Coming just five years after the ravages of the Second World War, the Korean war was a deeply unsettling moment in post-war British history. This book is a study of Britain's diplomatic, military and security policy during the Korean War as seen from the perspective of the British Government. It explores the social and cultural impact of the Korean War (1950-53) on Britain. From allegations about American use of 'germ' warfare to anxiety over Communist use of 'brainwashing' and treachery at home, the Korean War precipitated a series of short-lived panics in 1950s Britain. The book charts the war's changing position in British popular imagination and asks how it became known as the 'Forgotten War'. The study presented argues that the British did have influence over American decision-making during the Korean War. Whereas the existing United Nations resolutions would permit 'swirling' across the 38th parallel operations of a politico-military nature would require further United Nations consideration. The British did not have a veto over American strategy in Korea - but under the Truman administration they came pretty close to one with respect to the widening of the war into China. The Attlee-Truman talks, in December 1950, secured for the British the watershed agreement of the right to be consulted on the use of the atomic bomb. The book also talks about General Douglas MacArthur, the 1951 Chinese capture of Seoul by communists, and the concept of a British 'Manchurian Candidate'-type figure indoctrinated by the Chinese in Korea.
This book is about a lost moment in British, and especially Scots, history. It explores in detail the events of 1708. The book uses this as a platform to analyse the dynamics of the Jacobite movement, the English/British government's response to the Jacobites' activities and the way the Jacobites interacted with the French government. Grand historical theses need, however, to be well grounded in the nitty-gritty of human affairs. The book offers a detailed narrative of the execution of the Enterprise of Scotland. It introduces the reader to the operation's climactic moment and at the same time corrects misapprehensions about it that have crept in to the historiography that touches on the operation proper. The book also offers a new interpretation of the role of Queen Mary of Modena as de facto regent and thus director of the movement in the early eighteenth century. It highlights the unusually prominent role played by particular Scots noblewomen, such as Anne Drummond, countess of Erroll, and Elizabeth Howard, duchess of Gordon, in the conspiracy leading to the '08. In a context set by a desperate, epic global war and the angry, febrile politics of early eighteenth-century Scotland, the book contends that Britain was on the cusp of a military and constitutional upheaval.
Vaccinating Britain investigates the relationship between the British public and vaccination policy since 1945. It is the first book to examine British vaccination policy across the post-war period and covers a range of vaccines, providing valuable context and insight for those interested in historical or present-day public health policy debates. Drawing on government documents, newspapers, internet archives and medical texts it shows how the modern vaccination system became established and how the public played a key role in its formation. British parents came to accept vaccination as a safe, effective and cost-efficient preventative measure. But occasional crises showed that faith in the system was tied to contemporary concerns about the medical profession, the power of the state and attitudes to individual vaccines. Thus, at times the British public demanded more comprehensive vaccination coverage from the welfare state; at others they eschewed specific vaccines that they thought were dangerous or unnecessary. Moreover, they did not always act uniformly, with “the public” capable of expressing contradictory demands that were often at odds with official policy. This case study of Britain’s vaccination system provides insight into the relationship between the British public and the welfare state, as well as contributing to the historiography of public health and medicine.
The TV debut of Vic Reeves Big Night Out on Channel 4 in 1990 is often seen as marking a turning point for British TV Comedy, ushering in what is often characterised as the ‘post-alternative’ era. The 1990s would produce acclaimed series such as Father Ted, The League of Gentlemen and The Fast Show, while the new century would produce such notable shows as The Mighty Boosh, The Office and Psychoville. However, while these shows enjoy the status of ‘cult classics’, comparatively few of them have received scholarly attention. This book is the first sustained critical analysis of the ‘post-alternative’ era, from 1990 to the present day. It examines post-alternative comedy as a form of both ‘Cult’ and ‘Quality’ TV, programmes that mostly target niche audiences and possess a subcultural aura – in the early 90s, comedy was famously declared ‘the new rock’n’roll’. It places these developments within a variety of cultural and institutional contexts and examines a range of comic forms, from sitcom to sketch shows and ‘mock TV’ formats. It includes case studies of Vic Reeves and Bob Mortimer and the sitcom writer Graham LInehan. It examines developments in sketch shows and the emergence of ‘dark’ and ‘cringe’ comedy, and considers the politics of ‘offence’ during a period in which Brass Eye, ‘Sachsgate’ and Frankie Boyle provoked different kinds of media outrage. Cult British TV Comedy will be of interest to both students and fans of modern TV comedy.
This book offers an opportunity to reconsider the films of the British New Wave in the light of forty years of heated debate. By eschewing the usual tendency to view films such as A Kind of Loving and The Entertainer collectively and include them in broader debates about class, gender and ideology, it presents a new look at this famous cycle of British films. Refuting the long-standing view that films such as Billy Liar and Look Back in Anger are flawed and therefore indicative of an under-achieving national cinema, the book also challenges the widely held belief in the continued importance of the relationship between the British New Wave and questions of realism. Drawing upon existing sources and returning to unchallenged assumptions about British cinema, this book allows the reader to return to the films and consider them anew. In order to achieve this, the book also offers a practical demonstration of the activity of film interpretation. This is essential, because the usual tendency is to consider such a process unnecessary when it comes to writing about British films. The book demonstrates that close readings of films need not be reserved for films from other cinemas.
Migrations of people, ideas, beliefs and cultures have closely shaped relations between the nations of the British and Irish Isles. In part this was the result of Anglo-imperialism, which expanded from a heartland around London and the South of England, first, then through the ‘Celtic fringe’, creating hybrid peoples who were both Irish and British, before spreading across the globe. At times, Catholics of both islands were exiled from this narrative of nation-building. Political pressures, economic opportunities, a spirit of adventure and sometimes force, spurred the creation of multiple diasporas from the British and Irish Isles. This book brings together a range of leading scholars who explore the origins, varieties and extent of these diasporas. Wherever Britons and the Irish went, they created new identities as neo-Britons, neo-Angles, neo-Irish, neo-Scots: persons who were colonials, new nationals, and yet still linked to their old country and home nations. British and Irish emigrants also perpetuated elements of their distinctive national cultures in music, literature, saints’ days and broader, diffuse interactions with fellow nationals. These especially commissioned essays explore processes of diaspora-formation from the English Catholic exiles of the sixteenth century, through the ‘Wild Geese’, Jacobites, traders and servants of the seventeenth and eighteenth centuries, to the modern colonising diasporas associated with the modern age of mass migration.
This book addresses the aesthetics of British television programmes, charting some key examples of experiment and formal or stylistic innovation, drawing mostly on arts documentaries and drama productions. It turns to the work of the little known Langham Group. In contrast to the populism of Armchair Theatre, the group emerged from a British Broadcasting Corporation (BBC) initiative to consider 'the problem of experimental television programmes'. The book discusses very varied examples of experimental television that flourished during the 1960s. It also introduces Channel 4 with an insider's account of a world of utopian hopes and the snares of the schedule. The book then looks at two series that attempted to experiment with the presentation of art to British television viewers: New Tempo and Who Is?. It explores the relationship between the series and Troy Kennedy Martin's 'Nats Go Home' manifesto, a polemic against naturalism in television drama which provided a theoretical rationale for the experimentalism of Diary of a Young Man. The book further examines the product of that experiment, placing it in the context of John McGrath's other work and his own 1979 'manifesto' for progressive television. It argues that Dennis Potter's drama, and particularly The Singing Detective, contributes to experimental television through systematic comment on, and elaboration of, the medium's inherent polysemic nature. Finally, the book focuses on the presentation of pop music on television, specifically the pop promo, rather than the dedicated music television programme.
Far from a trivial topic, the post-war train spotting craze swept most boys and some girls into a passion for railways, and for many, ignited a lifetime's interest. This book traces this post-war cohort, and those which followed, as they invigorated different sectors in the world of railway enthusiasm. Today Britain's now-huge preserved railway industry finds itself driven by tensions between preserving a loved past which ever fewer people can remember and earning money from tourist visitors. It was Hamilton Ellis and Philip Unwin who were the joint pioneers of the 'Railway Book Mania' which ran from 1947 to the dwindling of popular and mid-depth railway history writing in the 1970s. British railway enthusiasts suffer from an image problem. Standing forlorn on station platforms, train spotters are butts for every stand-up comic's jokes. Like some other collectors, train spotters collect ephemera: locomotive numbers are signs unconnected to any marketable commodity. Train spotting had its own rich culture. As British railways declined from their Edwardian peak, enthusiasts' structure of feeling shifted steadily from celebrating novelty to mourning loss. Always a good hater as well as a skilled engineer, more than seventy years ago Curly Lawrence identified issues which still bounce around modelling sections of the British railway fancy. The book discusses toy trains, model engineering and railway modelling. British railway enthusiasm remains a remarkably varied activity today, articulated through attachment (of whatever kind) to prototype railways' life-world.
British Rural Landscapes on Film offers wide-ranging critical insights into ways in which rural areas in Britain have been represented on film, from the silent era, through both world wars, and on into the contemporary period. The contributors to the book demonstrate that the countryside in Britain has provided a range of rich and dense spaces into which aspects of contested cultural identities have been projected. The essays in the book show how far British rural landscapes have performed key roles in a range of film genres including heritage, but also horror, art cinema, and children’s films. Films explored include Tawny Pipit (1944), A Canterbury Tale (1944), The Go-Between (1970), Blood on Satan’s Claw (1971), Another Time, Another Place (1983), On the Black Hill (1987), Wuthering Heights (2011), Jane Eyre (2011), and the Harry Potter and Nanny McPhee films. The book also includes new interviews with the filmmakers Gideon Koppel and Patrick Keiller. By focusing solely on rural landscapes, and often drawing on critical insight from art history and cultural geography, this book aims to transform our understanding of British cinema.
Featuring more than 6,500 articles, including over 350 new entries, this fifth edition of The Encyclopedia of British Film is an invaluable reference guide to the British film industry. It is the most authoritative volume yet, stretching from the inception of the industry to the present day, with detailed listings of the producers, directors, actors and studios behind a century or so of great British cinema. Brian McFarlane's meticulously researched guide is the definitive companion for anyone interested in the world of film. Previous editions have sold many thousands of copies, and this fifth instalment will be an essential work of reference for universities, libraries and enthusiasts of British cinema.