worship is enacted before the eyes of the traveller, and in a landscape which fascinates and somehow holds him. In ‘Ancient Sorceries’, where the Devil does attend the bacchanal, the protagonist is almost seduced into willing participation but, on evading the sexual lure of the sabbat, vows never to return. Rolt, writing after the recent horrors of the Second World War, discards the presiding Devil in favour of a mortal substitute, but still leaves open the possibility that, in Kilvert‘s words, ‘an angel satyr walks these hills’. Neither welcomed nor seduced by the satanic community, Rolts protagonist finds himself fascinated by the land, and thus drawn into unwilling participation. In colonial terms, these two narratives explore the frequently rehearsed dangers of ‘going native’ that lie at the core of, among other works, Kipling‘s ‘The Mark of the Beast’, Rider Haggard‘s She and Conrad‘s Heart of Darkness. A subject people is identified, but their strength either supernatural or merely cultural, the ability to preserve a distinctive and resistant way of life tests the limits of the perceiving power. These are, in a sense, Imperial fantasies for a post-colonial world, a reflexing of colonised culture back in upon the formerly colonising nation.

Gothic Studies
A Model for Historical Reflection in the Humanitarian Sector

. We have, as his claim that the questions of the 1940s have ‘returned to public life’ suggests, faced many of these questions before ( Miliband, 2016 ). And while history does not repeat itself – the humanitarian situation in Europe after the Second World War cannot be directly equated with our contemporary context – we can look to the past to disrupt the idea that the challenges we face are ‘unprecedented’ and require the constant pursuit of new solutions. This is particularly urgent in the pressurised environment in which NGOs operate. If there is no time to pause

Journal of Humanitarian Affairs