Amateur film: Meaning and practice 1927–77 traces the development of non-professional interests in making and showing film. It explores how amateur cinematography gained a following among the wealthy, following the launch of lightweight portable cine equipment by Kodak and Pathé in Britain during the early 1920s. As social access to the new hobby widened, enthusiasts began to use cine equipment at home, work, on holiday and elsewhere. Some amateurs made films only for themselves while others became cine club members, contributors to the hobby literature and participated in film competitions from local to international level. The stories of individual filmmakers, clubs and the emergence of an independent hobby press, as well as the non-fiction films made by groups and individuals, provide a unique lens through which contemporary responses to daily experience may be understood over fifty years of profound social, cultural and economic change. Using regional film archive collections, oral testimony and textual sources, this book explores aspects of family life, working experience, locality and social issues, leisure time and overseas travel as captured by filmmakers from northern and northwest England. This study of visual memory, identity and status sets cine camera use within a wider trajectory of personal record making, and discusses the implications of footage moving from private to public spaces as digitisation widens access and transforms contemporary archive practice.
As a technology able to picture and embody the temporality of the past, cinema has become central to the mediation of memory in modern cultural life. The memory of film scenes and movies screens, cinema and cinema-going, has become integral to the placement and location of film within the cultural imagination of this century and the last. This book is a sustained, interdisciplinary perspective on memory and film from early cinema to the present. The first section examines the relationship between official and popular history and the constitution of memory narratives in and around the production and consumption of American cinema. The second section examines the politics of memory in a series of chapters that take as their focus three pivotal sites of national conflict in postwar America. This includes the war in Vietnam, American race relations and the Civil Rights Movement, and the history of marginality in the geographic and cultural borderlands of the US. The book explores the articulation of Vietnam. The final section concentrates on the issue of mediation; it explores how technological and semiotic shifts in the cultural terrain have influenced the coding and experience of memory in contemporary cinema. It considers both the presence of music and colour in nostalgia films of the 1990s and the impact of digital and video technologies on the representational determinants of mediated memory. The book also examines the stakes of cultural remembering in the United States and the means by which memory has been figured through Hollywood cinema.
English radicalism has been a deep-rooted but minority tradition in the political culture since at least the seventeenth century. The central aim of this book is to examine, in historical and political context, a range of key events and individuals that exemplify English radicalism in the twentieth century. This analysis is preceded by defining precisely what has constituted this tradition; and by the main outline of the development of the tradition from the Civil War to the end of the nineteenth century. Three of the main currents of English radicalism in the twentieth century have been the labour movement, the women’s movement and the peace movement. These are discussed in some detail, as a framework for the detailed consideration of ten key representative figures of the tradition in the twentieth century: Bertrand Russell, Sylvia Pankhurst, Ellen Wilkinson, George Orwell, E.P. Thompson, Michael Foot, Joan Maynard, Stuart Hall, Tony Benn and Nicolas Walter. The question of ‘agency’ – of how to bring about radical change in a predominantly conservative society and culture – has been a fundamental issue for English radicals. It is argued that, in the twentieth century, many of the important achievements in progressive politics have taken place in and through extra-parliamentary movements, as well as through formal political parties and organisations – the Labour Party and other socialist organisations – and on occasion, through libertarian and anarchist politics. The final chapter considers the continuing relevance of this political tradition in the early twenty-first century, and reviews its challenges and prospects.
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.
routes tangible, and recovers the names and distribution of imperial
places and correspondents, but leaves the activity of flying
unexamined. Viewing archivefilm partially fills that gap, albeit
the view is of an entirely safe, silent and standardised experience
of early air travel, ground services and sights. The exceptional
artistry of Imperial Airways advertising posters invokes
to the work of others in appropriate detail,
but in the sections where the sources noted are illustrative, the texts and
authors are mentioned only briefly. This is to prevent the inclusion of a
range of sample sources within the text itself and bibliography.
Some readers may also feel that the archive and archivalfilm research
included here receives greater attention than textual analysis. This is
due to both the intention of this work to foreground the uses of film as
a source and the need for a work which provides a useful starting point
for those keen to
of chapter 4.
15 Ibid., p. 29.
16 Ibid., p. 28.
17 Ibid., p. 91.
18 Bertrand Russell, interviewed by Ralph Miliband, in 1965 (archivalfilm, Connecticut
TAYLOR (Radicalism) 9781784993191 PRINT.indd 51
English radicalism in the twentieth century
State University, USA, lent to the author by Marion Kozak, the wife of the late Ralph
19 B. Russell, Proposed Roads to Freedom, 1918; new edition Echo Press, 2007.
20 Ryan, Russell: A Political Life, p. 13.
21 Ibid., p. 106.
22 For a contrary view, see ibid., pp. 173ff.
structural or ‘musical’ analysis of this scene, as of the previous one,
one would need to do more than put in a lot of crude blobs or ‘notes’ –taking
into account also the precise length of each shot, and also the ‘scale’ of shot, the
loudness of the close-up against the quieter long shots. For fully accurate notation, a film print rather than a DVD would be necessary, in order to measure the
number of frames, which would mean working from a 35mm archivalfilm print.
This is exactly what David Bordwell and Kristin Thompson do, in recent editions
of their now
brutality as a means of countering political subversion to
devastating effect. At the start of the film, over newspaper extracts,
drawings, photographs and archivefilm footage, the commentary recounts the
abduction of the then US ambassador to Brazil by a group of revolutionaries
on 4 September 1969. In return for the release of the ambassador, they demanded the
release of fifteen political prisoners who had been imprisoned under the
events: in Forrest Gump, for example, the film
splices the character of Gump into fictionalised interactions with
historical figures captured in archivalfilm images – Gump is seen
shaking hands with JFK and Richard Nixon, standing on the University of
Alabama steps with George Wallace and conversing with John Lennon. And
in the case of Steven Spielberg’s Saving Private Ryan , the
film creates a