Journal of British Cinema and Television最新文献_第7页

Paul Dave, Revolutionary Romanticism and Cinema: Country, Land, People 保罗·戴夫，《革命浪漫主义与电影:国家、土地、人民》

IF 0.9 1区艺术学

Journal of British Cinema and Television Pub Date : 2022-07-01 DOI: 10.3366/jbctv.2022.0634

Will Kitchen

引用次数: 1

Claire Mortimer, Spinsters, Widows and Chars: The Ageing Woman in British Film 克莱尔·莫蒂默，《旋转木马、寡妇与女巫：英国电影中的老女人》

IF 0.9 1区艺术学

Journal of British Cinema and Television Pub Date : 2022-07-01 DOI: 10.3366/jbctv.2022.0636

D. Jermyn

引用次数: 0

Melanie Bell, Movie Workers: The Women Who Made British Cinema 梅兰妮·贝尔，《电影工作者:创造英国电影的女性》

IF 0.9 1区艺术学

Journal of British Cinema and Television Pub Date : 2022-07-01 DOI: 10.3366/jbctv.2022.0633

Sarah Arnold

引用次数: 0

Richard Weight, Porridge: BFI TV Classics 理查德·怀特，《粥:BFI电视经典》

IF 0.9 1区艺术学

Journal of British Cinema and Television Pub Date : 2022-07-01 DOI: 10.3366/jbctv.2022.0635

E. Horton

引用次数: 0

Nigel Mather: Sex and Desire in British Films of the 2000s: Love in a Damp Climate 奈杰尔·马瑟:《2000年代英国电影中的性与欲望:潮湿气候中的爱情》

IF 0.9 1区艺术学

Journal of British Cinema and Television Pub Date : 2022-07-01 DOI: 10.3366/jbctv.2022.0638

Cathy Lomax

引用次数: 0

Adam Locks and Adrian Smith, Norman J. Warren, Gentleman of Terror: An Oral History Adam Locks和Adrian Smith，Norman J.Warren，恐怖绅士：口述历史

IF 0.9 1区艺术学

Journal of British Cinema and Television Pub Date : 2022-07-01 DOI: 10.3366/jbctv.2022.0637

L. Hunt

引用次数: 0

‘Treading on sacred turf’: History, Femininity and the Secret War in the Plays for Today Licking Hitler, The Imitation Game and Rainy Day Women “踏上神圣的地盘”：历史、女性气质和《今日舔希特勒》、《模仿游戏》和《雨天女人》剧中的秘密战争

IF 0.9 1区艺术学

Journal of British Cinema and Television Pub Date : 2022-07-01 DOI: 10.3366/jbctv.2022.0629

A. Burton, Tom May

{"title":"‘Treading on sacred turf’: History, Femininity and the Secret War in the Plays for Today Licking Hitler, The Imitation Game and Rainy Day Women","authors":"A. Burton, Tom May","doi":"10.3366/jbctv.2022.0629","DOIUrl":"https://doi.org/10.3366/jbctv.2022.0629","url":null,"abstract":"The article examines the three single television plays Licking Hitler, The Imitation Game and Rainy Day Women, which were broadcast in the celebrated BBC drama strand Play for Today between 1978 and 1984. Each play was set within the secret war: at a radio station broadcasting black propaganda to Germany, at Bletchley Park, and at the heart of a secret mission to investigate dark doings in remotest Fenland. Similarly, each play dealt substantially with female characters and their troubled experience of wartime Britain. The plays provided a revisionist treatment of the mythology of the Second World War, painting a less cosy picture of the ‘People’s War’, with its supposed egalitarianism, shared sacrifice and vision of the different classes all supposedly ‘pulling together’. The article investigates the changing historiography of the secret war, a process in which the authorities attempted to manage the release of wartime secrets dealing with sabotage, resistance, deception and cryptography, and shows how the three dramas came into being through, and were influenced by, the opening up of the secret archive. Detailed attention to the production of the plays and their reception considers how the three historical dramas related to the Play for Today strand, traditionally celebrated for productions dealing with contemporary social and political issues.","PeriodicalId":43079,"journal":{"name":"Journal of British Cinema and Television","volume":" ","pages":""},"PeriodicalIF":0.9,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48885200","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Bringing ‘the whole world on to the British screen’: Back Projection and British Film Studios in the 1930s and 1940s 将“全世界搬上英国银幕”：20世纪30年代和40年代的背投和英国电影制片厂

IF 0.9 1区艺术学

Journal of British Cinema and Television Pub Date : 2022-07-01 DOI: 10.3366/jbctv.2022.0628

S. Street

{"title":"Bringing ‘the whole world on to the British screen’: Back Projection and British Film Studios in the 1930s and 1940s","authors":"S. Street","doi":"10.3366/jbctv.2022.0628","DOIUrl":"https://doi.org/10.3366/jbctv.2022.0628","url":null,"abstract":"Back projection was a technique used particularly in the 1930s and 1940s to create the impression that film stars had been on location when in fact a camera recorded them in a studio acting in front of previously shot location footage projected onto a screen from behind. This article discusses its application in British studios, highlighting the contribution of key technicians to its development and refinement. Key examples are explored to show that a variety of approaches were used in different genres including thrillers, musicals and comedies. The technique’s novelty in films such as Rome Express (1932) and as used by Alfred Hitchcock in Young and Innocent (1937) brings out the multiple uses it could perform, as well as enabling theoretical reflection on reading sequences that deployed back projection. It is argued that back projection was one effect among many that were being developed and that in many cases these were mutually supportive. The article notes the keen contemporary interest in how films were made as studio correspondents recorded interesting cases of back-projected footage. In wartime and in the immediate postwar years the technique helped to cut costs and solve logistical problems while at the same time enabling films to present scenes that would otherwise have been highly difficult and even dangerous. Although travelling matte and other effects and processes subsequently superseded the use of back projection, its legacy remains as an enduring technical and aesthetic element of many classic and lesser-known British films.","PeriodicalId":43079,"journal":{"name":"Journal of British Cinema and Television","volume":"1 1","pages":""},"PeriodicalIF":0.9,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41349876","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

‘Regarded as children’: The Home Office Responds to the London Workers’ Film Society “被视为儿童”：英国内政部回应伦敦工人电影协会

IF 0.9 1区艺术学

Journal of British Cinema and Television Pub Date : 2022-07-01 DOI: 10.3366/jbctv.2022.0632

Peter Niehoff

{"title":"‘Regarded as children’: The Home Office Responds to the London Workers’ Film Society","authors":"Peter Niehoff","doi":"10.3366/jbctv.2022.0632","DOIUrl":"https://doi.org/10.3366/jbctv.2022.0632","url":null,"abstract":"From the mid-1920s through the 1930s, workers’ film societies met across Great Britain, led by the London Workers’ Film Society (LWFS), and the authorities balked. This activity occurred alongside immense social and political change: the expansion of the right to vote in 1918 and 1928, the General Strike of 1926 and the growth of a consumer leisure culture, not to mention a global economic depression. While members of the middle-class Film Society largely managed to see what they wanted, government officials sought to treat their working-class counterparts very differently. But they found themselves constrained by the 1909 Cinematograph Act and the precedent set by the Film Society. Consequently, Special Branch and the Home Office attempted to curtail the activities of the LWFS through indirect censorship methods including surveillance, customs warrants and legal definitions of film exhibition. Drawing on recently released Home Office files from the National Archives that detail official responses to the activities of the LWFS, this article reconsiders what these activities meant at a time of competing political ideas and class upheaval. This complements scholarship that has mostly focused on the Labour film movement, as these new sources shed light on the complex navigation that government officials had to make with regard to the ever-evolving cinematic exhibition practices.","PeriodicalId":43079,"journal":{"name":"Journal of British Cinema and Television","volume":" ","pages":""},"PeriodicalIF":0.9,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42759237","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Space Age Cinema: The Rise and Fall of Cinecenta 太空时代的电影：电影中心的兴衰

IF 0.9 1区艺术学

Journal of British Cinema and Television Pub Date : 2022-07-01 DOI: 10.3366/jbctv.2022.0630

M. Goodall

{"title":"Space Age Cinema: The Rise and Fall of Cinecenta","authors":"M. Goodall","doi":"10.3366/jbctv.2022.0630","DOIUrl":"https://doi.org/10.3366/jbctv.2022.0630","url":null,"abstract":"This article explores the short history of the Cinecenta chain of cinemas that operated in the UK between 1968 and 1979. It was run by Leslie Elliot and developed out of the Compton Group headed by the producers and distributors Tony Tenser and Michael Klinger. The article contends that the negative reputation of Cinecenta (largely a result of the sad decline of the company) as a disreputable purveyor of sex films is inaccurate and that, at least at its inception, the philosophy of the Cinecenta brand was to innovate in relation to its programming ethos, the marketing and promotion of its product exhibited and the design of its cinemas. The article places Cinecenta in the context of film exhibition in the late 1960s and early 1970s – a time of bold innovation, despite declining theatrical ticket sales – and looks for the first time in detail at the films screened as part of Cinecenta’s early schedules. Also discussed is the way in which the Cinecenta project was an attempt at exporting more adventurous film programming to audiences outside central London. The article concludes by suggesting that the more visionary aspects of the Cinecenta project could be useful in rethinking about how we might engage with cinema in the twenty-first century.","PeriodicalId":43079,"journal":{"name":"Journal of British Cinema and Television","volume":" ","pages":""},"PeriodicalIF":0.9,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45685325","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0