United Kingom Cinema:
A Bibliography of Materials in the UC Berkeley Library












British Cinema

Books
Journal Articles

Articles and Books on UK Directors
Irish Cinema

Articles and Books on Irish Directors

Books and Articles about the British Documentary Movement
Books and Articles about Hammer horror films


British Cinema

Books/Videos

Aldgate, Anthony.
Britain can take it: the British cinema in the Second World War / Anthony Aldgate & Jeffrey Richards. 2nd ed. Edinburgh: Edinburgh University Press, 1994.
Main Stack D743.23.A43 1994
Moffitt D743.23.A43 1994

Aldgate, Anthony.
Censorship in theatre and cinema Edinburgh: Edinburgh University Press, 2005.
MAIN: PN2044.G6 .A43 2005

All our yesterdays: 90 years of British cinema
Edited by Charles Barr. London: British Film Institute, 1986.
Main Stack PN1993.5.G7.A431 1986

Allen, Michael
"'In the mix': how electrical reproducers facilitated the transition to sound in British cinemas." In: Film music: critical approaches / edited by K.J. Donnelly. New York: Continuum, 2001.
Music ML2075.F453 2001

Armes, Roy.
A critical history of the British cinema / Roy Armes. London: Secker & Warburg, 1978 (Series: Cinema two)
Main Stack PN1993.5.G7.A84 1978b

Armes, Roy.
A critical history of the British cinema / Roy Armes. New York: Oxford University Press, 1978. (Series: Cinema two)
Main Stack PN1993.5.G7.A84
Moffitt PN1993.5.G7.A84

Bamford, Kenton.
Distorted images: British national identity and film in the 1920s / Kenton Bamford. London: I.B. Tauris, 1999. Woodstock, N.Y.: Overlook Press, 1980
Main Stack PN1993.5.G7.B34 1999

Barnes, John
The beginnings of the cinema in England Newton Abbot [Eng.: David & Charles ; New York: Barnes & Noble, c1976
Main Stack TR848 .B351 1976

Barr, Charles.
Ealing Studios / Charles Barr Woodstock, N.Y.: Overlook Press, 1980
Main Stack PN1999.E3.B3 1979

Barr, Charles.
Ealing Studios / Charles Barr. 3rd ed. Berkeley: University of California Press, 1998.
Main Stack PN1999.E3.B3 1998

Belmans, Jacques.
Jeune cinema anglais ... Lyon, Societe d'etudes, recherches et documentation cinematographiques, 1967. Premier plan, 44
Main Stack PN1993.P7 no.44

Benyahia, Sarah Casey.
Teaching contemporary British cinema London: British Film Institute, 2005.
PFA: PN1993.5.G7 B395 2005

Betts, Ernest
The film business: a history of British cinema, 1896-1972. London, Allen & Unwin, 1973.
Main Stack PN1993.5.G7.B391

Betts, Ernest
Inside pictures; with some reflections from the outside. London, Cresset Press, 1960.
Main Stack PN1993.5.G7.B4 1960 NRLF #: B 3 567 988

BFI film and television handbook
British Film Institute. London: British Film Institute, 1990 Continues: BFI film and television yearbook
Media Center PN1993.B75.B2 Library has: UNBOUND 2001-
Main Stack PN1993.B75.B2 Shelved: Latest vol. (2003) in Doe Reference Library has: BOUND 1990-2002-
Doe Refe PN1993.B75.B2 Non-circulating. Library has: BOUND 2003-

Blandford, Steven.
Film, drama and the break-up of Britain Bristol, UK ; Chicago, USA: Intellect, 2007.
MAIN: PN1993.5.G7 B52 2007

Boon, Timothy M.
"Health education films in Britain, 1919-39: production, genres and audiences." In: Signs of life: cinema and medicine / edited by Graeme Harper and Andrew Moor. London ; New York: Wallflower Press, 2005.
Main Stack PN1995.9.P44.S54 2005

Border crossing: film in Ireland, Britain and Europe
Edited by John Hill, Martin McLoone and Paul Hainsworth. [Belfast]: Institute of Irish Studies, in association with the University of Ulster, and the British Film Institute, 1994.
Main Stack PN1993.5.E8.C34 1994

Bourne, Stephen.
Brief encounters: lesbians and gays in British cinema 1930-1971 / Stephen Bourne. London; New York: Cassell, 1996.
Main Stack PN1995.9.H55.B68 1996

Britain and the cinema in the Second World War
Edited by Philip M. Taylor. New York: St. Martin's Press, 1988.
Main Stack D743.23.B741 1988

British cinema and Thatcherism: fires were started
Edited by Lester Friedman. London: UCL Press, 1993.
Main Stack PN1993.5.G7.B74 1993
Moffitt PN1993.5.G7.B74 1993

The British cinema book
Edited by Robert Murphy. 2nd ed. London: British Film Institute, 2001.
Main Stack PN1993.5.G7.B66 2001

The British cinema book
Edited by Robert Murphy. London: British Film Institute, 1997.
Main Stack PN1993.5.G7.B66 1997

British cinema history
Edited by James Curran and Vincent Porter. London: Weidenfeld and Nicolson, 1983.
Main Stack PN1993.5.G7.B68 1983

British cinema history
Edited by James Curran and Vincent Porter. Totowa, N.J.: Barnes & Noble Books, 1983.
Moffitt PN1993.5.G7.B68 1983

British cinema in the 1960s an educational resource
[London]: British Film Institute, c2003.
Media Resources Center: COMPU/D 563

British cinema of the 90s
Edited by Robert Murphy. London: BFI Publishing, 2000.
Main Stack PN1993.5.G7.B686 2000

British cinema, past and present
Edited by Justine Ashby and Andrew Higson. London; New York, NY: Routledge, 2000.
Main Stack PN1993.5.G7.B695 2000

British crime cinema
Edited by Steve Chibnall and Robert Murphy. London ; New York: Routledge, 1999. British popular cinema.
Main Stack PN1995.9.G3.B72 1999

The British film catalogue
Denis Gifford, [editor]. 3rd ed. London; Chicago: Fitzroy Dearborn, 2001, c2000.
Doe Refe PN1993.5.G7.G5 2001 Non-circulating. Library has: v.1-2 (2001, c2000)

British historical cinema: the history, heritage and costume film
Edited by Claire Monk and Amy Sargeant. London ; New York: Routledge, 2002.
MAIN: PN1995.9.H5 B75 2002
Introduction: the past in British cinema / Claire Monk and Amy Sargeant -- Do we need another hero?: Ecce homo and Nelson (1919) / Amy Sargeant -- Death or glory?: the Great War in British film / Alan Burton -- Secrets and lies: black histories and British historical films / Stephen Bourne -- "If the world does not please you, you can change it": The history of Mr Polly (1949) and The card (1952) / Tim O'Sullivan -- Cinema, monarchy and the making of heritage: A queen is crowned (1953) / James Chapman -- Camping on the borders: history, identity, and Britishness in the Carry on costume parodies, 1963-74 / Nicholas J. Cull -- Monkey feathers: defending Zulu (1964) / Sheldon Hall -- Ireland, the past, and British cinema: Ryan's daughter (1970) / Fidelma Farley -- Imperial migrations: reading the Raj cinema of the 1980s / T. Muraleedharan -- Kenneth Branagh's Henry V (1989): genre and interpretation / James Quinn and Jane Kingsley-Smith -- The British heritage-film debate revisited / Claire Monk -- The content and the form: invoking "pastness" in three recent retro films / Amy Sargeant -- Taking liberties with the monarch: the royal bio-pic in the 1990s / Kara McKechnie.

British queer cinema
Edited by Robin Griffiths. London ; New York: Routledge, 2006.
MAIN: PN1995.9.H55 B75 2006; View current status of this item
Table of contents http://www.loc.gov/catdir/toc/ecip0519/2005027729.html

British science fiction cinema
Edited by I.Q. Hunter. London; New York: Routledge, 1999. British popular cinema.
Main Stack PN1995.9.S26.B65 1999

British thrillers [videorecording]
Berkeley, CA: University of California, Office of Media Services, [198-?]
Media Center VIDEO/C 2228 NRLF #: B 4 452 426

Brunel, Adrian.
Nice work; the story of thirty years in British film production. London, Forbes Robertson [1949]
Main Stack PN1998.A3.B7 A3 NRLF #: B 3 569 816

Buache, Freddy.
Cinema anglais: autour de Kubrick et Losey / Freddy Buache. Lausanne: Editions L'Age d'homme, cop. 1978. (Series: Histoire et theorie du cinema)
Main Stack PN1993.5.G7.B77 NRLF #: B 3 567 990

Butler, Margaret.
Film and community in Britain and France: from La reegle du jeu to Room at the top London ; New York: I.B. Tauris ; New York: In the United States and Canada distributed by Palgrave Macmillan, 2004.
MAIN: PN1993.5.G7 B795 2004

Butler, Alison.
"Under the Skin: Feminism, Realism and British Cinema." In: Gender in film and the media: East-West dialogues / Elzbieta H. Oleksy, Elzbieta Ostrowska, Michael Stevenson (eds.) pp: 93-103. Frankfurt am Main ; New York: Peter Lang, 2000.
Main Stack PN1995.9.S47.G46 2000

Chanan, Michael.
The dream that kicks: the prehistory and early years of cinema in Britain / Michael Chanan London; Boston: Routledge & Kegan Paul, 1980
Main Stack PN1993.5.G7.C44

Chapman, James.
The British at war: cinema, state, and propaganda, 1939-1945 / James Chapman. London; New York, N.Y.: I.B. Tauris Publishers; New York, N.Y. : Distributed by St. Martin's Press, 1998. Cinema and society.
Main Stack D743.23.C45 1998

Chowdhry, Prem.
Colonial India and the making of empire cinema: image, ideology, and identity / Prem Chowdhry. New Delhi: Vistaar Publications, 2001.
Main Stack PN1993.5.G7.C47 2002

The cinema of Britain and Ireland
Edited by Brian McFarlane. London: Wallflower, 2005.
PFA: PN1993.5.G7 C535 2005

Cinema: the beginnings and the future: essays marking the centenary of the first film show projected to a paying audience in Britain
Edited by Christopher Williams. London: University of Westminster Press, 1996.
MAIN: PN1993.5.G7 C535 2005
PFA: PN1993.5.G7 C535 2005
Main Stack PN1993.5.G7 C536 1996 [earlier edition]

Claydon, E. Anna (Elizabeth Anna)
The representation of masculinity in British cinema of the 1960s: Lawrence of Arabia, The loneliness of the long distance runner, and The Hill Lewiston: Edwin Mellen Press, c2005.
MAIN: PN1995.9.M46 C45 2005

Cooke, Lez.
"British Cinema: From Cottage Industry to Mass Entertainment." In: Literature and culture in modern Britain / edited by Clive Bloom. pp: 167-88. London ; New York: Longman, 1993-2000.
Main Stack PR471.L5 1993 Library has: v.1-3 (1993-2000)

Cooke, Lez.
"British cinema." In: An Introduction to film studies / edited by Jill Nelmes. 2nd ed. London ; New York: Routledge, 1999.
Main Stack PN1994.I537 1999
PFA PN1994.I59 1999

Cook, Pam.
Fashioning the nation: costume and identity in British cinema / Pam Cook. London: British Film Institute, 1996.
Main Stack PN1993.5.G7.C66 1996

Cook, Pam. "Memory in British Cinema: Brief Encounters."
In: Screening the past: memory and nostalgia in cinema / London ; New York: Routledge, 2005.
MAIN: PN1995.9.N67 C66 2005; View current status of this item
Table of contents http://www.loc.gov/catdir/toc/ecip0416/2004006798.html

Coultass, Clive.
Images for battle: British film and the Second World War, 1939-1945 / Clive Coultass. Newark: University of Delaware Press; London: Associated University Presses, c1989.
Main Stack D743.23.C681 1989
Grad Svcs D743.23.C68 1989 Non-circulating; may be used only in Graduate Services.

Crusz, Robert.
"Black Cinemas, Film Theory, and Dependent Knowledge." In: Black British cultural studies: a reader / edited by Houston A. Baker, Jr., Manthia Diawara, and Ruth H. Lindeborg. pp: 107-13. Chicago: University of Chicago Press, c1996. Black literature and culture.
Main Stack DA125.A1.B56 1996

Dave, Paul.
Visions of England: class and culture in contemporary cinema / Paul Dave. Oxford ; New York: Berg, 2006.
Main Stack PN1993.5.G7.D38 2006
Table of contents http://www.loc.gov/catdir/toc/ecip064/2005034776.html

Davies, Alistair.
"A Cinema in Between: Postwar British Cinema." In: British culture of the postwar: an introduction to literature and society, 1945-1999 / edited by Alistair Davies and Alan Sinfield. pp: 110-24. London ; New York: Routledge, 2000.
Main Stack PR478.S57.B75 2000

Dissolving views: key writings on British cinema
Edited by Andrew Higson. London; New York, NY: Cassell, 1996. Rethinking British cinema.
Main Stack PN1993.5.G7.D56 1996

Dixon, Wheeler W.
The charm of evil: the life and films of Terence Fisher Metuchen, N.J.: Scarecrow Press, 1991.
MAIN: PN1998.3.F58 D5 1991

Heffernan, Kevin.
"The color of blood: Hammer films and Curse of Frankenstein." In: Ghouls, gimmicks, and gold: horror films and the American movie business, 1953-1968 Durham: Duke University Press, 2004.
Main Stack PN1995.9.H6.H45 2004

Donnelly, K. J. (Kevin J.)
Pop music in British cinema: a chronicle / K.J. Donnelly. London: BFI Pub., 2001.
Music ML128.M7.D66 2001 Circ. note: Library use only

Durgnat, Raymond.
A mirror for England; British movies from austerity to affluence. New York, Praeger [1971]
Main Stack PN1993.5.G7.D8 1971

Easthope, Antony.
"Derrida and British Film Theory." In: Applying-- to Derrida / edited by John Brannigan, Ruth Robbins, and Julian Wolfreys. pp: 184-94. New York: St. Martin's Press, 1996.
Main Stack PN75.D45.A67 1996

The encyclopedia of British film
Edited by Brian McFarlane; associate editor, Anthony Slide ; foreword by Philip French. London: Methuen, 2003.
Main Stack PN1993.5.G7 E53 2003

Ellis, Jack C.
"British film after the war 1945-1963." In: British film after the war 1945-1963 / Jack C. Ellis. 4th ed. Boston: Allyn and Bacon, c1995.
Moffitt PN1993.5.A1.E4 1995

Eyles, Allen.
Gaumont British cinemas / by Allen Eyles. Burgess Hill, West Sussex: Cinema Theatre Association; London: Distributed by BFI Pub., 1996.
Main Stack PN1999.G38.E97 1996

Field, Audrey
Picture palace; a social history of the cinema. London, Gentry Books [1974]
Main Stack PN1993.5.G7.F481

Fox, Jo.
Film propaganda in Britain and Nazi Germany: World War II cinema Oxford ; New York: Berg, 2007.
MAIN: PN1993.5.G7 F68 2007;
Table of contents http://www.loc.gov/catdir/enhancements/fy0701/2006031633-t.html

Geraghty, Christine.
British cinema in the fifties: gender, genre and the 'new look' / Christine Geraghty. London; New York: Routledge, 2000. Communication and society (Routledge (Firm))
Main Stack PN1993.5.G7.G47 2000
Contents via Google Books
Gifford, Denis.
British cinema; an illustrated guide. London, A. Zwemmer; New York, A. S. Barnes, 1968. International film guide series
Main Stack PN1998.A2.G43 NRLF #: B 3 569 792

Gifford, Denis.
The British film catalogue, 1895-1985: a reference guide / Denis Gifford. New York, N.Y.: Facts on File, c1986.
Main Stack PN1998.G5431 1986

Gifford, Denis.
The illustrated who's who in British Films / Denis Gifford. London: Batsford, 1978.
Main Stack PN1998.A2.G485

Gillett, Philip (Philip John)
The British working class in postwar film New York: Manchester University Press, 2003.
Main Stack PN1995.9.L28 G55 2003
Publisher's description

Glancy, H. Mark.
When Hollywood loved Britain: the Hollywood "British" film, 1939-45 / H. Mark Glancy. Manchester; New York: Manchester University Press; New York: Distributed exclusively in the USA by St. Martin's Press, 1999.
Main Stack PN1993.5.U65.G4 1999

Gledhill, Christine.
Reframing British cinema, 1918-1928: between restraint and passion London: BFI Pub., 2003.
MAIN: PN1993.5.G7 G58 2003

Great Britain 1900-1912: along the great divide [Videorecording
Channel 4 TV, PI Production [and] FR3; French Ministry ... [videorecording] What do those old films mean [videorecording]; 1
Media Center VIDEO/C.1406:1

Hall, Stuart.
"Cultural Identity and Cinematic Representation." In: Black British cultural studies: a reader / edited by Houston A. Baker, Jr., Manthia Diawara, and Ruth H. Lindeborg. pp: 210-22. Chicago: University of Chicago Press, c1996. Black literature and culture.
Main Stack DA125.A1.B56 1996

Hammond, Michael.
The big show: British cinema culture in the Great War, 1914-1918 Exeter, UK: University of Exeter Press, 2006.
MAIN: PN1993.5.G7 H26 2006

Harding, Colin.
In the kingdom of shadows: a companion to early cinema / Colin Harding and Simon Popple. London: Cygnus Arts; Madison, N.J.: Fairleigh Dickinson University Press, 1996.
Main Stack PN1993.5.G7.H33 1996

Harper, Sue
British cinema of the 1950s: a celebration Manchester ; New York: Manchester University Press ; New York, NY, USA: Distributed exclusively in the USA by Palgrave, 2003.
MAIN: PN1993.5.G7 M263 2003

Harper, Sue
British cinema of the 1950s: the decline of deference Oxford ; New York: Oxford University Press, 2003.
MAIN: PN1993.5.G7 H36 2003

Harper, Sue.
Picturing the past: the rise and fall of the British costume film / Sue Harper. London: BFI Publishing, 1994.
Main Stack PN1993.5.G7.H37 1994

Harper, Sue.
Women in British cinema: mad, bad, and dangerous to know / Sue Harper. London ; New York: Continuum, 2000. Rethinking British cinema.
Main Stack PN1995.9.W6.H28 2000

Higson, Andrew.
"British Cinema." In: The Oxford guide to film studies / edited by John Hill and Pamela Church Gibson. PP: 501-09. Oxford ; New York: Oxford University Press, 1998.
Main Stack PN1995.O93 1998

Higson, Andrew.
Waving the flag: constructing a national cinema in Britain / Andrew Higson. Oxford: Clarendon Press; New York: Oxford University Press, 1995.
Main Stack PN1993.5.G7.H54 1995

Hill, John
"British cinema as national cinema: production, audience and representation." In: The film cultures reader / edited by Graeme Turner. London ; New York: Routledge, 2002.
Main Stack PN1994.F4384 2002
PFA PN1994.F4384 2002

Hill, John (W. John)
British cinema in the 1980's: issues and themes / John Hill. Oxford; New York: Oxford University Press, 1999.
Main Stack PN1993.5.G7.H549 1999

Hill, John
Sex, class and realism: British cinema 1956-1963 / John Hill. London: British Film Institute, 1986.
Main Stack PN1993.5.G7.H541 1986

Hogenkamp, Bert.
Deadly parallels: film and the left in Britain, 1929-1939 / Bert Hogenkamp. London: Lawrence and Wishart, 1986.
Moffitt PN1995.9.L28.H64 1986

Holmes, Su.
British TV and film in the 1950s: coming to a TV near you Bristol, UK ; Portland, Ore.: Intellect Books, 2005.
MAIN: PN1992.63 .H66 2005; View current status of this item
Table of contents http://www.loc.gov/catdir/toc/fy0602/2005296567.html
PFA: PN1992.3.G7 H65 2005

House of horror: the complete Hammer Films story.
Edited by Jack Hunter. [London]: Creation, 2000.
MAIN: PN1999.H3 H6 2000

Hutchings, Peter.
"'We're the Martians Now': British SF Invasion Fantasies of the 1950s and 1960s." In: British science fiction cinema / edited by I.Q. Hunter. pp: 33-47. London; New York: Routledge, 1999. Series title: British popular cinema.
UCB Main PN1995.9.S26 B65 1999

Jaikumar, Priya
Cinema at the end of empire: a politics of transition in Britain and India Published: Durham: Duke University Press, 2006.
MAIN: PN1993.5.I8 J28 2006; View current status of this item
Table of contents http://www.loc.gov/catdir/toc/ecip061/2005029787.html

Johnson, Tom
Hammer Films: an exhaustive filmography / by Tom Johnson and Deborah Del Vecchio. Jefferson, N.C.: McFarland, c1996.
Main Stack PN1999.H3.J64 1996

Jones, Stephen G.
The British Labour movement and film (1918-1939) / Stephen G. Jones. London; New York: Routledge & Kegan Paul, 1987. Cinema and society.
Main Stack HX550.M65.J651 1987

Jaikumar, Priya
Cinema at the end of empire: a politics of transition in Britain and India / Priya Jaikumar. Durham: Duke University Press, 2006.
Table of contents http://www.loc.gov/catdir/toc/ecip061/2005029787.html

Korte, Barbara.
Bidding for the mainstream?: black and Asian British film since the 1990s Amsterdam ; New York: Rodopi, 2004.
MAIN: PN1993.5.G7 K67 2004

Korte, Barbara.
"The Grandfathers' War: Re-Imagining World War I in British Novels and Films of the 1990s." In: Retrovision: reinventing the past in film and fiction / edited by Deborah Cartmell, I.Q. Hunter, and Imelda Whelehan. pp: 120-34. London ; Sterling, Virginia: Pluto Press, 2001. Film/fiction ; v. 6
Main Stack PN1995.9.H5.R46 2001

Landy, Marcia
British genres: cinema and society, 1930-1960 / Marcia Landy. Princeton, N.J.: Princeton University Press, c1991.
Main Stack PN1993.5.G7.L36 1991
Moffitt PN1993.5.G7.L36 1991

Landy, Marcia
"'You Remember Diana Dors, Don't You?': History, Femininity, and the Law in 1950s and 1980s British Cinema." In: The historical film: history and memory in media / edited and with an introduction by Marcia Landy. pp: 143-72. New Brunswick, N.J.: Rutgers University Press, c2001. Rutgers depth of field series.
Main Stack PN1995.9.H5.H59 2001

Lant, Antonia
Blackout: reinventing women for wartime British cinema / Antonia Lant. Princeton, N.J.: Princeton University Press, c1991.
Main Stack PN1995.9.W6.L36 1991

Leach, Jim.
British film Cambridge, UK ; New York: Cambridge University Press, 2004.
MAIN: PN1993.5.G7 L38 2004; circ info
Publisher description http://www.loc.gov/catdir/description/cam041/2004040683.html
Table of contents http://www.loc.gov/catdir/toc/cam041/2004040683.html

Low, Rachael.
Film making in 1930s Britain / by Rachael Low. London: Allen & Unwin, 1985. History of the British film series; 7 History of the British film 1929-1939.
Main Stack PN1993.5.G7.L6 v.7

Low, Rachael.
Films of comment and persuasion of the 1930s / by Rachael Low London: Allen & Unwin; New York: distributed by Bowker, 1979 Films of comment and persuasion of the 1930s History of the British film series; 6. History of the British film 1929-1939.
Main Stack PN1993.5.G7.L6 v.6

Low, Rachael.
The history of the British film, by Rachael Low and Roger Manvell London, Allen & Unwin; [New York] Distributed in the United States by Bowker [1973
Main Stack PN1993.5.G7.L6 Library has: 4-7 (1971-1985) More than 1 copy of some volumes

Low, Rachael.
The history of the British film.London, G. Allen & Unwin [1948-1971]
Main Stack 906v.L912.his Library has: v. 1-4 (1948-1971) Shelved at NRLF: v. 1-4

Low, Rachael.
The history of the British film, 1918-1929 London, Allen & Unwin [1971] History of the British film series; 4.
Main Stack PN1993.5.G7.L6 v.4

Making history: art and documentary in Britain from 1929 to now. London: Tate Publishing, 2006.
Main Stack N72.M6.M335 2006

Manvell, Roger
New cinema in Britain. London, Studio Vista, 1969. Studio Vista/Dutton pictureback [34]
Main Stack PN1993.5.G7.M31 NRLF #: $D 62 584

Maxford, Howard.
Hammer, house of horror: behind the screams. Woodstock, N.Y.: Overlook Press, 1996.
MAIN: PN1999.H3 M38 1996
MOFF: PN1999.H3 M38 1996

Mayer, Geoff.
Guide to British cinemaWestport, Conn.: Greenwood Press, 2003.
MAIN: PN1993.5.G7 M327 2003

McCrillis, Neal R.
"Atomic anxiety in Cold War Britain: science, sin and uncertainity in nuclear monster films." In: Screening scripture: intertextual connections between scripture and film / edited by George Aichele and Richard Walsh. Harrisburg, Pa.: Trinity Press International, c2002.
Main Stack PN1995.5.S35 2002

McFarlane, Brian
"The novel and the rise of film and video: adaptation and British cinema." A companion to the British and Irish novel 1945-2000 / edited by Brian W. Shaffer. Malden, MA: Blackwell, 2005.
Main Stack PR881.C655 2005

Meikle, Denis.
A history of horrors: the rise and fall of the house of HammerLanham, Md.: Scarecrow Press, c1996.
MAIN: PN1999.H3 M45 1996
PFA: PN1999.H35 M44 1996)

Miles, Peter.
Cinema, literature & society: elite and mass culture in interwar Britain / Peter Miles and Malcolm Smith. London; New York: Croom Helm, c1987. Croom Helm studies on film, television, and the media.
Main Stack DA566.4.F5171 1987
Moffitt DA566.4.F565 1987

Missing believed lost: the great British film search
Edited by Allen Eyles and David Meeker; foreword by J. Paul Getty; ... London: BFI Publishing, 1992.
Moffitt PN1993.5.G7.M57 1992

Murphy, Robert
British cinema and the Second World War / Robert Murphy. London; New York: Continuum, 2000.
Main Stack D743.23.M87 2000

Murphy, Robert
Realism and tinsel: cinema and society in Britain, 1939-1949 / Robert Murphy. London; New York: Routledge, 1989.
Main Stack PN1993.5.G7.M871 1989

Murphy, Robert
Sixties British cinema / Robert Murphy. London: BFI, 1992. History of the British film.
Main Stack PN1993.5.G7.M873 1992
Moffitt PN1993.5.G7.M873 1992

Nationalising femininity: culture, sexuality, and British cinema in the Second World War
Edited by Christine Gledhill and ... Manchester, U.K.; New York: Manchester University Press; New York: Distributed exclusively in the USA and Canada by St. Martin's Press, 1996. BFI working papers.
Main Stack HQ1593.N37 1996

Neame, Christopher.
Rungs on a ladder: Hammer Films seen through a soft gauze Lanham, Md.: Scarecrow Press, 2003.
MAIN: PN1999.H3 N43 2003

New questions of British cinema
Edited by Duncan Petrie. London: BFI Publishing, 1992. BFI working papers.
Main Stack PN1993.5.G7.N49 1992

Oakley, Charles Allen.
Where we came in; seventy years of the British film industry, by C. A. Oakley. London, G. Allen & Unwin [1964]
Main Stack PN1993.5.G7.O2 1964 NRLF #: B 2 801 419

Palmer, Scott
British film actors' credits, 1895-1987 / by Scott Palmer. Jefferson, N.C.: McFarland, c1988.
Main Stack PN1998.2.P31 1988

Paris, Michael.
"Enduring Heroes: British Feature Films and the First World War, 1919-1997." In: The First World War and popular cinema: 1914 to the present / edited by Michael Paris. pp: 51-73. New Brunswick, N.J.: Rutgers University Press, 2000.
UCB Main D522.23 .F57 2000

Park, James.
British cinema: the lights that failed / James Park. London: B.T. Batsford, 1990.
Main Stack PN1993.5.G7.P348 1990
Moffitt PN1993.5.G7.P348 199

Park, James.
Learning to dream: the new British cinema / James Park. London; Boston: Faber and Faber, 1984.
Main Stack PN1993.5.G7.P35 1984 NRLF #: B 3 567 991

Perry, George C.
The great British picture show / George Perry. London: Hart-Davis, MacGibbon, 1974.
Main Stack PN1993.5.G7.P41 1974b

Petrie, Duncan
Creativity and constraint in the British film industry / Duncan J. Petrie. New York: St. Martin's Press, 1991.
Main Stack PN1993.5.G7.P44 1991

Phillips, Gene D.
Major film directors of the American and British cinema / Gene D. Phillips. Bethlehem: Lehigh University Press; London: Associated University Presses, c1990.
Main Stack PN1998.2.P55 1990
Moffitt PN1998.2.P55 1990

Pines, Jim.
"The Cultural Context of Black British Cinema." In: Black British cultural studies: a reader / edited by Houston A. Baker, Jr., Manthia Diawara, and Ruth H. Lindeborg. pp: 183-93 Chicago: University of Chicago Press, c1996. Black literature and culture.
Main Stack DA125.A1.B56 1996

Plain, Gill.
John Mills and British cinema: masculinity, identity and nation Edinburgh: Edinburgh University Press, 2006.
MAIN: PN2598.M545 P53 2006

Powell, Dilys
Films since 1939. London, New York, Pub. for the British Council by Longmans, Green [1947] Arts in Britain; no. 3
Main Stack PN1993.5.G7.P6

Propaganda, politics, and film, 1918-45
Edited by Nicholas Pronay and D.W. Spring. London: Macmillan Press, 1982.
Main Stack PN1995.9.P6.P77 1982

Quart, Leonard
"British film in the Thatcher era." In: The political legacy of Margaret Thatcher / edited by Stanislao Pugliese. London: Politico's, 2003.
Main Stack DA589.7.P655 2003

Quinlan, David.
British sound films: the studio years 1928-1959 / David Quinlan. Totowa, N.J.: Barnes & Noble Books, 1985, c1984.
Main Stack PN1993.5.G7.Q56 1985

Ramsden, John
The dam busters / John Ramsden. London; New York: I.B. Tauris, 2003. Cinema and society. British film guide.
Main Stack PN1997.D27.R36 2003

Rattigan, Neil
"The Last Gasp of the Middle Class: British War Films of the 1950s." In: Re-viewing British cinema, 1900-1992: essays and interviews / edited by Wheeler Winston Dixon. pp: 143-53 Albany: State University of New York Press, c1994.
Main Stack PN1993.5.G7.R4 1994

Rattigan, Neil
This is England: British film and the People's War, 1939-1945 / Neil Rattigan. Madison [N.J.]: Fairleigh Dickinson University Press; London: Associated University Presses, c2001.
Main Stack D743.23.R38 2001

Reeves, Nicholas.
Official British film propaganda during the first world war / Nicholas Reeves. London; Wolfeboro, N.H.: C. Helm, published in association with the Imperial War Museum, c1986.
Main Stack D639.P7.G781 1986

Re-viewing British cinema, 1900-1992: essays and interviews
Edited by Wheeler Winston Dixon. Albany: State University of New York Press, c1994.
Main Stack PN1993.5.G7.R4 1994

Richards, Jeffrey.
The age of the dream palace: cinema and society in Britain, 1930-1939 / Jeffrey Richards. London; Boston: Routlege & K. Paul, 1984. Cinema and society.
Main Stack PN1995.9.S6.R48 1984

Richards, Jeffrey.
Best of British: cinema and society, 1930-1970 / Jeffrey Richards and Anthony Aldgate. Oxford, England: B. Blackwell, 1983.
Main Stack PN1993.5.G7.R48 1983

Richards, Jeffrey.
British cinema and society, 1930-1970 / Jeffrey Richards and Anthony Aldgate. Totowa, N.J.: Barnes & Noble Books, 1983.
Moffitt PN1995.2.R52 1983

Rogue reels: oppositional film making in Britain, 1945-90
Edited by Margaret Dickinson. London: British Film Institute, 1999.
Main Stack PN1993.5.G7.R64 1999

Russell, Ken
Fire over England: the British cinema comes under friendly fire / Ken Russell. London: Hutchinson, 1993.
Main Stack PN1993.5.G7.R77 1993
Moffitt PN1993.5.G7.R77 1993

Sargeant, Amy
British cinema: a critical history London: BFI Publishing, 2005.
GRDS: PN1993.5.G7 S35 2005; Non-circulating; may be used only in Graduate Services.
MAIN: PN1993.5.G7 S35 2005;

Shafer, Stephen C.
British popular films, 1929-1939: the cinema of reassurance / Stephen C. Shafer. London; New York, N.Y.: Routledge, c1997. Studies in film, television, and the media.
Main Stack PN1993.5.G7.S46 1997

Shaw, Tony.
British cinema and the Cold War: the state, propaganda and consensus / Tony Shaw. London; New York: I.B. Tauris; distributed in U.S. by St. Martin's Press, 2001.
Main Stack PN1995.9.P6.S52 2001

Since 1939. London, Phoenix House [1948
Main Stack N6761.S56 Library has: v.1-2 ([1948-1849]) Shelved at NRLF: v.1-2

Sixty voices: celebrities recall the golden age of British cinema
Edited by Brian McFarlane. London: BFI with the assistance of Monash University, Melbourne, 1992.
Main Stack PN1993.5.G7.S54 1992

Slide, Anthony.
"British silent films in the United States." In: Silent topics: essays on undocumented areas of silent film / Anthony Slide. Lanham, Md.: Scarecrow Press, 2005.
Main Stack PN1995.75.S57 2005

Spicer, Andrew.
Typical men: the representation of masculinity in popular British cinema / Andrew Spicer. London; New York: I.B. Tauris Publishers, 2001. Cinema and society.
Main Stack HQ1090.7.G7.S65 2001

Street, Sarah.
British cinema in documents / Sarah Street. London; New York: Routledge, 2000.
Main Stack PN1993.5.G7.S74 2000

Street, Sarah.
British national cinema / Sarah Street. London; New York: Routledge, 1997. National cinemas series
Main Stack PN1993.5.G7.S75 1997
Contents via Google Books

Street, Sarah.
Transatlantic crossings: British feature films in the United States / Sarah Street. New York: Continuum, c2002. Rethinking British cinema.
Main Stack PN1993.5.G7.S76 2002

Swann, Paul.
The Hollywood feature film in postwar Britain / Paul Swann. London; Wolfeboro, N.H.: Croom Helm, c1987.
Main Stack PN1993.5.G7.S891 1987

Swann, Paul.
The Hollywood feature film in postwar Britain / Paul Swann. New York: St. Martin's Press, 1987.
Moffitt PN1993.5.G7.S89 1987b

Towers, Harry Alan, 1920-
The march of the movies, by Harry Alan Towers and Leslie Mitchell. London, S. Low, Marston [1947]
Main Stack 906v.T739.ma NRLF #: B 3 515 155

Twenty years of British film, 1925-1945
Michael Balcon [and others]. London] Falcon Press, 1947.
Main Stack 906v.T971 NRLF #: B 4 507 929

Typically British [Videorecording]
Directed by Mike Dibb and Stephen Frears. Stephen Frears leads a discussion with other British filmmakers, and explores the wealth of images created by the British film industry over the last century. 1996.
Media Center Video/C MM442

Typiquement British: le cinema britannique: ouvrage publie a l'occasion de la manifestation Typiquement British, 200 films anglais, au Centre Pompidou, concue en collaboration avec le British Council et le British Film Institute et presentee au Centre Pompidou du 4 octobre 2000 au 5 mars 2001
Sous la direction de N. T. Binh, Philippe Pilard. Paris: Centre Pompidou, c2000.
Main Stack PN1993.5.G7.T97 2000

The unknown 1930s: an alternative history of the British cinema 1929-39
Edited by Jeffrey Richards. London; New York: I.B. Tauris, 1998. Cinema and society.
Main Stack PN1993.5.G7 1998

Walker, Alexander
National heroes: British cinema in the seventies and eighties / Alexander Walker. London: Harrap, 1985.
Main Stack PN1993.5.G7.W341 1985

Walker, J. A. (John Andrew)
The once and future film: British cinema in the seventies and eighties / John Walker. London: Methuen, 1985.
Main Stack PN1993.5.G7.W3 1985

Warren, Patricia.
British film studios: an illustrated history / Patricia Warren; foreword by Sir Sydney W. Samuelson. London: Batsford, 1995.
Main Stack PN1993.5.G7.W328 1995

Williams, Tony
Structures of desire: British cinema, 1939-1955 / Tony Williams. Albany: State University of New York Press, c2000. SUNY series, cultural studies in cinema/video.
Main Stack PN1993.5.G7.W55 2000

Wollaeger, Mark A.
Modernism, media, and propaganda: British narrative from 1900 to 1945 Princeton: Princeton University Press, c2006.
Main: PR888.M63 W65 2006;
Table of contents http://www.loc.gov/catdir/toc/ecip0611/2006009788.html

Wood, Alan.
Mr. Rank; a study of J. Arthur Rank and British films. London, Hodder and Stoughton [1952]
Main Stack PN1998.A3.R35 NRLF #: $B 120 658

Young and innocent?: the cinema in Britain, 1896-1930
Edited by Andrew Higson. Exeter: University of Exeter Press, 2002. Exeter studies in film history.
Main Stack PN1993.5.G7.Y68 2002

Journal Articles

Aldgate, Tony.
" I Am a Camera: Film and Theatre Censorship in 1950s Britain." (Critical Essay) Contemporary European History Nov 1999 v8 i3 p425(14)
Author's Abstract: COPYRIGHT 1999 Cambridge University Press "Although the processes of censorship as exercised over the stage and screen in 1950s Britain shared similar characteristics, there were vital differences in the way in which the governing authorities construed the audiences who frequented these entertainment media. Because cinemagoers constituted a mass audience and were considered to be more impressionable, the criteria of 'quality' applied by the British Board of Film Censors differed markedly to those put into effect for the theatre by the Lord Chamberlain's Office. The reception afforded both the play and film of I Am a Camera reveals the subtlety of approach adopted by the censors in each instance." [Expanded Academic Index]

Allen, Jessica. Livingstone, Sonia. Reiner, Robert.
"True Lies: Changing Images of Crime in British Postwar Cinema." European Journal of Communication. 13(1):53-75. 1998 Mar

Austen, D.
"The fifties: 'Let's go to the pictures'." Films & Filming Vol XX nr 12 (Sept 1974); p 20-25
A nostalgic look at the US and British films of the 1950's and the cinema-going habits during those days.

Bell-Williams, Melanie
"Gender and Modernity in Post-War British Cinema: A Case Study of Young Wives' Tale." Women's History Review, vol. 16, no. 2, pp. 227-43, April 2007

Bottomore, S., ed
"Early British Cinema." [Special section]. Film History v. 16 no. 1 (2004) p. 3-91

Boyd, Don.
"Cowards, liars, cultural despots and subsidized cronies: a portrait of Britain's film industry - from the inside, naturally." New Statesman (1996) Oct 31, 1997 v126 n4358 p34(3) (2131 words)
UC users only
"Poor marketing and distribution of British films are the reasons why second-class Hollywood fare is taking over the film industry. Concerned filmmakers have to rally in support of the British film industry and say no to American junk." [Expanded Academic Index]

"British Cinema Questionnaire." Cineaste. 26(4) 2001 Fall
UC users only

Brunsdon, Charlotte
"From Private Gardens to Utopian Moments." (contemporary British cinema) Cineaste Fall 2001 v26 i4 p43
UC users only

Burrows, J.
"Penny Pleasures: Film exhibition in London during the Nickelodeon era, 1906-1914." Film History v. 16 no. 1 (2004) p. 60-91
UC users only
"Part of a special section on early British cinema. London had a substantial "nickelodeon" culture between 1906 and 1914. An examination of a variety of sources, mainly police reports on moving picture shows and county licensing records, enables the identification of 154 nickelodeon-style shows, housed mostly in small converted shops, operating in London at different times between 1906 and 1911. They were by no means legislated out of existence by the Cinematograph Act of 1910, as was once assumed, with the number of closures from 1911 to 1914 only amounting to a loss of 17 per cent of the sector. However, the proliferation and penetration of these shows still fell some way short of the scale established in certain areas of the United States. A range of municipal regulatory impediments and internal industry prejudices functioned all too effectively to stifle and smother the commercial development of London's penny/shop shows during the formative period before 1910." [Art Index]

Burrows, J.
"Girls on film: the musical matrices of film stardom in early British cinema." Screen v. 44 no. 3 (Aut 2003) p. 314-25

Byrne, Eleanor.
"See(k)ing in the Dark: Looking at White People in Black British Cinema." Journal for the Study of British Cultures. 5(2):171-80. 1998

Cacqueray, Elizabeth de.
"Constructions of Women in British Cinema: From Losey/Pinter's Modernism, to the Postmodernism of Frears/Kureishi." Caliban. 32:109-20. 1995. Toulouse, France

Carson, Bruce
"Comedy, sexuality and "Swinging London" films." Journal of Popular British Cinema nr 1 (1998); p 48-62.
"Alfie", "Georgy girl" and "The knack" are three British comedies that represent and explore the new "permissiveness" in 1960's London. Their role in mediating a move from the ideology of earlier cinema is explored.

Caughie, John.
"Small Pleasures: Adaptation and the Past in British Film and Television." Ilha do Desterro: a Journal of Language & Literature. 32(1):27-50. 1997

Caughie, John.
"A Culture of Adaptation: Adaptation and the Past in British Film and Television." Journal for the Study of British Cultures. 5(1):55-66. 1998

Chapman, James
'Our finest hour revisited." Journal of Popular British Cinema nr 1 (1998); p 63-75
British war films of the 1950's and early 1960's have been largely ignored by scholars. This article seeks to provide an exploratory discussion of the cultural and ideological significance of World War II narrative in British. [FIAF]

Chapman, James
"The True Business of the British Movie'? A Matter of Life and Death and British Film Culture." Screen, vol. 46, no. 1, pp. 33-49, Spring 2005.

Chibnall, Stephen.
"Britain's Funk Soul Brothers: Gender, Family and Nation in the New Brit-Pics." Cineaste. 26(4):38-42. 2001 Fall
UC users only

Christie, Ian
""Has the cinema a career?" Pictures and prejudice: the origins of British resistance to film." TLS. Times Literary Supplement, Nov 17, 1995 n4833 p22(2)
"British antipathy and the lack of financial support have resulted in stunted growth of the British film industry. British intellectuals never appreciated the medium as a viable art. The domestic market came under the domination of the American film industry by 1910. Virginia Woolf criticized cinematic adaptations of literary works in a 1926 essay, 'The Cinema,' in 'The Captain's Death Bed.' The intellectuals did support the Film Society during the 1920s for private screening of controversial films, but motion pictures are still culturally suspect in Britain." [Expanded Academic Index]

Ciecko, Anne.
"Representing the Spaces of Diaspora in Contemporary British Films by Women Directors." Cinema Journal. 38(3):67-90. 1999

Clark, George.
"An Overview of Shoot, Shoot, Shoot: The First Decade of the London Film Makers' Cooperative and British Avant-Garde Film 1966-1976." Senses of Cinema: an Online Film Journal Devoted to the Serious & Eclectic Discussion of Cinema. 21:(no pagination). 2002 July-Aug

Combs, Richard
"New British cinema: a prospect and six views." Film Comment Nov-Dec 1995 v31 n6 p52(8)
UC users only

Craven, Peter
"Retro grade." (and British Cinema) Quadrant Jan-Feb 1999 p64(4) (3068 words)
UC users only

Diawara, Manthia.
"Black British Cinema: Spectatorship and Identity Formation in Territories." Public Culture. 3(1):33-47. 1990 Fall

Dixon, Wheeler Winston.
"British Film Comedy in the New Millennium: Rik Mayall, Adrian Edmondson, and Guest House Paradiso." Popular Culture Review. 12(1):115-26. 2001 Feb

Donnelly, K. J.
"The Perpetual Busman's Holiday: Sir Cliff Richard and British Pop Musicals." Journal of Popular Film & Television. 25(4):146-54. 1998 Winter

Dupin, Christophe
"The Postwar Transformation of the British Film Institute and Its Impact on the Development of a National Film Culture in Britian." Screen, vol. 47, no. 4, pp. 443-51, Winter 2006

Enkemann, Jyrgen.
"Globalization, Sense of Place and Questions of Identity: British Film in the 1990s." Journal for the Study of British Cultures. 5(2):111-27. 1998

Fink, Janet. Holden, Katherine
"Pictures from the Margins of Marriage: Representations of Spinsters and Single Mothers in the Mid-Victorian Novel, Inter-War Hollywood Melodrama and British Film of the 1950s and 1960s." Gender & History, 11 (2): 233-55 1999.

Guy, S.
"'High Treason' (1951) - Britains Cold-War Fifth-Column (Film Directed By Roy Boulting)."Historical Journal Of Film Radio And Television, 1993, V13 N1:35-47.

Hanke, Ken
"The British film invasion of the 1960s, part III." Films in Review Vol XL nr 6-7 (June-July 1989); p 348-356
Survey of British films imported to the USA continues, focusing on "Help!", "The loved one", "Morgan a suitable case for treatment" and "How I won the war".

Hardy, Sylvia.
"H. G. Wells and British Cinema: The War of the Worlds." Foundation: Review of Science Fiction. 28(77):46-58. 1999 Autumn

Harper, Sue; Porter, Vincent
"Moved to tears: weeping in the cinema in postwar Britain."Screen Vol XXXVII nr 2 (Summer 1996); p 152-173
A 1950's British Mass Observation survey on crying in the cinema is examined and conclusions drawn about the social and psychological function of film in the postwar period. [FIAF]

Healy, Murray.
"Were We Being Served? Homosexual Representation in Popular British Comedy." Screen. 36(3):243-56. 1995 Autumn

Higson, Andrew
"Space, place, spectacle." Screen Vol XXV nr 4-5 (July-Oct 1984); p 2-21.
Exploration of landscape and townscape in the British realist films of the late 1950's and early 1960's, taking as the main examples "Saturday night and Sunday morning" and "A taste of honey".

Hill, John.
"Contemporary British Cinema: Industry, Policy, Identity." Cineaste. 26(4):30-33. 2001 Fall
UC users only
"The current state of British cinema shows a familiar mix of strengths and weaknesses. There have been increases in British cinema admissions, new cinemas, and film production and a number of recent high-profile commercial successes. However, Hollywood films have benefited most from the growing audiences, and most British films without links to major Hollywood studios find it hard to get a foothold in the market. The UK film industry is relatively fragmented, with little integration across various sectors. British film production is most often carried out by relatively small production companies on an irregular or one-time basis, with finance usually pieced together from a range of sources including international presales and funding by government-backed agencies and television companies. There is no longer just one British cinema but different types of "British" cinemas often aimed at different audiences and addressing different aspects of social and cultural life." [Art Index]

Hill, John
"Government Policy and the British Film Industry 1979-90." European Journal of Communication. 8(2):203-24. 1993 June

Holmes, Susan.
"'As They Really Are, and in Close-Up': Film Stars on 1950s British Television." Screen. 42(2):167-87. 2001 Summer

Holmes, Su .
"Looking at the wider picture on the small screen: reconsidering British television and widescreen cinema in the 1950s." (Critical Essay)Quarterly Review of Film and Video April-June 2004 v21 i2 p131-147
"The author argues against the conventional assumption that the technological rejuvenation of British cinema during the 1950s was driven by the motion picture industry's desire to distance itself from television. She instead posits that television promoted cinema's technological advancements through the emerging genre of feature-length television cinema programs." [Expanded Academic Index]

Jaikumar, Priya.
"An Act of Transition: Empire and the Making of a National British Film Industry, 1927." Screen. 43(2):119-38. 2002 Summer

Jones, Robert A.
"The Boffin: A stereotype of scientists in post-war British films (1945 - 1970)." Public Understanding of Science, Vol. 6, No. 1, 31-48 (1997)
UC users only

Kennedy, Harlan
"WWII: how they won the war; British cinema and World War Two." Film Comment, Sept-Oct 1996 v32 n5 p24(8)
UC users only
The British films of the World War II era are exotic to viewers today. The films are experiencing a revival with the 50th anniversary of the war and show British society at its most stoic. Films analyzed include 'Millions Like Us,' 'The Way to the Stars' and 'Ice Cold in Alex.'

Kirk, John.
"Urban Narratives: Contesting Place and Space in Some British Cinema from the 1980s." Jnt-Journal of Narrative Theory. 31(3):353-79. 2001 Fall

Kuhn, Annette
"Cinema-going in Britain in the 1930s: Report of a Questionnaire Survey." Historical Journal of Film, Radio and Television Oct 1999 v19 i4 p531
UC users only
Surveys of British movie-goers in the 1930s reveal motion pictures' impact on British society. Topics include the age at which people first attended a movie, whether cinema-goers remembered portions of their favorite movie, loyalty to their favorite stars, and membership to fan clubs.

Kitses, Jim
"Gavin Lambert." Screen Vol XIII nr 2 (Summer 1972); p 55-78.
G.L.'s reasons for leaving Britain. The different attitudes to film aesthetics and criticism in England and France. The problems of the British cinema. Incl. bio-filmographic notes on: Paul Rotha, John Schlesinger, Tony Richardson and Karel Reisz.

Kuhn, Annette
"Children, 'horrific' films, and censorship in 1930s Britain." (Critical Essay) Historical Journal of Film, Radio and Television June 2002 v22 i2 p197(6)

Landy, Marcia.
"The Sexuality of History in Contemporary British Cinema." Film Criticism. 20(1-2):78-87. 1995 Fall-1996 Winter

Lawrenson, E.
"Mass observation." Sight & Sound v. ns16 no. 4 (April 2006) p. 88
UC users only
"Free Cinema was a program of four films by young British-based directors presented at the National Film Theatre in February 1956. If these films appear less groundbreaking today, it is because much of their immediacy is now standard practice. However, while their stylistic achievements are beyond doubt, the films have not dated well because they insisted that a film cannot be too personal and because they were polemical against Britain of the 1950s." [Art Index]

Leong, Karen J.
"Anna May Wong and the British Film Industry." Quarterly Review of Film and Video, vol. 23, no. 1, pp. 13-22, 2006

Lindley, Arthur
"Translations of the Flesh: International Relations as Romantic Comedy in Recent Australian and British Film." Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema, vol. 28, pp. (no pagination), September 2003.

Lovell, Alan
"The Unknown Cinema of Britain." Cinema Journal Vol. 11, No. 2 (Spring, 1972), pp. 1-8
UC users only

Lovell, T.
"Landscapes and stories in 1960s British realism." Screen Vol XXXI nr 4 (Winter 1990); p 357-376.
Study of the portrayal of British working-class life in the film "A taste of honey" and on tv in 'Coronation Street'. The influence of Richard Hoggart's book 'The uses of literacy' and other British new wave films are discussed, esp. the importance of domestic interiors and urban landscape.

Macnab, Geoffrey
"British cinema." (compilation of several significant events in the history of British film industry) Sight and Sound July 1996 v6 n7 p22(4)
" A survey of significant events in the history of the British film industry and a brief account of film stars and studios are presented. The Studios section traces the origin of film studios, such as Elstree, Pinewood, Bray, and notes about past and current films shot there. The stars section offers glimpses into the life and career of famous stars, such as Sean Connery and Vanessa Redgrave. The column 'Some Key Moments' lists important events in the industry from late 19th century to late 20th century." [Expanded Academic Index]

Macnab, Geoffrey
"Caught in the act."Sight & Sound Vol IV nr 4 (Apr 1994); p 61
On the acting styles used in British films of the 1950's.

Marris, Paul
"Northern Realism: An Exhausted Tradition?" (British cinema) Cineaste Fall 2001 v26 i4 p47
UC users only

McCrillis, Neal R.
""Simply try for one hour to behave like gentlemen": British cinema during the early Cold War, 1945-1960." Film & History
Study of British Cold War culture which suggests that British films were less anti-communist and ideologically conservative than American films of the same period. [FIAF]

McFarlane, B.
"Pulp fictions: the British B film and the field of cultural production." Film Criticism v. 21 (Fall 1996) p. 48-70
UC users only
"The writer discusses the neglect of the British B movie. The British B movie never acquired a respected place in the film industry and has existed in a very obscure field of cultural production. Matters such as the system of exhibition, budgetary constraints, and the homological relationship of the film industry to the social class system, have combined with the essentially middle-class nature of critical discourse on British cinema to venerate the literary and realist strains of A-level film making, thereby marginalizing and neglecting the rest. British B movies are deserving of a revival of interest: Their neglect has consigned some good quality films to oblivion, and they are revealing about the periods from which they originate. To ignore these films suggests snobbery and distorts one's sense of the structure of the film industry." [Art Index]

McLoone, Martin.
"Challenging Colonial Traditions: British Cinema in the Celtic Fringe." Cineaste. 26(4):51-54. 2001 Fall
UC users only
"There is now a substantial body of film work that represents a kind of cinematic decolonization of Britain's Celtic fringe. The shared factor in the experience of Scotland, Wales, and Northern Ireland is that in the 1990s, sufficient funding and technical facilities were finally made available to sustain a concerted program of indigenous film production. On the one hand, the films of Britain's Celtic fringe are interested in exploding myths and moving beyond the regimes of representation that have been bequeathed by dominant British cinema, which have tended to romanticize and marginalize the Celtic fringe. On the other hand, this new cinema has also been focused inward, exploring the dominant nationalist responses to representations of the center. It has pushed peripherality to the center and operates on the cutting edge of a contemporary cultural debate about identity. The writer goes on to examine various examples of this cinema of the Celtic fringe." [Art Index]

Monk, Claire.
"The British 'Heritage Film' and Its Critics." Critical Survey. 7(2):116-24. 1995

Monk, Claire.
"Projecting a 'New Britain'." Cineaste Fall 2001 v26 i4 p34 (4853 words)
UC users only

Murphy, Robert.
"Raymond Durgnat and A Mirror for England." Senses of Cinema: an Online Film Journal Devoted to the Serious & Eclectic Discussion of Cinema. 20:(no pagination). 2002 May-June

Neely, S.
"Scotland, heritage and devolving British cinema." Screen v. 46 no. 2 (Summer 2005) p. 241-5

Nowell-Smith, Geoffrey
"The 1970 Crisis at the BFI and Its Aftermath." Screen, vol. 47, no. 4, pp. 453-59, Winter 2006

Nugent, Julie.
"The Remains of Empire: Conflicting Representations in Contemporary Film." Irish Studies Review. 7:23-27. 1994 Summer

Petrie, Duncan.
"A brief history of British cinematography." American Cinematographer v. 80 no. 12 (December 1999) p. 86-8+

O'Pray, M.
"The B movie phenomenon: British cinema today." Aperture no. 113 (Winter 1988) p. 68-71

The Performing Northern Working Class in British Cinema: Cultural Representation and its Political Economy." Quarterly Review of Film and Video v. 23 no. 4 (2006) p. 287-97

Petrie, Duncan.
"A brief history of British cinematography." American Cinematographer v. 80 no. 12 (December 1999) p. 86-8+
UC users only
"The writer traces the history of British cinematography. The art and craft of lighting was slow to develop in the formative years of the British film industry, but in the 1920s this began slowly to change, partly due to pressure exerted by the arrival of a few Hollywood cameramen. Some British filmmakers also learned a great deal while working in Germany on coproductions. German cinema had transformed the camera from a passive recorder of action to an active tool able to convey the fluidity and dynamism of dramatic action and subjective emotion, but this sort of sophistication was temporarily restrained in Britain by the arrival of sound in 1929, which confined cameras to booths, limiting movement to basic panning and tilting. British cinematography came of age around the end of World War II with the dominant aesthetic of a high-contrast, low-key style that combined the artistic subtleties of Germanic technique and the bold chiaroscuro of American "film noir." The 1970s saw a slump in film production, but the past two decades have continued to offer rich creative work by British cinematographers." [Art Index]

Petrie, Duncan.
"Devolving British Cinema: The New Scottish Cinema and the European Art Film." Cineaste. 26(4):55-57. 2001 Fall
UC users only
"Among the most interesting and important developments in British filmmaking in the 1990s was the emergence of a distinctive cinema in Scotland. Spearheaded by a number of high-profile, low-budget films, the new Scottish cinema impressed both audiences and critics at home and abroad and challenged the idea that British cinema could still be viewed as a culturally homogeneous or unified entity. A series of key institutional developments also led to the provision of new sources of financial support for Scottish film production. Recent Scottish cinema is distinct from much of the rest of current British cinema, often seeming more successful in appropriating external creative influences. The achievements of such idiosyncratic and cineliterate films as Orphans, Ratcatcher, and One Life Stand are a timely reminder of the rich European tradition within which some of the best Scottish cinema of the past two decades rightly belongs." [Art Index]

Porter, Vincent
"The hegemonic turn: film comedies in 1950s Britain." Journal of Popular British Cinema; nr.4 (2001); p.81-94
Analysis of 1950's British comedies, incl. 'Carry on' films which concludes that comedy was an ideal genre for resolving changing social and sexual attitudes in postwar Britain.

"Prodigal returns." (future of British cinema) (Editorial) Sight and Sound Nov 1994 v4 n11 p3(1)
"British motion pictures may now be made on bigger budgets with the acquisition of London's Shepperton Studios by British expatriate film-makers Ridley and Tony Scott at a price of 12 million pounds sterling and the start of actor Hugh Grant's British-based company Simian Films. The Scott brothers hope that Shepperton Studios will be able to attract big foreign producers to shoot in Britain, thus enabling the making of better quality British films. Motion picture distribution in the UK is monopolized by Hollywood productions, and it is doubtful if the profits of these movies are being used to improve the production standards of British films." [Expanded Academic Index]

Pronay, N.
"British Film Sources For The Cold-War - The Disappearance Of The Cinema-Going Public." Historical Journal Of Film Radio And Television, 1993, V13 N1:7-17.

Pulleine, T.
"Hollywood's baby brother? British films of the Fifties." Films & Filmingno. 339 (December 1982) p. 19-22+

Ramsden, John.
"Refocusing 'The People's War': British war films of the 1950s." (includes appendix on the war film boom of the 1950s) Journal of Contemporary History, Jan 1998 v33 n1 p35(32)
"British war films of the 1950s, which generally glorified Allied achievements of World War II, were shown during the last period in which the country's cinema could be said to have a national audience and had much box office appeal. In 1959, 14.5 mil people weekly were in theaters in Britain, a figure that was greater than the number of homes with television sets and almost equal to the total circulation of all national daily newspapers. In the '50s war features were still black and white and in traditional screen dimensions as a deliberate policy to maintain the look of films made during war years. Wartime film might be spliced in." [Expanded Academic Index]

Rapp, Dean
"Sex in the cinema: war, moral panic, and the British film industry, 1906-1918 (1). Albion Fall 2002 v34 i3 p422(30)
UC users only

Remael, Aline.
"Censorship: Cross-Media Cutting in 1950s-60s Britain." Canadian Review of Comparative Literature-Revue Canadienne de Litterature Comparee. 23(2):547-60. 1996 June

Richards, Jeffrey.
"Cinemagoing in worktown: regional film audiences in 1930s Britain." Historical Journal of Film, Radio and Television June 1994 v14 n2 p147(20) (11070 words)
UC users only
"Cinemas almost always registered full attendance in Britain during the 1930s. In the 1930s, Bolton, Lancashire, UK, which was referred to as 'Worktown,' registered a sharp increase in middle-class cinema patronage comprising mainly women, children and the unemployed. The choice of films included musicals, romance, drama, tragedy and history. Film stars whose films were widely watched by the working class included Geo

Pronay, N.
"British Film Sources For The Cold-War - The Disappearance Of The Cinema-Going Public." Historical Journal Of Film Radio And Television, 1993, V13 N1:7-17.

Roisman-Cooper, Barbara.
"Real to reel: World War II and British film." British Heritage Nov 2003 v24 i6 p38(8)
The article examines the importance of motion pictures in bolstering morale in Great Britain during World War II. Discussion includes the films 'In Which We Serve,' 'Spitfire,' and 'The Way Ahead.'

Sawhney, Cary Rajinder.
"'Another Kind of British': An Exploration of British Asian Films." Cineaste. 26(4):58-61. 2001 Fall
UC users only
"A discussion of British-Asian film. In the UK, the term "Asian" usually describes the ethnicity of peoples originating from India, Pakistan, Bangladesh, and Sri Lanka, and British-Asian films for the most part have Asian themes and some common features. While British films with Asian themes have been developing a distinctive identity and hybrid aesthetic with links to different sources, they are arguably most closely related to other "black" films in Britain. These share approaches that have changed over the past 20 years from essentially issue-based work challenging social injustice to more commercially viable features exploring a diverse range of experiences. The writer goes on to examine the history of British-Asian film since the 1980s, the themes and aesthetics of British-Asian films and their parallels with other cinemas, and shifting attitudes in Britain toward Asian cultures." [Art Index]

Scorsese, M.
"About English cinema." [influence of British filmmakers on Scorsese]. Cahiers du Cinema no. 500 (March 1996) p. 52-5

Sedgwick, John.
"Film 'hits' and 'misses' in the mid-1930s Britain." Historical Journal of Film, Radio and Television August 1998 v18 n3 p333(19) (7155 words)
UC users only
"A comparative analysis was performed by differentiating the cinemagoing preferences of Boltonians and the UK's national public to prove Jeffrey Richards' theory that a film audience's response is determined by the movie's appeal to a country's overall national identity that also encompasses the gender and regional identities. Results show that Richards' thesis is accurate as shown by UK's motion picture audience's preference for Hollywood produced films in the 1930s while still having a regional liking for British costume films amd musicals." [Expanded Academic Index]

Simmons, Jerold.
"A Tale of Two Censors: The British Board of Film Censors, the Production Code Administrationand the Sad Fate of I Am a Camera." North Dakota Quarterly. 61(3):130-47. 1993 Summer

Smith, Rebecca
"J. Arthur Rank: the driving force behind the golden age of British cinema." (producer and director of cinema in Britain, includes filmographies) Films in Review May-June 1996 v47 n5-6 p2(10)
": Film producer Joseph Arthur Rank passed away in 1972. Born in a Methodist family of Yorkshire on Dec 22, 1888, Rank established a degree of reliability and success in the British film industry. He acquired Pinewood Studios in 1936 and founded Independent Producers at Pinewood in 1942. By the end of the 1940s, he created an empire with worldwide influence. During World War II, British films gained popularity in America because Rank's directors achieved a good combination of drama and realism. Rank Organization created some of the finest films in the history of cinema." [Expanded Academic Index]

Smith, R.
"J. Arthur Rank: the driving force behind the golden age of British cinema." [with filmography]. Films in Review v. 47 (May/June 1996) p. 2+

Sobchack, Tom.
"Bakhtin's 'Carnivalesque' in 1950s British Comedy." Journal of Popular Film & Television. 23(4):179-85. 1996 Winter

Stafford, Roy
"What's showing at the Gaumont?": rethinking the study of British cinema in the 1950s." Journal of Popular British Cinema nr 4 (2001); p 95-111
Examination of distribution and exhibition practices in the north of England in the early 1950's. A detailed analysis discovers a more varied and complex exhibition culture than is normally associated with 1950's British cinema. [FIAF]

Voigts-Virchow, Eckart.
"Anglian Antics: British Film Comedies of the Eighties and Nineties." Journal for the Study of British Cultures. 5(2):129-41. 1998

Walsh, Michael.
" Reality, the Real, and the Margaret-Thatcher-Signifier in Two British Films of the 1980s." American Imago 52(2):169-89. 1995 Summer

Wayne, Mike.
"Constellating Walter Benjamin and British Cinema: A Study of The Private Life of Henry VIII." Quarterly Review of Film & Video. 19(3):249-60. 2002 July-Sept
"Alexander Korda's 1933 motion picture 'The Private Life ofHenry VIII' filtered British history and myths through a European aesthetic in a similar way to how Walter Benjamin's conceptual apparatus can illuminate British cinema. Korda adapted his story to the political and economic crises of the early 1930s, and this provides links with Benjamin's work on 19th-century Paris arcades and the emergence of consumer culture." [Expanded Academic Index]

Webster, Wendy
"Reconstructing boundaries: gender, war and empire in British cinema, 1945-1950. Historical Journal of Film, Radio and Television March 2003 v23 i1 p43(15)
UC users only

Wilinsky, Barbara.
"First and Finest: British Films on U. S. Television in the Late 1940s." Velvet Light Trap. 40:18-31. 1997 Fall

Williams, Melanie.
"'Light on a Dark Lovely': Yvonne Mitchell and Stardom in British Cinema." Quarterly Review ofFilm & Video. 19(1):31-41. 2002
" Yvonne Mitchell was a minor star in British motion pictures during the 1950s and her film career demonstrates how physical characteristics often typecast women in this period. Mitchell had dark hair and eyes and was usually cast as an unhappy, suffering character, a limitation to which she objected."

Williams, Patrick.
"Imaged Communities: Black British Film in the Eighties and Nineties." Critical Survey. 8(1):3-13. 1996

Williams, T.
"[British Horror Cinema]." Quarterly Review of Film and Video v. 22 no. 1 (January/March 2005) p. 90-2

Articles and Books on Individual Directors

Lindsay Anderson

Anderson, Lindsay
Never apologise : the collected writings London : Plexus, 2004.
MAIN: PN1998.3.A523 A2 2004; PFA : PN1998.3.A63 A2 2004

Anderson, Lindsay
"'This Sporting Life'." Tempo, New Ser., No. 139. (Dec., 1981), pp. 33-34.
UC users only

Anderson, Lindsay; Paul Gray; Kelly Morris
"Class Theatre, Class Film. An Interview with Lindsay Anderson." The Tulane Drama Review, Vol. 11, No. 1. (Autumn, 1966), pp. 122-129.
UC users only

"British directors." Literature/Film Quarterly Vol VIII nr 1 (1980); p 2-68.
Six articles on UK directors, Ken Russell, Carol Reed, Tony Richardson, Lindsay Anderson and John Schlesinger.

Cowie, Peter; Lindsay Anderson
"An Interview with Lindsay Anderson." Film Quarterly Vol. 17, No. 4 (Summer, 1964), pp. 12-14
UC users only

Graham, Allison.
Lindsay Anderson Boston: Twayne Publishers, 1981
MAIN: PN1998.A3 .A584; Storage Info: B 3 569 822

Hacker, Jonathan.
"Lindsay Anderson." In: Take ten: contemporary British film directors / Jonathan Hacker and David Price. Oxford [England]: Clarendon Press ; New York: Oxford University Press, 1991.
Main Stack PN1998.2.H33 1991

Hedling, Erik.
"Lindsay Anderson and the Development of British Art Cinema." In: The British cinema book
Edited by Robert Murphy. 2nd ed. pp: 241-47. London: British Film Institute, 2001.
Main Stack PN1993.5.G7.B66 2001

Hedling, Erik.
Lindsay Anderson: maverick film maker London: Washington: Cassell, 1998.
MAIN: PN1998.3.A525 H39 1998

Lambert, Gavin.
Mainly about Lindsay Anderson New York: Alfred A. Knopf: Distributed by Random House, 2000.
MAIN: PN1998.A525 L36 2000Mainly about Lindsay Anderson

Sherwin, David.
Going mad in Hollywood: and life with Lindsay Anderson London: A. Deutsch, 1996.
MAIN: PN1998.3.S455 A3 199

Silet, Charles L. P.
Lindsay Anderson: a guide to references and resources Boston: G. K. Hall, 1979
MAIN: PN1998.A3 .A5868 1979; Storage Info: B 3 569 823

Richard Attenborough

Cry Freedom

Burns, John F.
"Film is the weapon, apartheid the target." ("Cry Freedom" about the life and death of Stephen Biko) New York Times v137, sec2 (Sun, Nov 1, 1987):H1(N), H1(L), col 1, 71 col in.

Carchidi, Vitoria.
"South Africa from Text to Film: Cry Freedom and A Dry White Season." In: Florida State University Conference on Literature and Film (15th: 1990) Literature and film in the Historical Dimension: Selected Papers from the Fifteenth Annual Florida State University Conference on Literature and Film / edited by John D. Simons. Gainesville: University Press of Florida, c1994.
UCB Main PN50 .F57 1990

Claiborne, William.
"S. African police seize Biko movie; authorities raid theaters showing Attenborough's 'Cry Freedom.'" (Richard Attenborough, Steven Biko) Washington Post v111 (Sat, July 30, 1988):A1, col 2, 25 col in.

'Cry Freedom' is seized by Pretoria. (police seize copies of film claiming risk to public safety) New York Times v137 (Sat, July 30, 1988):5(N), 6(L), col 3, 8 col in.

Gilliam, Dorothy.
"'Cry Freedom' opens a window." (film on apartheid in South Africa) (column) Washington Post v110 (Thu, Nov 12, 1987):C3, col 4, 19 col in.

Hitchens, Christopher.
"White wash." American Film v 13 Jan/Feb 1988. p. 62-8.
"In Cry Freedom, director Sir Richard Attenborough fails to convey the texture and depth of apartheid in South Africa, making the film nothing more than an optimistic civil rights soap opera. One major fault lies in the film's simplistic portrayals of its two main characters. Attenborough treats journalist Donald Woods and black activist Stephen Biko as one-dimensional forces for good, considerably weakening the complexity and dramatic tension of the actual story on which the film is based. Even more disturbing are Attenborough's tendencies toward sentimentality and inaccuracy. When he neglects to show apartheid's reliance on tribalism and division, or the existence of continuing censorship in South Africa, Attenborough does severe damage to his film's credibility. By etching his film in such black and white terms, he merely patronizes everyone concerned, including the audience." [Art Abstracts]

Hoaglund, Jim.
"Setback for 'Freedom.'" ("Cry Freedom" banned in South Africa) (column) Washington Post v111 (Thu, Aug 4, 1988):A21, col 1, 14 col in.

Kraft, Scott.

"'Cry Freedom' viewed as history lesson; S. African critics oppose government suppression of movie." Los Angeles Times v107, secI (Tue, Aug 2, 1988):6, col 1, 25 col in.

Kraft, Scott.
"S. Africa bans showing of film 'Cry Freedom'; officials allege public safety threat, pull prints from theaters after premiere; censor overruled." Los Angeles Times v107, secI (Sat, July 30, 1988):1, col 3, 34 col in.

Mgxashe, Mxolisi.
"A black South African looks at 'Cry Freedom.'" Christian Science Monitor v80, n15 (Wed, Dec 16, 1987):13, col 1, 24 col in.

Nixon, Rob.
"Cry White Season: Apartheid, Liberalism, and the American Screen." South Atlantic Quarterly, vol. 90 no. 3. 1991Summer. pp: 499-529.

Sampson, Anthony
"Attenborough's Biko." Sight and Sound v 57 Winter 1987/1988. p. 48-50.

Trucco, Terry.
"Denzel Washington on re-creating Biko's life." (Steven Biko) New York Times v137 (Sat, Dec 26, 1987):12(N), 15(L), col 1, 20 col in.

White, Armond.
"Apartheid chic." Film Comment v 23 Nov/Dec 1987. p. 11-14+.
"Richard Attenborough's film Cry Freedom and Philip Saville's HBO movie Mandela fail as political statements because they remain rooted in white ideology. Both films are about apartheid, both have black hero-martyrs, and both idealize their subjects. Nelson Mandela, jailed for speaking out for the African National Congress, is depicted as never getting angry and always preaching peace. Cry Freedom is told from the point of view of white journalist Donald Woods, who fled South Africa after black activist Stephen Biko was slain by the police. The black heroes are aggrandized, belittled, and never shown as real people in a bitter struggle. At best, these films may enlighten the politically ignorant, but through tear-jerking techniques rather than an appeal to principle." [Art Abstracts]

Gandhi

Attenborough, Richard.
In search of Gandhi London: Bodley Head, 1982
MAIN: PN1997.G22 .A8
MOFF: PN1997.G36 A87 1982 (different edition)

Buck, Lucien A.
"Nonviolence and Satyagraha in Attenborough's Gandhi." Journal of Humanistic Psychology, Vol. 24, No. 3, 130-141 (1984)
UC users only

Cooper, D.
"Gandhi." Film Quarterly Vol XXXVII nr 2 (Winter 1983-84); p 46-50

>Galbraith, J.K.
"Gandhi." Film Comment Vol XIX nr 1 (Jan-Feb 1983); p 26-29

Goodman, J.
"The empire shoots back." Film Comment Vol XIX nr 1 (Jan-Feb 1983); p 30-32

Gupta, U.
"Gandhi." Cineaste Vol XII nr 4 (1983); p 45-46

Stephen Hay
"Attenborough's "Gandhi"" The Public Historian, Vol. 5, No. 3. (Summer, 1983), pp. 84-94.
UC users only

Patwardhan, Anand.
"Gandhi: Film as Theology." Internationales Asienforum [West Germany] 1983 14(4): 399-404.

Rushdie, S.
"Attenborough's Gandhi." In: Imaginary homelands: essays and criticism 1981-1991 / <1991> London: Granta in association with Penguin, c1991 (1992[printing])
MAIN: PR6068.U757 I4 1992
MAIN: PR6068.U757 I4 1991 (another edition)
MOFF: PR6068.U757 I4 1991 (another edition)

Saxena, S. K.
"Richard Attenborough's 'Gandhi': An Essay in Understanding." Journal of Comparative Literature and Aesthetics, vol. 5, no. 1-2, pp. 75-85, 1982

Sharma, Shailja.
"Citizens of the empire: revisionist history and the social imaginary in Gandhi." Velvet Light Trap (Spring 1995): 61(8).
UC users only

Ward, Geoffrey C.
"Gandhi." In: Past imperfect: history according to the movies / general editor, Mark C. Carnes ; edited by Ted Mico, John Miller-Monzon, and David Rubel. 1st ed. New York: H. Holt, 1995.
Main Stack PN1995.9.H5.P37 1995
PN1995.9.H5.P37 1995
Compar Ethn PN1995.9.H5.P37 1995
PFA PN1995.9.H5.P37 1995

John Boorman

Boorman, John
Hope and glory / by John Boorman. Boston: Faber and Faber, 1987.
Main Stack PN1997.H68 1987

Ciment, Michel
John Boorman / Michael Ciment ; translated by Gilbert Adair. London: Faber, 1986.
Main Stack PN1998.A3.B6 C51, 1986

Film-makers on film-making
Edited by John Boorman and Walter Donohue. London: Faber and Faber, 1996. Boorman, John, 1933 Projections (London, England) ; 5.
Main Stack PN1994.F43912 1996

Peachment, Chris
"John Boorman: the deliverance of a one-man British film industry." (film director) New Statesman (1996) May 22, 1998 v127 n4386 p46(2)
UC users only
Boorman can be considered the UK's greatest living film directorat age 65. He takes risks especially in his selections of remote and dangerouslocations. Boorman has established a name internationally, in Hollywood andin Ireland and his forthcoming movie 'The General' is very promising."

Smith,Gavin .
"Beyond images." (interview with director John Boorman)(Interview) Film Comment July-August 1995 v31 n4 p44(12)
UC users only
Director John Boorman's film 'Beyond Rangoon' recounts thetravails of a young woman who partakes in the socio-political struggles of acountry which she has visited. Boorman deals with the transformative qualityof experience in a theme that recalls the quest narrative of medievalromances.

Alberto Cavalcanti

 British Documentary Movement bibliography

Aitken, Ian.
Alberto Cavalcanti: realism, surrealism and national cinemas Trowbridge, Wiltshire: Flicks Books, 2000.
MAIN: PN1998.3.C39 A38 2000

"Alberto Cavalcanti." BFI Screen Online

Cavalcanti, Alberto.
"Essays on Film." In: The Documentary Film Movement: An Anthology / edited and introduced by Ian Aitken. pp: 179-215. Edinburgh: Edinburgh University Press, c1998.
Main Stack PN1995.9.D6.D56 1998

Corner, John.
"Coalface and Housing Problems" In: The art of record: a critical introduction to documentary Manchester ; New York: Manchester University Press ; New York, NY, USA: Distributed exclusively in the USA and Canada by St. Martin's Press, 1996.
MAIN: PN1995.9.D6 C57 1996

Hillier, Jim; others
"Alberto Cavalcanti." Screen Vol XIII nr 2 (Summer 1972); p 36-47,51-53
A.C.'s involvement with the British Documentary Movement of the 1930's, association with Grierson and comments about 'the nature of realism' in the cinema.

Klaue, Wolfgang.
Alberto Cavalcanti Berlin, Staatliches Filmarchiv der Deutschen Demokratischen Republik, 1962.
MAIN: PN1998.A3 C475 1962; Storage Info: B 3 569 827

MacKenzie, S. P.
"Nazis into Germans: Went the Day Well? (1942) and The Eagle Has Landed (1976)." Journal of Popular Film and Television, vol. 31, no. 2, pp. 83-92, Summer 2003.
Analyzes how two British films - "Went the day well?" and "The eagle has landed" -- portray changing British attitudes towards Germans.

Rodrigues, Antonio; Marchand, Alain
"Alberto Cavalcanti. An 'extraordinary man'."Griffithiana Vol XVI nr 60-61 (Oct 1997); p 190-199
An appraisal of the silent work of the Brazilian-born director. Text in English and Italian.

Sussex, Elizabeth
"Cavalcanti in England." Sight & Sound Vol XLIV nr 4 (Autumn 1975); p 201-211
Examination of Cavalcanti's contribution to the GPO film Unit and Ealing Films, and consequently to British cinema.

Stephen Frears

Barber, Susan Torrey
"Insurmountable difficulties and moments of ecstasy: crossing class, ethnic, and sexual barriers in the films of Stephen Frears." In: British cinema and Thatcherism: fires were started Edited by Lester Friedman. London: UCL Press, 1993.
Main Stack PN1993.5.G7.B74 1993
Moffitt PN1993.5.G7.B74 1993

Cacqueray, Elizabeth de.
"Constructions of Women in British Cinema: From Losey/Pinter's Modernism, to the Postmodernism of Frears/Kureishi." Caliban. 32:109-20. 1995. Toulouse, France

Friedman, Lester. Stewart, Scott.
"Keeping His Own Voice: An Interview with Stephen Frears." In: Re-viewing British cinema, 1900-1992: essays and interviews
Edited by Wheeler Winston Dixon. pp: 221-40. Albany: State University of New York Press, c1994.
Main Stack PN1993.5.G7.R4 1994

Friedman, Lester (ed.). Stewart, Scott (ed.).
"Keeping His Own Voice: An Interview with Stephen Frears." Post Script: Essays in Film & the Humanities. 11(3):3-18. 1992 Summer

Friedman, Lester; Stewart, Scott.
"Keeping His Own Voice: An Interview with Stephen Frears." In: Re-viewing British cinema, 1900-1992: essays and interviews / edited by Wheeler Winston Dixon. Albany: State University of New York Press, c1994.
Main Stack PN1993.5.G7.R4 1994

Hacker, Jonathan.
"Stephen Frears." In: Take ten: contemporary British film directors / Jonathan Hacker and David Price. Oxford [England]: Clarendon Press ; New York: Oxford University Press, 1991.
Main Stack PN1998.2.H33 1991

James, Nick.
"Subterranean Homesick Blues." Sight & Sound. 12(11):23. 2002 Nov

Kennedy, Harlen
"Gritty Brit; Stephen Frears is England's class act." (interview) Film Comment March-April 1987 v23 p15(3)

Lucia, C.
"The Complexities of Cultural Change: An Interview with Stephen Frears." Cineaste v. 28 no. 4 (Fall 2003) p. 8-
UC users only

Meek, Allen.
"A Century of Exiles: National Cinemas and Transnational Mediascapes." In: Rueschmann, Eva. Moving pictures, migrating identities Jackson: University Press of Mississippi, c2003.
Main Stack PN1995.9.E44.R84 2003
Compar Ethn PN1995.9.E44.R84 2003 Housed at Ethnic Studies Library.

Quart, Leonard.
"The Politics of Irony: The Frears-Kureishi." In: Re-viewing British cinema, 1900-1992: essays and interviews
Edited by Wheeler Winston Dixon. pp: 241-48. Albany: State University of New York Press, c1994.
Main Stack PN1993.5.G7.R4 1994

Walsh, Michael
"Reality, the real, and the Margaret-Thatcher-signifier in two British films of the 1980s." American Imago Summer 1995 v52 n2 p169(21)
UC users only
"Richard Eyre and Ian McEwan's 'The Ploughman's Lunch,' and 'Sammy and Rosie Get Laid,' by Stephen Frears and Hanif Kureishi, highlight the degree of psychological representation and signification in modern UK film. Jacques Lacan film criticism technique is employed to analyze the un-subtle presence of Margaret Thatcher in the psychological workings of the films." [Expanded Academic Index]

Weinraub, Bernard
"An Englishman rides into town. (interview with actor Stephen Frears) The New York Times Dec 25, 1998 pE19(L) col 1 (14 col in)

Dirty Pretty Things

Marc Horowitz
"Dirty Pretty Things." (movie review Sound & Vision June 2004 v69 i5 p97(1)

Denby, David.
"Heartbreak Hotels." (Lost in Translation)(Dirty Pretty Things)(Movie Review) The New Yorker Sept 15, 2003 v79 i26 p100 (1442 words)
UC users only

Klawans, Stuart
"The age of innocence." (Seabiscuit)(Dirty Pretty Things)(The Magdalene Sisters)(Movie Review) The Nation August 18, 2003 v277 i5 p51 (1791 words)
UC users only

Shumyatskaya, Olga
"Social value of Dirty Pretty Things." (Movie Review) Moscow News July 30, 2003 v4084 i29 p11-11
Dirty Pretty Things is a movie about the lower depths, about people one never notice, those who lead a miserable life and do the damnedest to survive. The role played by Audrey Tanton and her partner, theatre actor Chjwetel Ejiofor in the movie is described.

Andrews, Beverly
"Films Dirty Pretty Things: Beverly Andrews on a new film depicting life in the African community in the UK." (Brief Article) New African April 2003 p61(1) (705 words)
UC users only

Miller, Keith.
"Illegally tender." (Dirty Pretty Things)(Movie Review) TLS. Times Literary Supplement Dec 20, 2002 i5203 p18(1)

Farouky, Jumana.
"London Underground: In Dirty Pretty Things, Stephen Frears brings to the screen the hard lives of illegal immigrants in the U.K." (Movies) Time International Dec 2, 2002 v160 i21 p80+ (1282 words)
UC users only

Roddick, Nick.
"Dirty Pretty Things." (Movie Review) Sight and Sound Dec 2002 v12 i12 p45(1)

Sinclair, Iain.
"Heartsnatch hotel." ("Dirty Pretty Things" film) Sight and Sound Dec 2002 v12 i12 p32(3)
"Dirty Pretty Things" is a film by Stephen Frears that focuses on the immingrant underclass in London. Stories of lower-class immigrants, including a Nigerian, are intertwined.

The Grifters

Ansen, David.
"The Grifters." (movie reviews) Newsweek v117, n5 (Feb 4, 1991):71 (1 page).

Baumann, Paul.
"The Grifters." (movie reviews) Commonweal v118, n8 (April 19, 1991):259 (2 pages).

Blake, Richard A.
"The Grifters." (movie reviews) America v164, n10 (March 16, 1991):292 (1 page).

Bowman, James.
"The Grifters." (movie reviews) American Spectator v24, n4 (April, 1991):33 (2 pages).

Canby, Vincent.
"The Grifters." (movie reviews) New York Times v140 (Wed, Dec 5, 1990):B1(N), C19(L), col 2, 24 col in.

Corliss, Richard.
"The Grifters." (movie reviews) Time v137, n6 (Feb 11, 1991):79 (2 pages).

Denby, David.
"The Grifters." (movie reviews) New York v23, n48 (Dec 10, 1990):84 (2 pages).

Johnson, Brian D.
"The Grifters." (movie reviews) Maclean's v104, n9 (March 4, 1991):56 (2 pages).

Johnson, William.
"The Grifters." (movie reviews) Film Quarterly v45, n1 (Fall, 1991):33 (5 pages).

Kael, Pauline.
"The Grifters." (movie reviews) New Yorker v66, n40 (Nov 19, 1990):127 (3 pages).

Klawans, Stuart.
"The Grifters." (movie reviews) Nation v252, n1 (Jan 7, 1991):23 (1 page).

McDonagh, Maitland.
"The Grifters." (movie reviews) Film Comment v26, n6 (Nov-Dec, 1990):30 (1 page).

Orr, Deborah.
"The Grifters." (movie reviews) New Statesman & Society v3, n136 (Feb 1, 1991):29 (2 pages).

Rainer, Peter.
"The Grifters." (movie reviews) American Film v16, n6 (June, 1991):58 (1 page).

Sharkey, Betsy.
"Anjelica Huston seeks the soul of a con artist." (film 'The Grifters') New York Times v140, sec2 (Sun, Dec 2, 1990):H1(N), H1(L), col 1, 48 col in.

Story, Richard David.
"Fatale attraction." (Annette Bening, actress in "The Grifters") New York v24, n2 (Jan 14, 1991):36 (4 pages).

Travers, Peter.
"The Grifters." (movie reviews) Rolling Stone, n592 (Nov 29, 1990):117 (2 pages).

My Beautiful Laundrette

Aldama, Frederick Luis
"The pound and the fury: a postcolonial conversation with Hanif Kureishi." (Pakistani writer; includes excerpt from his book "Intimacy")(Excerpt)(Interview)Poets & Writers Magazine, Sept-Oct 2001 v29 i5 p34(6)
"Author Hanif Kureish discusses his life and career. Topics include his Pakistani heritage; his upbringing in London, England; his work as a fiction writer on such books as "The Buddha of Suburbia" and "Love in a Blue Time" and as a screenwriter on such films as "My Beautiful Laundrette" and "Sammy and Rosie Get Laid"; his education; and his treatment of fragmented relationships in his book "Intimacy."[Expanded Academic Index]

Curry, Renee R. Allison, Terry L.
"'All Anger and Understanding': Kureishi, Culture, and Contemporary Constructions of Rage." In: States of rage: emotional eruption, violence, and social change / edited by Renee R. Curry and Terry L. Allison. pp: 146-66. New York: New York University Press, c1996.
Main Stack HN90.V5.S83 1996

Harmetz, Aljean.
"My Beautiful Laundrette." (movie reviews) New York Times v135 (Fri, March 7, 1986):16(N), C8(L), col 4, 24 col in.

Kael, Pauline
"My Beautiful Laundrette." (movie reviews) The New Yorker March 10, 1986 v62 p117(3)

Kauffmann, Stanley
"My Beautiful Laundrette." (movie reviews) The New Republic April 7, 1986 v194 p24(2)
UC users only

Kopkind, Andrew
"My Beautiful Laundrette." (movie reviews) The Nation April 19, 1986 v242 p560(1)
UC users only

Kroll, Jack
"My Beautiful Laundrette." (movie reviews) Newsweek Feb 24, 1986 v107 p82(1) Jack Kroll.

MacCabe, Colin
"Hanif Kureishi on London." (Interview) Critical Quarterly, Autumn 1999 v41 i3 p37
"Author Hanif Kureishi discussed the city of London, with a focus on London as a post-colonial city. Topics include Kureishi's films 'My Beautiful Laundrette,' 'The Buddha of Suburbia,' 'Sammy and Rosie,' 'London Kills Me,' his novels 'The Buddha of Suburbia' and 'The Black Album, ' pop music, bisexuality,and Asians in Britain." [Expanded Academic Index]

McGuirk, Bernard.
"The Autumn of the Matriarch: British Cinema and Fading Thatcherism in My Beautiful Laundrette,Priest, and The Full Monty." Graat: Publication des Groupes de Recherches Anglo-Americaines de L'Universite FrancoisRabelais De. 22:143-52. 2000

Mitchell, Elvis
"My Beautiful Laundrette." (movie reviews) Rolling Stone May 8, 1986 p32(1)

"My Beautiful Laundrette." (Script extract)
Sight & Sound VI/5, May 96; p.10-11[suppl.].Facsimile of two pages from the working script for "My Beau