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Critics and Critical Practice at the Monthly Film Bulletin
Richard Lowell MacDonald

This article focuses on the Monthly Film Bulletin, a magazine devoted to what is often regarded as the lowliest and most ephemeral form of film criticism: the film review. Studying the Bulletins publication history, with a particular emphasis on the 1970s, the article challenges the dismissal of journalistically motivated film criticism in academic discourse. It argues that the historical interest of the Bulletins late period lies in its hybrid identity, a journal of record in which both accurate information and personal evaluation coexisted as values, and in which a polyphony of individual critical voices creatively worked through a routinised reviewing practice and a generic discursive format.

Film Studies
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.

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Oh! What a Lovely War (1969)
Sally Dux

voiced by First World War historians who challenged the accuracy of the film’s depiction of the conflict. At the time of release there were adverse comments through a polemical review and critique from Alan Lovell in the Brighton Film Review. Yet, while the film received a rather mixed critical response, it went on to win a number of national and international awards. It also achieved popular success, becoming a British cinema top-ten box-office film for 1969. Oh! What a Lovely War is based on the musical stage play Oh What a Lovely War! produced by Joan Littlewood for

in Richard Attenborough

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.

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A history of northern soul

This book is a social history of northern soul. It examines the origins and development of this music scene, its clubs, publications and practices, by locating it in the shifting economic and social contexts of the English midlands and north in the 1970s. The popularity of northern soul emerged in a period when industrial working-class communities were beginning to be transformed by deindustrialisation and the rise of new political movements around the politics of race, gender and locality. The book makes a significant contribution to the historiography of youth culture, popular music and everyday life in post-war Britain. The authors draw on an expansive range of sources including magazines/fanzines, diaries, letters, and a comprehensive oral history project to produce a detailed, analytical and empathetic reading of an aspect of working-class culture that was created and consumed by thousands of young men and women in the 1970s. A range of voices appear throughout the book to highlight the complexity of the role of class, race and gender, locality and how such identities acted as forces for both unity and fragmentation on the dance floors of iconic clubs such as the Twisted Wheel (Manchester), the Torch (Stoke-on-Trent), the Catacombs (Wolverhampton) and the Casino (Wigan).

Alejandro Melero

, Spanish audiences rushed to see the films that had been banned before. As one film review of the time remarked, ‘se diría que todo lo que queremos ver hoy en día es sexo, sexo, y más sexo. Una buena historia no importa. Unos buenos actores no interesan. La fotografía, el sonido, los decorados … nada importa con tal de que haya escenas de sexo’ [it looks like all we want to see nowadays is sex, sex, sex. Good plots are irrelevant. Good performers are of no interest. Cinematography, sound, settings … nothing matters as long as the sex scenes are there] (Martalay 1976:  n

in Performance and Spanish film
Transforming gender and magic on stage and screen
Katharine Goodland

analysis of how the medium of film itself is magic, see Victoria Bladen, ‘Screen Magic in Greenaway's Prospero's Books and Taymor's The Tempest ’, in Sarah Hatchuel and Nathalie Vienne-Guerrin (eds), Shakespeare on Screen: The Tempest and Late Romances (Cambridge: Cambridge University Press, 2017). 37 Samuel Crowl, ‘Film review: Julie Taymor's Tempest ’, Shakespeare Bulletin, 29:2 (2011), p. 177

in Shakespeare and the supernatural
Open Access (free)
Religious influences on the depictions of science in mainstream movies
David A. Kirby
and
Amy C. Chambers

). The threat of censorship during this period forced filmmakers to make decisions about which science to include or remove, based on reasons that had nothing to do with artistic merit, as they anticipated censure. The censors’ sense of moral certainty did not require them to even understand the science upon which they were passing judgement. Ultimately, the PCA and the Legion of Decency began to lose their influence in the 1960s owing to broader cultural changes, including 3  All information in this chapter on the PMPC comes from the individual film reviews in the

in Science and the politics of openness
Sex, sensibility and British cinema
Nigel Mather

(4 March 2008), p. 3. 4 Gilles Deleuze and Félix Guattari, Anti-Oedipus: Capitalism and Schizophrenia , trans. Robert Hurley, Mark Seem and Helen Lane (London: Bloomsbury, 2015 [1972]), pp. 431–2. 5 Tym Manley, ‘Back in the Centre Fold’, New Statesman , 89:2306 (30 May 1975), p. 716. 6 Deborah Ross, review of I Want Candy , Spectator , 303:9319 (24 March 2007), pp. 51–2. 7 Jonathan Romney, review of Dogging: A Love Story , Screen International , 1678 (13–19 February 2009), p. 27. 8 Nick Dawson, film review of 9 Songs , Empire , 190

in Sex and desire in British films of the 2000s
Remembering incest in A Thousand Acres (1991), Exposure (1993) and Beautiful Kate (2009)
Rebecca White

, Doll Australia, New Town Films, Screen Australia, 2009) DVD Bonus Interview, Matchbox Films, 2009. All quotations are printed with kind permission of © Rachel Ward, New Town Films, Screen Australia and Doll henceforth. 143 Luke Buckmaster, ‘ Beautiful Kate Film review: Handsomely ho

in Incest in contemporary literature