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
. 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
Imagining sameness and solidarity through Zerqa (1969)
In the only historical survey of Pakistani cinema done in
recent years, CinemaandSociety: Film and Social Change in
Pakistan , surprisingly, the only notable mention of the film
Zerqa is that of the film’s poster ( Figure 12.2 ):
Posters of the 1960s also
include political and revolutionary, anti-colonial themes, most
(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
event’ of quite extraordinary prominence and duration, and time and again the trade press
Cinemas and cinemagoing in wartime Britain, 1939–45
contained reports of attendances fluctuating in response to events as
dramatic as the blackout or the blitz, or as prosaic as the changing of the
clocks or the seasons.
This book will explore the interconnectedness of cinemaandsociety in
Britain during the Second World War not only in terms of the impact that
the war had on British cinemas and cinemagoing between 1939 and 1945,
but also in terms of how the cinema