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A comparative study of European cultural and social history during the First World War.
Overturning decades of scholarly orthodoxies, James Fox makes a bold new argument about the First World War's cultural consequences.
British theatre from 1900 to 1950 has been subject to radical re-evaluation with plays from the period setting theatres alight and gaining critical acclaim once again; this book explains why, presenting a comprehensive survey of the theatre and how it shaped the work that followed. Rebecca D'Monte examines how the emphasis upon the working class, 'angry' drama from the 1950s has led to the neglect of much of the century's earlier drama, positioning the book as part of the current debate about the relationship between war and culture, the middlebrow, and historiography. In a comprehensive survey of the period, the book considers: - the Edwardian theatre; - the theatre of the First World War, including propaganda and musicals; -the interwar years, the rise of commercial theatre and influence of Modernism; - the theatre of the Second World War and post-war period. Essays from leading scholars Penny Farfan, Steve Nicholson and Claire Cochrane give further critical perspectives on the period's theatre and demonstrate its relevance to the drama of today. For anyone studying 20th-century British Drama this will prove one of the foundational texts.
The German Corpse Factory' is one of the most famous and scandalous propaganda stories of the First World War. It has been repeated many times down to the present day as the prime example of the falsehood of British wartime propaganda. But despite all the attention paid to it, the full story has never been properly told. In Spring 1917, parts of the British press claimed that Germany was so short of essential fats and glycerine that the German Army was being forced to boil down the bodies of its own dead soldiers, causing a brief scandal of accusation and counter-accusation, including the claim that the story was the invention of the British official propaganda organisations. Behind the scenes, British propaganda experts opposed exploiting the story as it was obviously false, and contrary to their basic principles of never telling an obvious lie in an official statement. But at the time, the British government refused to deny that the 'German Corpse Factory' might really exist. In 1925 the scandal re-erupted in New York, when the former head of British military intelligence on the Western Front, in the United States on a speaking tour, was quoted in newspapers as having confessed to making the whole German Corpse Factory story up, a claim that he immediately denied. As a gesture of friendship on the occasion of the Locarno treaties, the British government now accepted the German government position that the story was a lie, but in fact neither government knew what had really happened in 1917. This book provides the answers to these questions according to the best historical evidence available. It uses the scandal of the 'German Corpse Factory' as a case-study to explore the true nature of British official propaganda and its organisations in the First World War, including the events of 1917 and who might really have been responsible for the story. It also shows how this brief episode was taken up by the German government after 1918, and by interest groups in Britain and the United States after 1925, to paint a false picture of British propaganda, with far-reaching consequences for the peace of Europe, and for our subsequent understanding of the First World War.
Published in association with the Society for Theatre Research, this is a comparative study of regional theatre in Britain and Germany during the key period of 1918 to 1945.
This is a truly encyclopedic survey of artists' responses - both 'official' and personal - to 'the horrors of war'. "Art and War" reveals the sheer diversity of artists' portrayals of this most devastating aspect of the human condition - from the 'heroic' paintings of Benjamin West and John Singer Sargent to brutal and iconic works by artists from Goya to Picasso, and the equally oppositional work of Leon Golub, Nancy Spero and others who reacted with fury to the Vietnam War. Laura Brandon pays particular attention to work produced in response to World War I and World War II, as well as to more recent art and memorial work by artists as diverse as Barbara Kruger, Alfredo Jarr and Maya Lin. She looks finally to the reactions of contemporary artists such as Langlands and Bell to the US invasion in 2001 of Afghanistan and the 'War on Terror'.
The lives of women changed immeasurably during the twentieth century, not just because of technological and economic advances, but as a result of a multiplicity of small and large, local, national and international political campaigns by women. The activities of the Edwardian suffrage campaigns are the most well-known example of this, but in less well-known, political struggles women fought with equal tenacity, sacrifice, and inventiveness, to demand, for example, equal pay, analgesics for women and childbirth, an end to virginity testing at airports or wages for housework. This book focuses on 15 such campaigns and the thousands of women who sought to influence decision making, exercise and challenge power in the twentieth century. These political activities were sometimes small-scale and short-lived or seemingly unsuccessful but together they helped to bring about immeasurable changes in women’s lives during the twentieth century. With limited financial resources and hefty domestic responsibilities, women have often chosen to pick their political battles very carefully. Some fought for workers’ rights or the right to education, some prioritised stopping male violence on the streets, in the home or between nations, others like Radcliffe Hall campaigned so women could define their own sexuality. Women organised self-help childcare, rape crisis centres and peace camps. They set up birth control clinics and women’s refuges. Ordinary women took on exploitive landlords, immigration officers, international companies, local councils, the media and successive governments. A few of the hundreds of thousands of these political women, like Maggie Wintringham and Nancy Astor, were MPs; others became local councillors. However, women’s access to traditional areas of political power was limited, even when Britain had its first woman prime minister in 1979, she was one of only 19 women MPs in parliament. Consequently, women sought other spheres of activity through which to fight for change, using all the resources and imagination at their disposal to challenge injustice and abuse. They employed deeds and words, petitions and protests, legal and illegal devices, peaceful and violent strategies to further their political aims. Their motivations and contributions were varied, many made sacrifices to be involved in political battles, but this book seeks to celebrate some of these unsung heroines who tried to make a difference.