|Framegrab from Repulsion (directed by Roman Polanski and executive produced by Michael Klinger [uncredited], 1965)|
During the 1970s, a period of economic decline, admissions to cinemas were down, there was a lack of public investment in the film industry and the Hollywood studios had pulled out of investing in British films. Despite this, Michael Klinger made 13 successful films [including ] Polanski’s Repulsion (1965) and Cul-de-Sac (1966)] – he was the only consistently profitable indigenous producer in this decade – yet very little critical acclaim has been given to him. Film studies tends to focus on the director as having the main creative role, yet in the case of Michael Klinger, he was involved in all aspects of film-making, including casting, the writing of the screenplay and editing. [Andrew Spicer]
Although Michael Klinger was the most successful independent producer in the 1970s, he has become one of the legions of the lost in British cinema. This occlusion, is symptomatic of the neglect of the producer’s role within British cinema studies (and within Film Studies in general […]), which, in Alexander Walker’s deft formulation, ‘has to be resisted if films are to make sense as an industry that can sometimes create art’ [Walker, Alexander, Hollywood, England: The British Film Industry in the Sixties, London: Harrap, 1986 ] p. 17). [Andrew Spicer, ‘The Creative Producer – The Michael Klinger Papers’, Paper Given at the University of Stirling Conference, Archives and Auteurs – Filmmakers and their Archives, 2 – 4 September 2009].
Film Studies For Free rushes you news of the announcement that the website for the research project on Michael Klinger and the role of the film producer in the British film industry 1960-1980 is now live. It contains a comprehensive catalogue of the Klinger papers housed at the University of the West of England as well as details about the project, images, selected documents, interviews, events and some excellent, openly accessible publications.
You can read a great overview of Klinger’s life and career here and an informative press release about the initial research project may be found here.
Andrew Spicer, Reader in Cultural History at UWE and the project’s Principal Investigator, and research associate Anthony McKenna would be very pleased to receive any feedback about the site and suggestions as to how it might be developed. They hope it will prove useful and informative and be the spur to other studies of producers.
FSFF is absolutely certain that this project will be generative of further valuable work on film producers and it hopes its readers will join it in congratulating Spicer and McKenna on such a successful and, just as importantly, successfully shared project.
“I think we’ve all gone mad” [Jennie Linden as Ursula Brangwen]“Pity we aren’t madder” [Alan Bates as Rupert Birkin]
Russell’s weirdly, viscerally, brilliant Altered States (1980) was one of the first films genuinely to whet FSFF‘s author’s off-beat cinematic appetite, and his adaptation of Women in Love (excerpted above) and his portraits of Elgar (1962), Delius (1968) and Mahler (1974) are several of her favourite British films.
Below, FSFF has gathered some links to online scholarly studies of Russell’s work, and to related resources. Readers should also check out David Hudson’s essential collection of tributes to, and other material about, the British filmmaker for the Mubi Notebook here.
- Ken Russell at the British Film Institute‘s Screenonline
- Savage Messiah – a Ken Russell site by Iain Fisher
- Complete Filmography and bibliography: Tarek Krohn and Hans J. Wulff (eds), Medienwissenschaft / Hamburg: Berichte und Papiere 110 / 2010: Ken Russell (Hamburg: Hamburg University, 2010
- German language book on music in Ken Russell’s films: Kieler Beiträge zur Filmmusikforschung, 7, 2011: Musik bei Ken Russell // 3- edited by Frédéric Döhl, Albrecht Riethmüller and Hans Jürgen Wulff
- Michael Adams, ‘Ken Russell: Musical Mythmaker’, Notes, 66 (September 2009): 143-163
- E. Anna Claydon, ‘Masculinity and deviance in British cinema of the 1970s: Sex, Drugs and Rock ‘n’Roll in The Wicker Man, Tommy and The Rocky Horror Picture Show’, in Newland, P. (ed) Don’t Look Now? British Cinema in the 1970s, (Intellect Ltd 2010) pp. 131-142
- Adrian Garvey, ‘The Boy Friend’, The 1970s Project Conference, 2008
- Sergio Lopez Figueroa, ‘The anachronism in film music: a brief introduction on the music for “The Devils” (1971)’, 1995
- Barry Keith Grant, ‘A British Picture: Portrait of an Enfant Terrible, UK, 1989: Ken Russell’, in Grant and Jim Hillier, 100 Documentary Films (London: BFI/Palgrave, 2009)
- Chris Martin, ‘Music in British Films in the 1970s: New Directions’, The 1970s Project Conference, 2008
- John Kenneth Muir, ‘On Ken Russell, and Re-Viewing England’s Last Mannerist’, JKM, October 10, 2009
- Donald Phelps, ‘Ken Russell’s Portraits of Elgar, Delius and Mahler’, Rouge, 8, 2006
- David Pomeroy, ‘Films: Experiencing Tommy’, Theology Today, Vol. 32, No. 3, 1975
- John A. Riley, ‘[Review of] Kevin M. Flanagan (ed.), Ken Russell: Re-Viewing England’s Last Mannerist (London, Toronto and Plymouth: Scarecrow Press, 2009)’, Journal of British Cinema and Television, Vol. 7, April 2010
- Donato Totaro and Peter Rist, ‘An Interview With Ken Russell and Lisi Tribble~ Rock n’ Roller at Heart‘, Offscreen Journal, April 30, 2011
- Linda Ruth Williams, ‘Ken Russell: Sweet Swell Of Excess’, Sight and Sound, July 2007
Film Studies For Free today presents an entry about Bill Douglas, one of the most interesting Scottish filmmakers ever, and a highly likely influence on anyone interesting working in that field today — in FSFF‘s undoubtedly Sassenach view, that would include, inter alia, fine film folk like Lynne Ramsay, Peter Mullan, David MacKenzie, and Gillies MacKinnon (plus, perhaps, the otherwise English Andrea Arnold and Shane Meadows).
Douglas was known especially for his amazing Trilogy (My Childhood (1972), My Ain Folk (1973), and My Way Home (1978)), as well as for the wonderful 1987 film Comrades. But his lifelong collection of cinema artifacts and memorabilia also went on to form the basis of one of the most significant cinema archives in the world, named after him, at the University of Exeter. The Bill Douglas Centre also looks after one of the most important online and openly accessible cinematic archives, too: Everyone’s Virtual Exhibition (EVE). If you are so inclined, you may very much like to interact with the BDC at Facebook.
The particular occasion for this entry is an upcoming symposium on Douglas’s work at the University of Exeter taking place this week on Friday September 23. There are papers from eminent scholars Karen Lury, Andrew Noble, Brian Hoyle, Jonny Murray and Paul Newland and from filmmaker Sean Martin and the BDC’s principal donor, Peter Jewell, on all aspects of Douglas’s work; the Trilogy, Comrades, his unmade scripts, and his collection. There will also be the first ever screening of Charlie Chaplin Lived Here, Bill and Peter’s 8mm film made in 1966. The event is free but please register in advance by email. The full programme of papers is available here.
FSFF has assembled some great, freely accessible resources below, including links to work on Scottish cinema and also on film archiving. The goodies include a highly informative and clip-filled 2006 documentary “Intent on Getting the Image” about Bill Douglas’s life and career, edited by Stuart Eade and produced and directed by Andy Kimpton-Nye.
At the very foot of the post is a video about the incredibly valuable work of the Bill Douglas Centre. FSFF salutes you!
On Bill Douglas’s Films, and related Scottish cinema:
- Bill Douglas entry at BFI Screenonline
- Bill Douglas: A Brief Biography’, Bill Douglas Centre website
- Michael Atkinson, ‘Mr. Vengeance: Scottish filmmaker Bill Douglas’s autobiographical trilogy’, Moving Image Source, September 22, 2008
- Neil Blain, ‘The Scottish Dimension in Film and Television’, Scottish Life and Society: Transport and Communications, A Compendium of Scottish Ethnology, Volume 8, pp. 768 – 792
- Simon Brown, ‘“Anywhere but Scotland?” Transnationalism and New Scottish Cinema’, International Journal of Scottish Theatre and Screen, 2011
- Yannick Deplaedt, ‘Bill Douglas, ou la mémoire au cinéma’ [in French], Nagoya University of Foreign Studies, journal of School of Foreign Languages, 2010 (39), 91-117, 2010-08
- Ian Goode, ‘Different Trajectories: Europe and Scotland in Recent Scottish Cinema’, PORTAL Journal of Multidisciplinary International Studies, vol. 4, no. 2, July 2007
- Rhys Graham, ‘The Glimpse Given Life: An Elegy for Bill Douglas’Senses of Cinema, Issue 10, 2000
- Lynne A. Hibberd, Creative industries policy and practice. a study of BBC Scotland and Scottish Screen, PhD thesis, University of Glasgow, 2009
- Michael McCracken, ‘Lowest of the Low: Scenes of Shame and Self-Depreciation in Contemporary Scottish Cinema’, MA Thesis, University of North Texas, May 2008
- Christopher Meir, Underwriting national sovereignty?: policy, the market and Scottish cinema, 1982- present, PhD Thesis, University of Warwick, 2007
- Catherine M. Munroe, From Highlander to Hard Man: Representations of Scottish Masculinity in 1990s Cinema, Masters Thesis, York University, Ontario, 2000
- Sarah Neely, Adapting to change in contemporary Irish and Scottish culture: fiction to film. PhD thesis, University of Glasgow, 2003
- Beatriz Oria Gómez, ‘Imagining Scotland: Local Hero (1983) and Kailyardism’, Bells: Barcelona English language and literature studies; Vol.: 17, 2008
- Takato Seino, Realism and Representations of the Working Class in Contemporary British Cinema, MPhil Thesis, DeMontfort University, 2010
- Linda Wood, British Films (London: BFI, 1983)
On Archive and Online Repository Matters, etc.:
- Luisa Calè and Patrizia Di Bello, ‘Introduction: Verbal and Visual Interactions in Nineteenth-Century Print Culture’, 19: Interdisciplinary Studies in the Long Nineteenth Century, 5 (2007)
- Fergus Cooke, ‘Questions of Authorship and Audience: A Study of Artefacts Related to the Film Rebecca (1940)’, Bill Douglas Centre, [date unknown]
- Jessica Gardner, Michelle Allen, Dominic Prosser, and Helen Hanson, ‘E-learning at the University of Exeter Library’, SCONUL FOCUS, 2005 (RTF)
- Catherine Owen, Tony Pearson, Stephen Arnold, ‘Meeting the Challenge of Film Research in the Electronic Age’, D-Lib Magazine, Volume 6 Number 3, March 2000
- Duncan Petrie, ‘The Bill Douglas Centre for the History of Cinema and Popular Culture: A Report for Screen‘, 1999
- John Plunkett, ‘DIGITISATION AND MATERIALITY FORUM From Optical to Digital (and back again)’, 19: Interdisciplinary Studies in the Long Nineteenth Century, 6 (2008)
- Lisa Stead, Audiences from the Film Archive: Women’s Writing and Silent Cinema’, Scope, Issue 17, June 2010
Graham Smith, ‘The Travelling Lanternist and the Uncommercial Traveller; An Experiment in Correspondences’, in Literature and the visual media by David Seed (London: DS Brewer, 2005)
Below, in eight short parts, “Intent on Getting the Image”,
a documentary about the life and work of Bill Douglas
The year 1949 was a pretty miserable time in Britain. Postwar austerity was at its height. Many city centres were still largely bomb sites. The cold war was getting chillier. The British film industry was in crisis after the Labour government had imposed a punitive tax on American films, which led to Hollywood studios withholding their product. Then suddenly, in the early summer, three pictures opened on consecutive weeks that together defined what we now know as “the Ealing comedy“. The films got darker and Ealing Studios‘ reputation greater as the month wore on. [Philip French, ‘Whisky Galore – Review’, The Observer, July 31, 2011]
[Michael] Powell after A Matter of Life and Death gives us three intriguing variations on the trauma picture, in which, intertwined are the central landmarks of British life after 1945: the end of war, the end of empire and the birth of a new consumer age.
Before that, however, we should note that Ealing comedy of the period inverts the trauma film completely.
If Ealing Studios produced the keynote Dead of Night, it also produced a triple antithesis in the post-war years: anti-trauma comedy in the form of [Robert] Hamer’s Kind Hearts and Coronets (1949) and Alexander Mackendrick’s scintillating double act, Whisky Galore (1949) and The Ladykillers (1955). Indeed, the best of Ealing comedy is premised very precisely on this inversion, where what might well be traumatic turns out to be the exact opposite.
Hamer’s Kind Hearts and Coronets is biting social satire, in which the serial killer, Louis (Dennis Price), as outcast of the family and excluded by the vacuous rich, is more sympathetic than any of his eccentric aristo victims (all played by Alec Guinness). As they fall like ninepins one after the other, we can all have a good laugh and applaud Louis’ elegant cunning. A perfect picture, you could argue, for a new social democracy.
The wartime Whisky Galore, set on the remote island of Todday (toddy?), also plays on inversion: this time on the fear of occupation – an anti-The Next of Kin (Thorold Dickinson, 1942) or Went the Day Well? In Mackendrick’s film, the fear of invasion is now past but the Scottish island is ‘occupied’ by an English Home Army captain, Waggert (Basil Radford), who has marshalled customs officials to try and prevent the looting of a wrecked cargo ship carrying whisky. It is a comic version of Anglo-Scots antagonism, with its famous montage sequence of the looted alcohol being hidden by the islanders in rain-butts, water tanks, hot-water bottles and under a baby’s cot before bemused officials arrive to discover absolutely nothing. The gradual social exclusion of Waggert from the island has an edge and a cruel streak that prevents any lapse into sentimentality.
Sentimentality is equally absent from The Ladykillers, where Mackendrick completely inverts the trauma-effects of Gothic expressionism. A motley gang of train robbers posing as a musical ensemble takes lodgings near Kings Cross station to prepare the next heist. At the landlady’s door, the figure of Professor Marcus (Alec Guinness) casts a dark shadow – shades of the opening to The Lodger: A Story of the London Fog (Alfred Hitchcock, 1927) – but thereafter the threat becomes internal as the eccentric old landlady ([Katie Johnson]), in her parody of a haunted house, has the gang tearing their hair out in annoyance and frustration at her blithe eccentricities. In Gothic melodrama, we expect villains to terrify, but here they are traumatised to the extent that, when found out, they are prepared to kill off each other rather than kill the ‘harmless’ old landlady. She who should be terrified is oblivious to the threat; those who should terrify show a collective failure of nerve and eliminate each other instead. Gothic melodrama morphs into dark comedy. And Ealing comedy runs happily on in a parallel world to David Lean and Michael Powell. [John Orr, ‘The Trauma Film and British Romantic Cinema 1940-1960’, Senses of Cinema, Issue 51, 2009 ]
Ealing Studios, the oldest continuously working film studio in the world, is marking its 80th anniversary, according to a couple of enjoyable videos at the Channel 4 and BBC websites. A remarkable achievement, indeed, thinks Film Studies For Free, one of the finest in the history of British cinema.
Founded in economically austere and politically troubled times, the studios escaped relatively unscathed from the recent riots in London (Ealing was a particularly tragically affected area). They seem set to continue to produce their distinctly transnational brand of cinematic goods for the UK film industry well into the future.
The current anniversary of the establishment of the sound stages at Ealing, and a number of other connected anniversaries coming up (e.g. 2012 marks the 100th anniversary of the Scottish-American director Alexander Mackendrick’s birth, one of Britain’s greatest, and most undervalued, filmmakers) have felicitously ‘coincided’ with the latest cinematic and DVD release of three of the greatest products of those studios: the Ealing comedies Kind Hearts and Coronets (Robert Hamer, 1949), The Lavender Hill Mob (Charles Crichton, 1951), and Whisky Galore (Mackendrick, 1949).
FSFF loves a mildly subversive chuckle from time to time, and is particularly partial, thus, to a good Ealing comedy. So, in fond celebration of that wonderful cycle of movies, below is its little list of links to online studies of those films, as well as to other items of related, scholarly interest.
- Anthony Aldgate and Jeffrey Richards, ‘Cul-de-Sac England: The Ladykillers’, From Best of British: Cinema and Society from 1930 to the Present (London: I.B. Tauris, 1999)
- Charles Barr, ‘Projecting Britain and the British Character’: Ealing Studios, Part I ‘, originally Screen, 15(1) 1974
- Charles Barr, ‘Projecting Britain and the British Character: Ealing Studios, Part II’, originally Screen, 15(2), 1974
- Michael William Boyce, ‘Re-imagining the War in British Film, 1945-1955’, PhD Thesis, University of Manitoba, April 2007
- Susan Condor, ‘Temporality and collectivity: Diversity, history and the rhetorical constructionof national entitativity’, British Journal of Social Psychology, 45, 2006
- Steven Fielding, ‘A Mirror for England? Cinematic Representations of Politicians and Party Politics, circa 1944–1964’, Journal of British Studies, 47:1 (2008)
- Philip Kemp, The long shadow: Robert Hamer after Ealing’, in Ian McKillop and Neil Sinyard (eds), British cinema of the 1950s: a celebration (Manchester: Manchester University Press, 2003)
- Ian McKillop and Neil Sinyard (eds), British cinema of the 1950s: a celebration (Manchester: Manchester University Press, 2003)
- Dave Rolinson, ‘If they want culture, they pay’: consumerism and alienation in 1950s comedies’, in Ian McKillop and Neil Sinyard (eds), British cinema of the 1950s: a celebration (Manchester: Manchester University Press, 2003)
- Routledge student resource website on Ealing Studios with downloadable chapter (PDF) on Ealing and on British film comedy
- Amy Sargeant, ‘The Man in the White Suit: New Textiles and the Social Fabric’, Visual Culture in Britain (June, 2008)
- Neil Sinyard, ‘Mirth, Malevolence, Murder: The Ealing Comedies of Alexander Mackendrick’, From Essays in Honour of Peter Davidson (1985)
- ‘Vision of great Ealing power: Alexander Mackendrick’, Obituary, The Guardian (1959-2003); Dec 27, 1993
- John Wakeman, ‘Alexander Mackendrick’, World Film Directors, Volume II (1988), edited by John Wakeman
- John West, ‘Seasick on the Serpentine: Englishness, otherness and consensus in Passport to Pimlico’, Screening the Past, March 2000
|Image of Anna Massey in her second film role as Helen in Peeping Tom (Michael Powell, 1960)|
Film Studies For Free was very sad to hear of the death yesterday of the great British actress Anna Massey at the age of 73. For many years, she rightfully cornered the cinematic and televisual markets in kindly, kooky and/or downright spooky English ladies with lots going on beneath their surface.
One of her best roles, in FSFF‘s humble opinion, was her BAFTA winning performance as romantic novelist Edith Hope in the 1986 BBC adaptation of Anita Brookner’s novel Hotel du Lac. But her most studied and written about cinematic appearance was her proto-‘final-girl‘ role as Helen Stephens in Powell’s Peeping Tom. So it is to the relatively sparse, but online and openly accessible studies of that film to which FSFF directly links in its little tribute to Massey’s work.
- Paul Cronly, ‘Peeping Tom’, Irish Journal of Gothic and Horror Studies, Issue # 3 (November 2007)
- Michelle Devereaux, ‘Death and Desire in Swinging London Film’, Forum, Issue 6, 2008
- Margaret Gibson, ‘Death Scenes: ethics of the face and cinematic deaths’, Mortality, 6 (3): 306-320, 2001
- Barry Keith Grant ‘Screams on Screens: Paradigms of Horror’, Loading…, Vol 4, No 6 (2010)
- Catherine Grant, ‘True likeness: Peeping Tom and Code inconnu/Code Unknown ‘, Filmanalytical, June 26, 2010
- Jeremy Hawthorn, ‘Morality, voyeurism, and ‘point of view’: Michael Powell’s Peeping Tom (I960′, Nordic Journal of English Studies, Vol. 2 No. 2 , 2009
- Keith Hennessy Brown, ‘Palimpsest, Pasolini, Poe and Poetics, or the phantoms haunting Dario Argento’s Opera (1987)’, Forum, Issue 7, 2008
- John Orr, ‘The Trauma Film and British Romantic Cinema 1940-1960’, Senses of Cinema, 51, 2009
- Martin Scorsese, ‘[Interviewed by Mark Kermode] On Michael Powell movies [Video 22.04]’, The Guardian, November 19, 2010
- Robert Yanal, ‘ Two Monsters in Search of a Concept’, Contemporary Aesthetics, 1, 2003
In Defense of Philosophy: Derek Jarman‘s Wittgenstein (1993): A discussion at London’s Tate Modern with the film’s producer Tariq Ali and Jonathan Derbyshire, culture editor of the New Statesman on October 22, 2010
A seminal thinker of the twentieth century, Wittgenstein’s revolutionary ideas have had an impact in disciplines beyond philosophy including psychology, the natural sciences, linguistics, mathematics, logic, art, religion, artificial intelligence and software design.
Like all right-thinking scholarly blogs, Film Studies For Free has been terribly alarmed by the increasing international attacks on, as well as actual cutbacks to academic Arts and Humanities subjects in the context of the global economic crisis.
So, today’s posting of the latest film-studies related video published by the Tate Channel is a timely one indeed. In this video, film producer and writer Tariq Ali defends these disciplines at the same time as he celebrates the (more relevant than ever) film work of Derek Jarman, the marvellous British artist who created his best works against the backdrop of similar, short-sighted, anti-intellectual and anti-cultural attacks.
If these developments are of concern to you, why not join in with the dialogue about them at a newly launched, campaigning Facebook group DEFEND the ARTS and HUMANITIES? FSFF‘s author will be most pleased to see you sounding off there.
In the meantime, below are a couple of highly worthwhile scholarly studies of Jarman’s take on philosopher Ludwig Wittgenstein.
Film Studies For Free can’t believe its eyes!!
The British Film Institute has entered into a partnership with the advertising-supported, video-streaming site Daily Motion to provide access to some of the incredible wealth of films that the BFI has funded and distributed over many years.
Currently, as of today, the new channel is hosting 47 films of varying lengths, from amazing silents to rare poetic documentaries (like Chris Petit’s Radio On), as well as some incredibly important live action and animated fiction films, including a number of otherwise hard to see works by Terrence Davies and Lotte Reininger.
|Image from Went the Day Well? (Alberto Cavalcanti, 1942)|
Film Studies For Free was recently very inspired by Nick James’s wonderful overview of the career of Brazilian Alberto Cavalcanti for next month’s Sight and Sound magazine. As a huge fan of Cavalcanti’s work, and in particular of his (and Ealing‘s) Went the Day Well? (indeed, FSFF‘s author lives in a English village uncannily like that portrayed in this film), it immediately set about researching a list of links to online scholarly works on the Brazilian filmmaker, only to discover very few openly accessible ones in English (do check out, though, Kristin Thompson and David Cairn‘s essays on Went the Day Well?, and the latter’s other postings on Cavalcanti here, here, here, here, and here).
FSFF‘s author’s rage at this overall lack of anglophone material (see the photographic evidence above) was eventually sublimated in a different curatorial project, one still connected to themes at the heart of Cavalcanti’s work, and also to some related topics explored in further August 2010 Sight and Sound articles (ones sadly not [yet] online: William Fowler’s ‘Absent authors: Folk in artist film’, and Rob Young’s ‘The pattern under the plough’).
Anyhow, below you will find the fruit of this inspiration and frustration: a list of links to thoughtful and thought-provoking international scholarship on expressions of “England” and (multifarious) “Englishness” in (mostly) British cinema and television.
- Victoria Ball, ‘Female identity and the British female ensemble drama 1995-1998’, PhD thesis. Queen Margaret University, 2007
- Charles Barr, ‘Projecting Britain and the British Character: Ealing Studios, Part II’, originally Screen, 15(2), 1974
- Alexandra Lynn Barron, ‘Postcolonial Unions: The Queer National Romance in Film and Literature’, PhD Thesis, University of Texas at Austin, May 2005
- Stuart Duncan Brown, ‘Uses of Laughter in the Cinematic Representation of the British Working-Class’, PhD Thesis, University of Glasgow, December 2007
- Charlotte Brunsdon, ‘The Poignancy of Place: London and the Cinema’, Visual Culture in Britain, Volume 5, Number 1, Summer 2004 , pp. 59-73
- Charlotte Brunsdon, ‘A fine and private place’: the cinematic spaces of the London Underground’ Screen 2006 47: 1-17
- Katherine Byrne, ‘“Such a fine, close weave”: Gender, Community and the Body in Cranford (2007)’, Neo-Victorian Studies, 2.2, Winter 2009/2010
- Elizabeth de Cacqueray, ‘New Slants on Gender and Power Relations in British Second World War Films‘, Miranda, No. 2, 2010
- Mónica Calvo Pascual, ‘My Beautiful Laundrette: Hybrid “Identity”, or the Paradox of Conflicting Identifications in “Third Space” Asian-British Cinema of the 1980s’, Miscelánea: a journal of english and american studies 26 (2002): pp. 59-70
- E. Anna Claydon, ‘Nostalgia in the Post-National: Contemporary British Cinema and the South-Asian Diaspora’, South Asian Cultural Studies,Vol.2 No.1, 2008, pp 26 – 38
- Robin Cohen, ‘ Fuzzy Frontiers of Identity: The British Case’, Social Identities Vol 1. No. 1 1995, 35−62
- Chantal Cornut-Gentille D’Arcy, ‘Filmic Representations of the British Raj in the 1980s: Cultural Identity, Otherness and Hybridity’, PhD Thesis, Universidad de Zaragoza, March 2009
- Chantal Cornut-Gentille D’Arcy, ‘Everything You Always Hated about Thatcher’s Britain: A Cultural Analysis of Mike Leigh’s High Hopes’, Miscelánea: A Journal of English and American Studies, 28, 2003
- Josephine Dolan, ‘Englishness: Heroes, heroines and reciprocal encounters’, Identity, Self and Symbolism, Volume 1.2 November 2006
- Stephanie Hemelryk Donald, ‘Seeing white: female whiteness and the purity of children in Australian, British and Chinese visual culture’, Social Semiotics, 10:2, 2000, 157-171
- Gillian Dow, ‘Lady Bathurst’s Patriotic Ballroom, or “Reading Austen at a Distance”: The French Revolutionary Wars in Recent Adaptations ‘, Persuasions-Online, Vol. 28, No. 2, 2008
- Geoff Eley, ‘Finding the People’s War: Film, British Collective Memory and World War II’, American Historical Review, 105, 5 (June 2001), 818-838
- Steven Fielding , ‘A mirror for England? Cinematic representations of politicians and party politics during the ‘golden age’ of party, c. 1944-64’, The First Annual International Conference on Minor Parties, Independent Politicians, Voter Associations and Political Associations in Politics, University of Birmingham, 2007
- Thaïs Flores Nogueira Diniz, ‘Representation and Identity: Shakespeare in the Forties’, Estudos Anglo Americanos 17-18 (1993-94)
- Andrew Higson, ‘Transnational developments in European cinema in the 1920s’,Transnational Cinemas Volume 1, Number 1, 2010
- Justin Hindmarsh, ‘British Cinema – Style and Context: An Examination of British “New Wave” Films’, Discussion Papers in Mass Communications, University of Leicester, January 1997
- Elena Von Kassel, ‘An Image of Britain during the Second World War: The films of Humphrey Jennings (1939-1945)’, Revue LISA/LISA e-journal [Online], Vol. IV – n°3 | 2006
- Frank Leishman, ‘From Dock Green to Life on Mars: Continuity and Change in TV Copland’, University of Gloucestershire Inaugural Lecture No 1, 2008
- Melinda Lewis, ‘Renegotiating Britishness through Comedy television’, Master Thesis, Graduate College of Bowling Green State University, August 2009
- Chris Louttit, ‘Cranford, Popular Culture, and the Politics of Adapting the Victorian Novel for Television’, Adaptation, (2009) 2 (1): 34-48
- Robert Mayer, ‘Not Adaptation by ‘Drifting’: Patrick Keiller, Daniel Defoe, and the Relationship between Film and Literature’, Eighteenth-Century Fiction, Volume 16, Issue 4, 2004
- Michael McCluskey, ‘Amateur Film and the Interwar English Countryside’, Scope, Using Moving Image Archives, Edited by Nandana Bose and Lee Grieveson, Issue 17, June 2010
- José I. Prieto Arranz, ‘Images of English purity: A comparative study of Elizabeth I and Diana, Princess of Wales’, Identity, Self and Symbolism, Volume 1.2 November 2006 (scroll to p. 116)
- Cornelis Martin Renes, ‘Whose New World? Derek Jarman’s Subversive Vision of The Tempest (1979)’, BELLS, 17, 2008
- Josh Romphf , ‘“Invention in the Name of Community”: Workshops, the Avant-Garde and The Black Audio Film Collective’, Kino: The Western Undergraduate Journal of Film Studies, Vol. 1 , Iss. 1
- Pave Skopal, ‘DVD marketing in U.S. of Working Title’s British romantic comedies: Framing reception and strategies of cultural appropriation’, Jump Cut, No. 48, winter 2006