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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.

Chloe Campbell

In this chapter, the effects of biological thinking on attitudes towards African development and social policy in Kenya will be explored using juvenile delinquency, intelligence testing and mental health as examples. Debates about juvenile delinquency and criminal insanity were domestic aspects of a wider eugenic debate about African educability and social progress, but

in Race and empire
Author: Tom Whittaker

This is the first major study in English of cine quinqui, a cycle of popular Spanish films from the late 1970s and early 1980s that starred real-life juvenile delinquents. The book provides a close analysis of key quinqui films by directors such as Eloy de la Iglesia, José Antonio de la Loma and Carlos Saura, as well as the moral panics, public fears and media debates that surrounded their controversial production and reception. In paying particular attention to the soundtrack of the films, the book shows how marginal youth cultures during Spain’s transition to democracy were shaped by sound. It will be of interest to scholars and students of Spanish film, history and cultural studies, as well as to those working in sound studies and youth subcultures more broadly.

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Anna Ariadne Knight

Introduction Certain Hollywood stars of 1950s cinema were enormously influential in British youth culture of the period. These alluring and confrontational representations of masculinity gave expression to the changing mood of a rising generation. The power of teenage consumerism redirected the economy to produce the consumables – and the film stars – young people most desired. Several American actors idealised masculine rebellion by starring in Hollywood films that glamorised juvenile delinquency. Their images linger in the public imagination: Elvis Presley

in Screening the Hollywood rebels in 1950s Britain
Blackboard Jungle fever in the classroom
Anna Ariadne Knight

denouement shows Dadier taking West and Belazi to the principal’s office, announcing that they will be turned over to the proper authorities. As the plot summary shows, this Hollywood film about juvenile delinquency did not offer audiences the charismatic screen rebel that was given narrative space in The Wild One. In contrast, Blackboard Jungle’s hero is the courageous and determined teacher who rails against, and quashes, the delinquent elements of an inner city high school. Yet this storyline did not immediately convince the BBFC that it deserved a certificate

in Screening the Hollywood rebels in 1950s Britain
Marlon Brando and The Wild One ban in the UK
Anna Ariadne Knight

because he believed that Brando was ‘an actor whose every appearance is a major screen event’.4 Having received the approval of the local watch committee, Halliwell’s petition met with mixed responses from other Cambridge residents. Frank Hardy, a local youth club leader, commented: ‘It’s alright showing it in Cambridge. We have a low juvenile delinquency rate. But in some places it could be a harmful influence. I wouldn’t show it in Liverpool, for instance.’ 5 Given the short distance between Cambridge and London, Halliwell was ‘besieged’ by requests for party rates

in Screening the Hollywood rebels in 1950s Britain
Chris Waters

’. 15 Or, as Richard Hornsey has put it recently, social psychology was called upon after the war to address a cast of problematic figures who seemed dangerously out of place in the ordered, rational postwar landscape. 16 Most of all, in the aftermath of the war, the human sciences were called upon to deal with a number of so-called ‘social problems’, the declining birth-rate, divorce, anti-Semitism, race relations, juvenile delinquency and homosexuality amongst them. In the context of a series of broad anxieties about family breakdown, demographic decline

in British queer history
Intellectual responses
Nadia Kiwan

banlieue, family conflict, juvenile delinquency/violence, unemployment and more recently, discrimination. Much of the existing literature on young people of ‘immigrant origin’ has taken the notion of integration as its framework, thus asking how and to what extent young people of immigrant descent are being integrated into mainstream society. One of the limitations in all these debates is the lack of explicit linking between the different perspectives. For example, the more theoretical debates tend to remain normative in character, discussing the merits and disadvantages

in Identities, discourses and experiences
Lynn Anthony Higgins

1990s, Tavernier’s perspective is increasingly reportorial. A number of works can hardly be classified as documentaries, but they are not entirely fictional either. L.627 , L’Appât , Ça commence aujourd’hui , and Holy Lola scrutinize crises in the respective realms of narcotics police, juvenile delinquency, a school in a poor community, and international adoption. These films harness the investigative fervor of the journalist responsible for observing details and respecting facts. They rely on the scholar’s meticulously

in Bertrand Tavernier
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The rise of the Angry Young Men
Anna Ariadne Knight

popularised method acting. The film reviewers of specialist cinema journals, who championed this experimental American acting, were dubious about the proliferation of the Young Rebel trope in European cinema.2 Violent Playground (Basil Dearden, 1958) was the first of many British films that exploited their leading man’s resemblance to James Dean and drew inspiration from the familiar Hollywood motifs of juvenile delinquency and rock ’n’ roll. In the film, David McCallum – who had been promoted as ‘the British James Dean’ – plays Johnny, a maladjusted teenager whose

in Screening the Hollywood rebels in 1950s Britain