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• Introduction - National identity. Part 1 Empire: British imperial heroes
• the black man as hero. Part 2 Nation: World War II
• national identity post war
• the swinging sixties and after. Part 3 Region: Scotland
• Wales and Ireland
• Lancashire. Part 4 Culture: Vaughan Williams, the cinema and England
• Dickens - our contemporary
• "Dad's Army" and the politics of nostalgia.
• (source: Nielsen Book Data)

This book seeks to examine the ways in which the cinema has defined, mythified and disseminated British national identity during the course of the twentieth century. It takes the form of a series of linked essays which examine chronologically, thematically and by specific case studies of films, stars and genres the complexities and ambiguities in the process of evolution and definition of national identity. It argues for the creation of a distinctive British national identity both in cinema and the wider culture. But it also assesses the creation of alternative identities both ethnic and regional and examines the interaction of cinema and other cultural forms.
(source: Nielsen Book Data)

• Section 1 - Introduction.-
• Chapter 1: The School Film: A British Genre?.-
• Section 2 - The Early Years Programme (1900-45).-
• Chapter 2 - The Early Public School Film.- Induction:.- Hitchcock and Co. - Down with School!:.- Hilton and Co. - Hurray for School!:.- The Boys' Public School Carnivalesque.-
• Section 3 - The Middle Years Programme (1945-70).-
• Chapter 3 - The Post-War Public School.- The Right Stuff:.- The Wrong Woman:.- The Hay School:.- The Girls' Public School Carnivalesque:.- (Poetic) Realism and Tinsel.-
• Chapter 4 - The Post-War State School Film.- The Right Stuff:.- The Wrong Woman:.- Tinsel and Realism:.- Approved School.-
• Section 4 - The Final Years Programme (1970- ).-
• Chapter 5 - The Contemporary School Film.- Fright School:.- Co-ed Carnivalesque (mostly):.- Queer School:.- Approved and Special School:.- Magic School.- 5. CONCLUSION.-
• Chapter 6 - The School Film: A British Genre.
• (source: Nielsen Book Data)

Through close textual and contextual analysis of British films spanning a century, this book explores how pupils, teachers and secondary education in general have been represented on the British screen. The author addresses a number of topics including the nature of public (fee-paying) and state schooling; the values of special, single-sex and co-education; the role of male and female teachers; and the nature of childhood and adolescence itself. From the silents of Hitchcock to the sorcery of Harry Potter, British cinema's continued explorations of school life highlights its importance in the nation's everyday experience and imaginary landscape. Beyond this, the school film, varying in scope from low-budget exploitation to Hollywood-financed blockbusters, serves both as a prism through which one can trace major shifts in the British film industry and as a barometer of the social and cultural concerns of the cinema-going public. This applies especially for gender, race and, in all senses, class.
(source: Nielsen Book Data)

• Our obsession with 1940
• The development of the English national character
• Projecting Britain in the early documentaries
• The home front: muddling through with a stiff upper lip
• Service films: the triumph of duty
• Cloak and dagger: The victory of the amateur
• Heroic johnny foreigner: resistance and the triumph of the underdog
• History and heritage as propaganda
• The postwar interlude: war films 1945/1950
• Obsessive nostalgia: the British war films of the 1950s
• The critique of deference in the aftermath of Suez
• How we lost the war: anti-heroism and the new wave
• The dominance of Narcissism: brilish War films from the 1980 and beyond.
• Conclusion
• Chronological list of films covered.

This detailed chronological analysis of British World War II movies from 1939 until the present explores how recognizable stereotypes of British national character were projected and how the times in which a film was made shaped its perceptions. Several chapters look at films from the Golden Age of World War II. In films about the Home Front, characters display resolve as well as emotional restraint and present an image of a classless society co-operating to fight evil. By contrast, duty and patriotism are the paramount virtues of service films while spy melodramas exemplify the British love of improvisation. Fifties war films are examined against the backdrop of alarm and uncertainty caused by the Cold War. Such films reflect traditional national character stereotypes, though the stiff upper lip begins to be questioned by the end of the decade. The book then traces the radical effect of the 60s revolution, revealing how the fondness for sceptical antiwar movies went hand in hand with the questioning of Britain's place in the world. The book ends by looking at recent war films and asks whether these reflect the cult of narcissism so prevalent in modern Britain.
(source: Nielsen Book Data)

• Introduction: approaching British rural landscapes on film - Paul Newland 1 Silent landscapes: rural settings, national identity and British silent cinema - Andrew Higson 2 British landscapes in pre-Second World War film publicity - Paul Moody 3 Rural imagery in World War Two British cinema - Tom Ryall 4 'An unlimited field for experiment': Britain's stereoscopic landscapes - Keith M. Johnston 5 The figure (and disfigurement) in the landscape: The Go-Between's picturesque - Mark Broughton 6 'Here is Wales, there England': Contested borders and blurred boundaries in On the Black Hill - Kate Woodward 7 Where the land meets the sea: liminality, identity and rural landscape in contemporary Scottish cinema - Duncan Petrie 8 Fantasy, fallacy and allusion: reconceptualizing British landscapes through the lens of children's cinema - Suzanne Speidel 9 Picturesque, pastoral and dirty: uncivilised topographies in Jane Eyre and Wuthering Heights - Stella Hockenhull 10 Folk horror and the contemporary cult of British rural landscape: the case of Blood on Satan's Claw - Paul Newland 11 sleep furiously: interview with Gideon Koppel - Paul Newland 12 Film and the repossession of rural space: interview with Patrick Keiller - Paul Newland Index
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• (source: Nielsen Book Data)

British rural landscapes on film offers insights into how rural areas in Britain have been represented on film, from the silent era, through both world wars, and on into the twenty-first century. It is the first book to exclusively deal with representations of the British countryside on film. The contributors demonstrate that the countryside has provided Britain (and its constituent nations and regions) with a dense range of spaces in which cultural identities have been (and continue to be) worked through. British rural landscapes on film demonstrates that British cinema provides numerous examples of how national identity and the identity of the countryside have been partly constructed through filmic representation, and how British rural films can allow us to further understand the relationship between the cultural identities of specific areas of Britain and the landscapes they inhabit. -- .
(source: Nielsen Book Data)

British Cinema and a Divided Nation' examines representations of the nation found within contemporary British cinema, against a backdrop of rising political tensions and deepening social divisions following the ?Brexit? referendum of June 2016. Exploring ways in which the contest of ideologies within media representations has played out post-2016, the book identifies divisions within society that have been given narrative shape and cultural form within recent British films. With case studies of major films such as Mary Queen of Scots, Peterloo, Darkest Hour, Sorry We Missed You and Downton Abbey, this book questions whether we are seeing the negotiation of a new relationship with the wider world, or simply a re-iteration of a long-standing British, or English, understanding of national identity.

• Acknowledgments Foreword Sir Christopher Frayling PART One: ARGUMENTS, IDEAS, ISSUES 1 John Grierson and the Lost World of the GPO Film Unit Jeffrey Richards 2 The GPO Film Unit and 'Britishness' in the 1930s Scott Anthony 3 GPO Films and Modern Design Yasuko Suga 4 Old Industry, New Science? The GPO Film Unit between Palaeotechnology and Neotechnology Timothy Boon 5 An Archivist's Perspective on the Work of the GPO Film Unit Steven Foxon PART TWO: FILM-MAKERS 6 Alberto Cavalcanti: Lessons in Fusion at the GPO Film Unit Charles Drazin 7 Harry Watt: on Land, at Sea and in the Air Amy Sargeant 8 Humphrey Jennings: The Customs of the Country Michael McCluskey 9 Portrait of an Invisible Man: The Working Life of Stewart McAllister, Film Editor Dai Vaughan 10 Job in a Million: Evelyn Spice at the GPO Barbara Evans 11 The Joy of Drooling: In Praise of Len Lye Kevin Jackson PART THREE: KEY DOCUMENTS FROM THE HISTORY OF THE GPO FILM UNIT PART FOUR: AESTHETICS 12 Rhythm, Modernity and the Politics of Sound
• James G. Mansell 13 Voiceover/Commentary Martin Stollery 14 National Identity, the GPO Film Unit and their Music E. Anna Claydon 15 Technology the GPO Film Unit Leo Enticknap 16 Modern art and Design in 1930s Britain: Contexts and Legacies of the Documentary Film Paul Rennie PART FIVE: THE GPO FILM UNIT AND TELECOMMUNICATIONS CULTURE PART SIX: FILMS 17 'Go the way the material calls you': Basil Wright and The Song of Ceylon Jon Hoare 18 The Horsey Mail: Documentary as Landscape David Matless 19 The GPO at Play: What's On Today and Spare Time Richard Haynes 20 The Silent Village: The GPO Film Unit Goes to War Wendy Webster 21 Visualising the World: The British Documentary at Unesco Zoe Druick 22 Counterpoints and Counterparts: Film at the Post-war GPO Patrick Russell PART SEVEN: THE GPO FILM UNTI AND THE MODERN POST OFFICE Postscript Roy Mayall Filmography Notes on Contributors Index.
• (source: Nielsen Book Data)

The General Post Office (GPO) Film Unit sat at the creative epicentre of Britain in the 1930s. It nurtured a vital crop of artistic talent, built a forum for a new kind of cinematic address and created Britain's first self-consciously national cinema. In 2011, UNESCO added its work to the UK Memory of the World Register, recognising its status as part of Britain's cultural heritage. Elements of the GPO Film Unit's story are well known: John Grierson's development of documentary cinema; the influence of Mass Observation and Surrealism on its cinematic vision; the Watt-Auden-Britten collaboration Night Mail. The Projection of Britain: A History of the GPO Film Unit brings together primary materials and critical appraisals to revisit, re-contextualise and revitalise these seminal moments in British cinema. Here, the insights of an archivist, a musicologist, a design historian, a sports historian, a geographer and a postman - among others - have been edited into a rich critical archaeology of a compelling moment in cinematic history. Interspersed with these essays are primary materials - memoirs, magazine articles, posters and government documents - that detail everything from Alberto Cavalcanti's vision for the documentary movement to a claim for the clothes Humphrey Jennings lost while shooting on location. In recent years there has been a resurgence of interest in the GPO Film Unit and its work, on the big screen, in DVD boxsets and on the web. The Projection of Britain ties together the Unit's diverse artistic, historical and cultural threads into an essential one-stop resource. Provocative, imaginative and ambitious, this expansive study is the definitive companion to an extraordinary episode in cinematic history.
(source: Nielsen Book Data)

• List of Illustrations Acknowledgments Accessing Digitized Materials Timeline Introduction
• 1. Beginnings: The Interwar Movement of Nonfiction Film
• 2. Film Rules: The Governing Principles of the Colonial Film Unit
• 3. Mobilizing an Empire: The Colonial Film Unit in a State of War
• 4. Moving Overseas: "Films for Africans, with Africans, by Africans"
• 5. Handover: Local Units through the End of Empire Notes Selected Bibliography Index.
• (source: Nielsen Book Data)

Films for the Colonies examines the British Government's use of film across its vast Empire from the 1920s until widespread independence in the 1960s. Central to this work was the Colonial Film Unit, which produced, distributed, and, through its network of mobile cinemas, exhibited instructional and educational films throughout the British colonies. Using extensive archival research and rarely seen films, Films for the Colonies provides a new historical perspective on the last decades of the British Empire. It also offers a fresh exploration of British and global cinema, charting the emergence and endurance of new forms of cinema culture from Ghana to Jamaica, Malta to Malaysia. In highlighting the integral role of film in managing and maintaining a rapidly changing Empire, Tom Rice offers a compelling and far-reaching account of the media, propaganda, and the legacies of colonialism.
(source: Nielsen Book Data)

• Acknowledgements Introduction: England, their England Chapter One: The Uses of Literature: Adaptation and Englishness in the 1930s 'Sound, Censorship and `Better Pictures' `Properly English and Properly Dickensian': David Copperfield (1935) `The Best Possible Literature': A Midsummer Night's Dream (1935) Literature at War: Wuthering Heights (1939) and Pride and Prejudice (1940) Chapter Two: Abstractions of Empire: Filming British Imperialism in the 1930s and 1940s `Ruling and Protecting These Countless Millions': Lives of a Bengal Lancer (1935) `One of the Most Distinguished Events in History': The Charge of the Light Brigade (1936) `Delightfully Evil in the Fascist Sense': Gunga Din (1939) Empire Films and World War II Chapter Three: Ideology and Adventure: the post-war Swashbuckler Film `A Nation Divided': Ivanhoe (1952) `Under Banners Unknown': Knights of the Round Table (1953) Chapter Four: Cosmopolitanism and the Cold War: Historical Epics in the 1950s and 1960s `A Show on Film': Around the World in 80 Days (1956) `The Magic of Distant Places': Lawrence of Arabia (1962) Chapter Five: Boom and Bust: The English Past in the Swinging Sixties `A Living Past': Tom Jones (1963) and The Charge of the Light Brigade (1968) `Intimate Spectacle': Becket (1964) and Anne of the 1000 Days (1969) Manhattan Transfer: My Fair Lady (1964) and Camelot (1967) Chapter Six: Intimations of Quality: English Heritage and the `Specialty' Film the 1980s and 1990s `A Holiday Out of Time': Heritage Film and American Indies `Films of Consequence': Heritage Goes to Hollywood `An Emotional Event': the Rise of Miramax Chapter Seven: Pirates, Wizards and Wardrobes: The English Past in the Contemporary Family Film Licensing the Past: Intellectual Property, Conglomeration and the Franchise Boom Fantastic Rebates and Where to Find Them: Global Production and Incentive Schemes Conclusion: An Available Past Bibliography Index.
• (source: Nielsen Book Data)

Drawing on new archival research into Hollywood production history and detailed analysis of individual films, Hollywood and the Invention of England examines the surprising affinity for the English past in Hollywood cinema. Stubbs asks why Hollywood filmmakers have so frequently drawn on images and narratives depicting English history, and why films of this type have resonated with audiences in America. Beginning with an overview of the cultural interaction between American film and English historical culture, the book proceeds to chart the major filmmaking cycles which characterise Hollywood's engagement with the English past from the 1930s to the present, assessing the value of English-themed films in the American film industry while also placing them in a broader historical context.
(source: Nielsen Book Data)