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First published in 1987. Using a wealth of primary sources, Stephen Jones investigates the role played in cinema affairs by the Labour Movement, stressing the important contributions made by the Labour Party, Communist Party and trade unions in the production and presentation of film. He gives us a rare and important insight into the British film industry, examining the cinema in its wider economic, political and cultural context. He explores the ideological influence of film, the nature of film work, state intervention and Sunday entertainment, as reflected in the policies and attitudes of organized labour. Also discussed are the growth and impact of independent working class film organization.
First published in 1987. Using a wealth of primary sources, Stephen Jones investigates the role played in cinema affairs by the Labour Movement, stressing the important contributions made by the Labour Party, Communist Party and trade unions in the production and presentation of film. He gives us a rare and important insight into the British film industry, examining the cinema in its wider economic, political and cultural context. He explores the ideological influence of film, the nature of film work, state intervention and Sunday entertainment, as reflected in the policies and attitudes of organized labour. Also discussed are the growth and impact of independent working class film organization.
This volume provides a new study on the Co-operative Movement's engagement with film for educational, cultural and publicity purposes. It provides insights into the political and commercial use of cinema in the 20th century and significantly extends our understanding of the achievements of workers' cinema in Britain.
The first substantial overview of the British film industry with emphasis on its genres, stars, and socioeconomic context, British National Cinema by Sarah Street is an important title in Routledge's new National Cinemas series. British National Cinema synthesizes years of scholarship on British film while incorporating the author' fresh perspective and research. Street divides the study of British cinema into four sections: the relation between the film industry and government; specific film genres; movie stars; and experimental cinema. In addition, this beautifully illustrated volume includes over thirty stills from every sphere of British cinema. British National Cinema will be of great interest to film students and theorists as well as the general reader interested in the fascinating scope of British film.
Containing over 25,000 entries, this unique volume will be absolutely indispensable for all those with an interest in Britain in the twentieth century. Accessibly arranged by theme, with helpful introductions to each chapter, a huge range of topics is covered. There is a comprehensiveindex.
The period between the two world wars is often named 'the golden age of the cinema' in Britain. This definitive and entertaining book on the cinema and cinema-goers of the era is herewith reissued with a new Introduction. Jeffrey Richards, described by Philip French as 'a shrewd critic, a compulsive moviegoer, and a professional historian', tells the absorbing story of the cinema during the decade that produced Alfred Hitchcock's thrillers, the musicals of Jessie Matthews and Alexander Korda's epics. He examines the role of going to the pictures in people's lives during a tough period when, in the sumptuous buildings that housed local cinemas, people regularly spent a few pence to purchase ready-made dreams watching Gracie Fields, Robert Donat and the other stars of the day. He scrutinizes the film industry, censorship, cinema's influence, the nature of the star system and its images, as well as the films themselves, including the visions of Britain, British history and society that they created and represented.
This book sheds new light on the cinema and modernity debate by confronting established theories on the role of the modern cinematic experience with new empirical work on the history of the social experience of cinema-going, film audiences and film exhibition. The book provides a wide range of research methodologies and perspectives on these matters, including: the use of oral history methods questionnaires diaries audience letters as well as industrial, sociological and other accounts on historical film audiences. The collection’s case studies thus provide a "how to" compendium of current methodologies for researchers and students working on film and media audiences, film and media experiences, and historical reception. The volume is part of a ‘new cinema history’ effort within film and screen studies to look at film history not only as a history of production, textual relations or movies-as-artefacts, but rather to concentrate more on the receiving end, the social experience of cinema, and the engagement of film/cinema (history) ‘from below’. The contributions to the volume reflect upon the very different ways in which cinema has been accepted, rejected or disciplined as an agent of modernity in neighbouring parts of Europe, and how cinema-going has been promoted and regulated as a popular social practice at different times in twentieth-century European history.
The British Brass Band is based on an earlier volume, Bands, published by Open University Press (1991) as part of its Popular Music in Britain Series. It was hailed as the most detailed and scholarly treatment of its subject. For the present volume, the original chapters have been heavily revised and an additional three chapters added, together with new and extensive appendices, numerous illustrations, a bibliography, and a new introduction. The new material includes studies on brass band repertoire, performance practices, and the bands of the Salvation Army. The contributors are the pre-eminent authorities on the subject. The work as a whole can be taken as a study of both a unique (and often misunderstood) aspect of British music, and its interaction with broader spheres of social and cultural history. It is the most detailed and definitive study of the subject.
British Cinema: Past and Present responds to the commercial and critical success of British film in the 1990s. Providing a historical perspective to the contemporary resurgence of British cinema, this unique anthology brings together leading international scholars to investigate the rich diversity of British film production, from the early sound period of the 1930s to the present day. The contributors address: * British Cinema Studies and the concept of national cinema * the distribution and reception of British films in the US and Europe * key genres, movements and cycles of British cinema in the 1940s, 50s and 60s * questions of authorship and agency, with case studies of individual studios, stars, producers and directors * trends in British cinema, from propaganda films of the Second World War to the New Wave and the 'Swinging London' films of the Sixties * the representation of marginalised communities in films such as Trainspotting and The Full Monty * the evolution of social realism from Saturday Night, Sunday Morning to Nil By Mouth * changing approaches to Northern Ireland and the Troubles in films like The Long Good Friday and Alan Clarke's Elephant * contemporary 'art' and 'quality' cinema, from heritage drama to the work of Peter Greenaway, Derek Jarman, Terence Davies and Patrick Keiller.
The four volumes of Film Study include a fresh approach to each of the basic categories in the original edition. Volume one examines the film as film; volume two focuses on the thematic approach to film; volume three draws on the history of film; and volume four contains extensive appendices listing film distributors, sources, and historical information as well as an index of authors, titles, and film personalities.