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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.

Michael Leyshon and Catherine Brace

This chapter brings together work on rural landscapes and identity, the lives of young people in rural areas and the representation of rural youth in fiction to construct a critical analysis of Tim Roth's film The War Zone. Set in north Devon, the film reconfigures the rural as aberrant, heteroclitic and sinister in several linked ways. First, it challenges the lay discourse which positions the countryside as a safe place in which to grow up by portraying it as alienating and marginalising. Second, it resists the popular image of rural sexuality as playful, innocent fumbling in a hayloft by foregrounding Tom Holland and Jessie's exploration of their (deviant) sexual identities. Finally, by using as its setting the bleak landscape of north Devon, it envisions a contemporary alternative to a historically constituted version of rural England as a green and pleasant land.

in Cinematic countrysides
Conrad Aquilina

structurally met by vampire autobiography, where Dr Seward’s phonograph in Dracula has been superseded as the medium of transcription by the tape recorder, but with the vampire’s own voice dictating ( The Dracula Tape , Interview with the Vampire ). Byronic vampires have proliferated: Saberhagen’s Dracula, Lestat and Armand, Saint-Germain, Don Sebastian and Tsepesh, 43 and Tom Holland’s own Byron

in Open Graves, Open Minds
British pagan landscapes in popular cinema
Tanya Krzywinska

, as with other occult fictions, the landscape itself is a source of power, imbued with a moral-metaphysical dimension that accords neatly with the common horror Manichean-based convention of a universal battle between good and evil, which, in this case, precedes Christianity. Tom Holland’s horror novel Deliver Us from Evil ( 2000 ) is partly set in Wiltshire and continues the tradition of

in Cinematic countrysides
Poststructuralism and naturalism in literature, television and film in the 1980s
Jonathan Bolton

” fantasies underly “Make America Great Again” and “Take Back Control” slogans that mythologize the past in order to gain political power. 34 8 Guy Burgess (Tom Hollander) and Anthony Blunt (Samuel West), from Cambridge Spies television mini-series (2003

in The Blunt Affair
Robert Shaughnessy

have been interpreted by its immediate reviewers and by subsequent commentators, the sexual politics of the production need to be unpacked with care. In retrospect, it may seem surprising that in the first instance Donnellan was careful to state that ‘our production is not a gay production’: even though ‘it’s hard to see Jaques [Joe Dixon] as anything but a gay character, and Celia [Tom Hollander

in As You Like It
Gothic and the perverse father of queer enjoyment
Dale Townshend

late-Victorian myth that have amplified the play of queer desires between, say, the Count and a jejune Jonathan Harker, or between the three infernal sisters and Lucy Westenra. The suave advances of Bela Lugosi in Tod Browning’s classic Dracula (1931) would play themselves out in the more self-consciously queer filmic contexts of Fright Night (Dir. Tom Holland, USA, 1985) and Razor Blade

in Queering the Gothic
Sylvie Magerstädt

is that although the sexual decadence ‘might have been justifiable if the series had been set 100 years later, under the emperors’ it was misplaced ‘at the time of the republic’. He quotes Tom Holland, author of the acclaimed historical novel Rubicon, who argues that during the Republic ‘Romans exhibited “a censoriousness quite as rigid and oppressive as anything to be found today in the Bible Belt”’ (Harris, 2005). However, as already indicated with regard to violence, Rome offers a new and original variation on other vices as well. On the one hand, the

in TV antiquity
Film, television drama and the Northern Irish conflict in Britain
John Hill

relationship with Ireland (and the Irish in Britain). As such, the film reveals a tendency shared with many other works that have set out to uncover the operations of political power in Britain. Some Mother’s Son (1996), written and directed by Terry George (the co-writer of In the Name of the Father), also employs an apparently omnipresent Thatcherite politician, Farnsworth (Tom Hollander), to highlight the machinations of the British government during the 1981 hunger strike by Irish republican prisoners in Long Kesh (the Maze DAWSON 9780719096310 PRINT (v2).indd 256 14

in The Northern Ireland Troubles in Britain
Abstract only
London’s racial geography, 1960–80
Caspar Melville

environment: London’s racial geography, 1960–80 dance music, kept the black American dance music flame alive on the Essex coast. In 1976 Hill started a residency at the Lacy Lady in Ilford, east of London, alongside resident Tom Holland, where he played strictly ‘black music’ and his soul crowd grew, drawn both from the suburbs further east and from inner-city east London. Another Essex mod, Bob Jones, had started his own residency at a club called DeeJays in Chelmsford, Essex. Initially he played pop, but gradually he built a crowd who wanted to hear less commercial

in It’s a London thing