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The cinema was the most popular form of entertainment during the Second World War. Film was a critically important medium for influencing opinion. Films, such as In Which We Serve and One of Our Aircraft is Missing, shaped the British people's perceptions of the conflict. British War Films, 1939-45 is an account of the feature films produced during the war, rather than government documentaries and official propaganda, making the book an important index of British morale and values at a time of desperate national crisis.
The cinema was the most popular form of entertainment during the Second World War. Film was a critically important medium for influencing opinion. Films, such as In Which We Serve and One of Our Aircraft is Missing, shaped the British people's perceptions of the conflict. British War Films, 1939-1945 is an account of the feature films produced during the war, rather than government documentaries and official propaganda, making the book an important index of British morale and values at a time of desperate national crisis.
Third, that the condition of total war in which Britain found itself a short time after the commencement of hostilities would mean that films, and indeed, all mass/popular culture, would respond to the urgency of the situation by taking a special interest in representations of British society. And fourth, following on from this, that British films of the Second World War would, one way or another, be agents of propaganda. From these propositions, the book examines just what these films had to say about social class in the images of Britain they were promulgating, with the corollaries of just how were they saying it, and why were they saying it. Alongside this is a concern with what propaganda purposes were being met by these films."--Jacket.
Charts Britain's reaction to World War II by examining 13 key films produced between 1939 and 1945. Illustrated with stills, the work analyzes each film, drawing from official documentation to explore film as a medium for propaganda. This edition features two new chapters and a filmography.
British cinema has been around from the very birth of motion pictures, from black-and-white to color, from talkies to sound, and now 3D, it has been making a major contribution to world cinema. Many of its actors and directors have stayed at home but others ventured abroad, like Charlie Chaplin and Alfred Hitchcock. Today it is still going strong, the only real competition to Hollywood, turning out films which appeal not only to Brits, just think of Bridget Jones, while busily adding to franchises like James Bond and Harry Potter. So this Historical Dictionary of British Cinema has a lot of ground to cover. This it does with over 300 dictionary entries informing us about significant actors, producers and directors, outstanding films and serials, organizations and studios, different films genres from comedy to horror, and memorable films, among other things. Two appendixes provide lists of award-winners. Meanwhile, the chronology covers over a century of history. These parts provide the details, countless details, while the introduction offers the big story. And the extensive bibliography points toward other sources of information.
The population of Britain was mobilized to support the war effort on a scale unseen in any other Western democracy – or in Nazi Germany. They endured long working shifts, shortages of food and all other goods, and complete government control of their daily lives. Most men and women were conscripted or volunteered for additional tasks outside their formal working hours. Under the air raids that destroyed the centres of many towns and made about 2 million homeless, more than 60,000 civilians were killed and 86,000 seriously injured. This fascinating illustrated summary of wartime life, and the organizations that served on the Home front, is a striking record of endurance and sacrifice.
In this groundbreaking book, Richard Farmer provides a social and cultural history of cinemas and cinemagoing in Britain between 1939 and 1945, and explores the impact that the war had on the places in which British people watched films.
A lively collection of essays on the cultures of nineteenth and twentieth-century Britain. Topics range from prostitution and slavery to the effect of war on fashion magazine reporting to inter-racial marriage in the postwar years. Particular areas of focus include the Second World War, its legacies and the reactions to postwar decolonization.
British film propaganda efforts during the Second World War have tended to be presented as a shambles. James Chapman argues that this is not so in this first comprehensive history of wartime film propaganda policy in Britain. He examines the role of the cinema as a vehicle of propaganda, set within its institutional, political and cultural contexts, revealing the complex relationships between the Ministry of Information and the different sectors of the film industry. The author identifies the themes and ideologies presented to audiences through analysis of key wartime films, including Forty-Ninth Parallel, In Which We Serve and The Life and Death of Colonel Blimp. He also corrects a previous misunderstanding of the role in official propaganda of short films and documentaries, demonstrating how these films were as successful as commercial feature films at carrying propaganda to the nation's cinema-goers.