The introductory chapter is written to help position the reader regarding the academic climate that saw the first edition of Hammer and Beyond materialise, to consider some of the book’s omissions, and to assess the state of British horror in the years immediately leading up to, and following, its publication.
cinemaandsociety in the last
twenty years will also be considered.
From acting and scriptwriting to directing
Serreau’s early career is typical of many of her female
contemporaries. Although a few older female filmmakers (such as Agnès Varda, Marguerite Duras
and Nelly Kaplan) managed to make films in the 1960s (even late 1950s for Varda), most of the
baby boomers became directors only in the 1970s. They often started with acting and felt, as
numerous actresses did at the time, either a growing frustration with the roles
– La mala educación and Los abrazos rotos (Broken Embraces, 2009 ) – which blur distinctions between past–present and fact–fiction, it is not surprising that Volver (encouraged by Almodóvar’s production notes and marketing materials) prompted reviewers to focus on the film’s local colour and its autobiographical dimension, aspects that mask the film’s engagement with the silencing of the past, the ramifications of unaddressed trauma, and the specularisation of girls and women in cinemaandsociety in general. Volver employs mother–daughter relationships
Despite his controversial reputation and international notoriety as a filmmaker, no full-length study of Henri-Georges Clouzot has ever been published in English. This book offers a re-evaluation of Clouzot's achievements, situating his career in the wider context of French cinema and society, and providing detailed and clear analysis of his major films (Le Corbeau, Quai des Orfèvres, Le Salaire de la peur, Les Diaboliques, Le Mystère Picasso). Clouzot's films combine meticulous technical control with sardonic social commentary and the ability to engage and entertain a broad public. Although they are characterised by an all-controlling perfectionism, allied to documentary veracity and a disturbing bleakness of vision, Clouzot is well aware that his knows the art of illusion. His fondness for anatomising social pretence, and the deception, violence and cruelty practised by individuals and institutions, drew him repeatedly to the thriller as a convenient and compelling model for plots and characters, but his source texts and the usual conventions of the genre receive distinctly unconventional treatment.
how they were received
by popular contemporary magazines such as Picturegoer and Picture
Show, and what trade papers like Kinematograph Weekly and Today’s
Cinema made of them. These might be thought to have had their fingers
on the pulse of what was likely to appeal to large, receptive audiences.
1 For example, Charles Barr, Ealing Studios, London: University of California Press,
1977; Robert Murphy, Realism and Tinsel: CinemaandSociety in Britain 1939–48,
London: Routledge, 1989; Charles Drazin, The Finest Years: British Cinema of the
1940s, London: I
This book recounts the little-known history of the mixed-race children born to
black American servicemen and white British women during the Second World War.
Of the three million American soldiers stationed in Britain from 1942 to 1945,
about 8 per cent (240,000) were African-American; the latter’s relationships
with British women resulted in the birth of an estimated 2,000 babies. The
African-American press named these children ‘brown babies’; the British called
them ‘half-castes’. Black GIs, in this segregated army, were forbidden to marry
their white girlfriends. Up to half of the mothers of these babies, faced with
the stigma of illegitimacy and a mixed-race child, gave their children up for
adoption. The outcome for these children tended to be long-term residency in
children’s homes, sometimes followed by fostering and occasionally adoption, but
adoption societies frequently would not take on ‘coloured’ children, who were
thought to be ‘too hard to place’. There has been minimal study of these
children and the difficulties they faced, such as racism in a (then) very white
Britain, lack of family or a clear identity. Accessibly written and illustrated
with numerous photographs, this book presents the stories of over forty of these
children. While some of the accounts of early childhood are heart-breaking,
there are also many uplifting narratives of finding American fathers and gaining
a sense of self and of heritage.
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.
. Murphy, Realism and Tinsel: CinemaandSociety in Britain 1939–1949 (London: Routledge, 1992) , p. 34; A. Davies, ‘A Cinema in Between: Postwar British Cinema’, in A. Davies and A. Sinfield (eds) British Culture of the Postwar: An Introduction to Literature and Society 1945–1999 (London: Routledge, 2000) , pp. 110–124, at p. 111.
9 M. Sweet, Shepperton Babylon: The Lost Worlds of British Cinema (London: Faber & Faber, 2005), p. 5.
10 Deborah Sugg Ryan’s analysis of ‘suburban modernism’ and Judy Giles’ exploration of domestic modernity and the suburbs
(London: BFI, 1992), p. 142.
Robert Murphy, Realism and Tinsel: CinemaandSociety in Britain 1939–49 (London: Routledge, 1992), p.
Squadron Leader Ken Cater MBE (retd) (personal
a blend of all three’ ( 1967 : 39) – and that is what Stanley Baker achieved without apparent effort.
Aldgate , Anthony and Richards , Jeffrey ( 1999 ), Best of British; CinemaandSociety from 1930 to Present , London : I. B. Tauris .
Anderson , Lindsay ( 1957 ), ‘ Get Out and Push! ’ Encounter , November, 14 – 22 .
Barr , Charles (ed.) ( 1986 ), All Our Yesterdays: 90 Years of British Cinema , London : BFI .
Barr , Charles ( 1998 ), Ealing Studios (3rd ed.), London