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Alfred Hitchcock and Anthony Asquith
Tom Ryall

experience of film-going for a mass audience. Secondly, from the diversity of modes and styles in, for example, the films of Germany, France and the Soviet Union, which the London-based Film Society started screening to a minority audience in 1925. British film culture in the 1920s As András Bálint Kovács has written, ‘(w)hen we speak of “art films” as opposed to “commercial entertainment films,” we are referring not to aesthetic qualities but to certain genres, styles, narrative procedures, distribution networks

in British art cinema
A celebration

This book offers a startling re-evaluation of what has until now been seen as the most critically lacklustre period of the British film history. It includes fresh assessment of maverick directors; Pat Jackson, Robert Hamer and Joseph Losey, and even of a maverick critic Raymond Durgnat. The book features personal insights from those inidividually implicated in 1950s cinema; Corin Redgrave on Michael Redgrave, Isabel Quigly on film reviewing, and Bryony Dixon of the BFI on archiving and preservation. A classic image from 1950s British cinema would be Jack Hawkins in The Cruel Sea, the epitome of quiet English integrity. Raymond Durgnat's A Mirror for England: British Movies from Austerity to Affluence, which deals extensively with British films of the 1950s, was written in the mid-1960s and was published in 1970. In a 1947 article called 'Angles of Approach' Lindsay Anderson delivered a fierce attack on contemporary British film culture, outlining a model for a devoted politics of creation, well in line with what we would later understand as auteurism and art cinema aesthetics . The war films of the 1950s together constitute the assented-to record of the emotions and moral judgments called upon to set in order those disorderly events. The book also talks about the Festival of Britain, White Corridors, and four Hamer's post-Ealing films: The Spider and the Fly, The Long Memory, Father Brown and The Scapegoat. A number of factors have contributed to the relative neglect of the 1950s as a decade in British cinema history.

Open Access (free)
Sequence and the rise of auteurism in 1950s Britain
Erik Hedling

date. In a 1947 article called ‘Angles of Approach’ Anderson delivered a fierce attack on contemporary British film culture, outlining a model for a devoted politics of creation, well in line with what we would later understand as auteurism and art cinema aesthetics. 11 On the role of film criticism, Anderson wrote: ‘It is the critic’s first duty (and in this sense we are all critics) to perceive the object of a film

in British cinema of the 1950s
Nigel Mather

), Bhaji on the Beach (Gurinder Chadha, 1994), Secrets & Lies (Mike Leigh, 1996), My Son the Fanatic (Udayan Prasad, 1998), and East is East (Damien O’Donnell, 1999) constituted a vital and innovative sub-genre within 1990s British film culture. These films meditated on what it meant to be Jewish, black, British-Asian or African-Caribbean in contemporary Britain, and were identified by many critics as operating

in Tears of laughter
Jason Statham as postmodern hero
Robert Shail

The appearance of the tough guy in British cinema might be traced back to the success of Stanley Baker from the late 1950s onwards. He paved the way for other working-class heroes such as Michael Caine, Bob Hoskins and Ray Winstone who redefined masculinity in British film culture. Drawing on Richard Dyer's concept of star types, this chapter will look at how the British tough guy has transformed in recent years to arrive at the postmodern pastiche of Jason Statham. What does this development tell us about changing notions of the masculine on-screen?

in Crank it up
Abstract only
Peter Hutchings

Frightmare (1974) This book has sought to demonstrate that the horror films produced up until and through the 1970s, and most notably those associated with Hammer, comprised an important – albeit controversial – intervention into British cinema and British film culture. From the perspective of today, they remain fascinating documents of a particular period in British cultural history. If there is to be a regeneration of British horror understood in a nationalistic sense – and

in Hammer and beyond
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‘Tears of laughter': comedy-drama in 1990s British cinema
Nigel Mather

will subsequently be scrutinised. Chapter 3 , focusing upon romantic comedy, considers how far such a type of narrative format might be deemed to have played an important role in British film culture prior to the 1990s. In his book Dracula (2003), Peter Hutchings claims that ‘despite all the new work being done on British film, evaluative claims are not being made nearly enough’. 2 One way he suggests of countering this shortcoming is to

in Tears of laughter
Abstract only
Nigel Mather

ethnic comedy-dramas with their work on Bhaji on the Beach (1994), and therefore it was fitting that the new century saw them produce belated follow-up films: Bend It Like Beckham (directed by Chadha) and Anita and Me (scripted by Syal). The near ten-year gap between their first and second British films tended to suggest, however, that the place of the ethnic comedy-drama within contemporary British film culture was by no

in Tears of laughter
Social democracy on the home front in Britain during the Second World War
Clare Griffiths

191 References Addison, Paul (1994) The Road to 1945: British Politics and the Second World War (London: Pimlico). Black, E. I. and Simey, T. S. (1954) Neighbourhood and Community. An Enquiry into Social Relationships on Housing Estates in Liverpool and Sheffield (Liverpool: University Press of Liverpool). Briggs, Asa (2006) ‘The Labour Party as Crucible’, Political Quarterly, 77(1), 17–26 Burton, Alan, O’Sullivan, Tim and Wells, Paul (2000) The Family Way. The Boulting Brothers and British Film Culture (Trowbridge: Flicks Books). Butler, Lise (2015) ‘Michael Young

in Making social democrats
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‘There used to be a me, but I had him surgically removed’
Andrew Roberts

on American Screens 1946–1973 , Madison : University of Wisconsin Press . Barr , Charles ( 1998 ), Ealing Studios (3rd ed.), London : Continuum . Billington , Michael ( 1975 ), ‘ Cinema: Good News from Britain ’, Illustrated London News , 1 March, 64 . Boulting , John and Boulting , Roy ( 1980 ), ‘ Peter the Great ’, The Guardian , 25 July, 11 . Burton , Alan , O’Sullivan , Tim and Wells , Paul (eds.) ( 2000 ), The Family Way: The Boulting Brothers and British Film Culture , Trowbridge, UK

in Idols of the Odeons