Stories from modern nomads

On the global stage the British diaspora, proportionate to its population, remains one of the largest. This book is the first social history to explore experiences of British emigrants from the peak years of the 1960s to the emigration resurgence of the turn of the twentieth century. It explores migrant experiences in Australia, Canada and New Zealand alongside other countries. The book charts the gradual reinvention of the 'British diaspora' from a postwar migration of austerity to a modern migration of prosperity. It is divided into two parts. First part presents a decade-by-decade chronology of changes in migration patterns and experience, progressing gradually from the postwar migration of austerity to a more discretionary mobility of affluence. It discusses 'pioneers of modern mobility'; the 1970s rise in non-white migration and the decline of British privilege in the old Commonwealth countries of white settlement; 'Thatcher's refugees' and cosmopolitanism and 'lifestyle' migration. Second part shifts from a chronological to a thematic focus, by drilling down into some of the more prominent themes encountered. It explores the interplay of patterns of change and continuity in the migrant careers of skilled workers, trade unionists, professionals and mobile academics. The push and pull of private life, migration to transform a way of life, and migrant and return experiences discussed highlight the underlying theme of continuity amidst change. The long process of change from the 1960s to patterns of discretionary, treechange and nomadic migration became more common practice from the end of the twentieth century.

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Stephanie Dennison and Lisa Shaw

extreme right-wing presidents that ushered in a period of oppression in 1968, referred to as ‘the coup within the coup’, which lasted until the mid-1970s and the so-called abertura or political opening-up. It was, then, in the context of a very clear distinction between Left and Right that the 1960s got under way, and such distinctions would inflect discussions of culture, including popular culture, throughout the decade and

in Popular cinema in Brazil, 1930–2001
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Social realism and The Wednesday Play
Stephen Lacey

03-chap 02 26/2/07 10:13 am Page 34 The 1960s: social realism and The Wednesday Play 2 The Wednesday Play anthology series has acquired a pivotal role in the history of television drama, providing a showcase for drama that was formally experimental, distinctive to the medium of television and socially and culturally provocative. As such, it is often regarded nostalgically as a symbol of the kind of author-led, issue-based drama that is no longer on our screens. Many of the most widely-discussed plays of the decade – which were also amongst the most

in Tony Garnett
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Carla Konta

remained critical of the ‘current conditions […] and impatient for change.’ 2 Yet reform was reluctant to arrive. While embarking on a set of internal transformations from the mid-1960s on, Yugoslavia failed ‘to implement substantial and comprehensive changes,’ Hrvoje Klasić claims. Without ‘respecting and encouraging pluralism, with a growing gap between theory and practice, the reform[s], of which much was expected, only intensified the already present antagonisms.’ 3 In fact, the Party leadership remained divided over three critical issues: decentralization and

in US public diplomacy in socialist Yugoslavia, 1950–70
Dominic Bryan, S. J. Connolly and John Nagle

American sailors in the Lord Mayor’s Parade hoisted a North Vietnamese flag in the city centre. 1 These very brief vignettes from the Belfast of the mid- and late 1960s have two things in common. First, all three actions took as their point of reference events outside Northern Ireland. In this they reflected the greater openness to outside influences that had begun with the Second World War and continued and deepened in the new era of relative prosperity and optimism that followed. Second, none of the three movements involved could be fitted neatly into the simple two

in Civic identity and public space
Tim Snelson

This article focuses on a cycle of late 1960s true crime films depicting topical mass/serial murders. It argues that the conjoined ethical and aesthetic approaches of these films were shaped within and by a complex climate of contestation as they moved from newspaper headlines to best-sellers lists to cinema screens. While this cycle was central to critical debates about screen violence during this key moment of institutional, regulatory and aesthetic transition, they have been almost entirely neglected or, at best, misunderstood. Meeting at the intersection of, and therefore falling between the gaps, of scholarship on the Gothic horror revival and New Hollywood’s violent revisionism, this cycle reversed the generational critical divisions that instigated a new era in filmmaking and criticism. Adopting a historical reception studies approach, this article challenges dominant understandings of the depiction and reception of violence and horror in this defining period.

Film Studies
A lost cause?
Ashley Lavelle

chapter 4 1960s radicals and political defeat: a lost cause? After the 1960s rebellions, hope and resistance soon gave way to despair and retreat: as Mike Davis has observed, the eclipse of this radical period in the US was characterised by downturns in levels of political activity, splits within organisations such as the SDS, mass state repression targeted at the Black Panthers and others, and, most crucially, a steep decline in class struggle (Davis, 1986: 222–3). Tom Hayden recalled the ‘death upon death’ inflicted on the left (Hayden, 1988: 505). Hirschman

in The politics of betrayal
Migrants of the 1970s
A. James Hammerton

2 The decline of British privilege: migrants of the 1970s A migration of rising expectations At first glance the expanding rates of British emigration and mobility, which had marked the immediate postwar generation, seem to have continued with little significant change into the 1970s. Britons were barely less inclined to leave the country after 1970 than in the intense peak years of the later 1960s, especially to those countries like Australia and New Zealand, which continued to offer subsidised fares to eligible families and individuals. In 1966 British

in Migrants of the British diaspora since the 1960S
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The modern drive to emigrate
A. James Hammerton

clothes, nice houses’ always rankled with her mother. Living alone in 1960s London – Earls Court, surrounded by Australians – was not, though, all rosy, and she suffered from periods of depression, at one point sinking into a nervous breakdown for about three months. A working holiday in Sydney, ‘just to go and see’, seemed to offer a welcome break.1 After an exciting three-month sojourn in Hong Kong Jenny found her feet rapidly in Sydney; she had welcoming friends to stay with and plentiful job opportunities, promptly leading to stimulating work with the peak

in Migrants of the British diaspora since the 1960S
The push and pull of private life
A. James Hammerton

1960s began to disrupt the common postwar narrative of stable family migration, so it is hardly surprising that marital and family dysfunction and dispersal came increasingly to dominate migrant memories.2 But this bleak outlook is not the whole story. On the brighter side migration can operate as a spur to marriage, facilitate modern forms of extended family ‘chain’ and retirement migration and provide a stage for the global drama of moving love stories. The larger context to this is the emergence of discretionary migration in developed countries in the later

in Migrants of the British diaspora since the 1960S