During the interwar period cinema and literature seemed to be at odds with each other, part of the continuing struggle between mass and elite culture which so worried writers such as Aldous Huxley, T.S. Eliot and the Leavises. And this cultural divide appeared to be sharp evidence of a deeper struggle for control of the nation’s consciousness, not only between dominant and oppositional elements within Britain, but between British and American vales as well. On the one hand, films like Sing As We Go, Proud Valley, and The Stars Look Down consolidated the assumptions about the existence of a national rather than separate class identities. On the other hand, working-class literature such as Love on the Dole articulated working-class experience in a manner intended to bridge the gap between the ‘Two Englands’. This book, originally published in 1987, examines how two of the most significant cultural forms in Britain contributed indirectly to the stability of Britain in the interwar crisis, helping to construct a new class alliance. A major element in the investigation is an analysis of the mechanics of the development of a national cultural identity, alongside separate working-class culture, the development of the lower-middle class and the implications of the intrusion of Hollywood culture. The treatment throughout is thematic rather than text-oriented – works of Graham Greene, George Orwell, Bert Coombes, Evelyn Waugh, the British Documentary Film Movement and Michael Balcon are included in the wide range of material covered.

During the interwar period cinema and literature seemed to be at odds with each other, part of the continuing struggle between mass and elite culture which so worried writers such as Aldous Huxley, T.S. Eliot and the Leavises. And this cultural divide appeared to be sharp evidence of a deeper struggle for control of the nation’s consciousness, not only between dominant and oppositional elements within Britain, but between British and American vales as well. On the one hand, films like Sing As We Go, Proud Valley, and The Stars Look Down consolidated the assumptions about the existence of a national rather than separate class identities. On the other hand, working-class literature such as Love on the Dole articulated working-class experience in a manner intended to bridge the gap between the ‘Two Englands’. This book, originally published in 1987, examines how two of the most significant cultural forms in Britain contributed indirectly to the stability of Britain in the interwar crisis, helping to construct a new class alliance. A major element in the investigation is an analysis of the mechanics of the development of a national cultural identity, alongside separate working-class culture, the development of the lower-middle class and the implications of the intrusion of Hollywood culture. The treatment throughout is thematic rather than text-oriented – works of Graham Greene, George Orwell, Bert Coombes, Evelyn Waugh, the British Documentary Film Movement and Michael Balcon are included in the wide range of material covered.

This book brings together the literature of urban sociology and film studies to explore new analytical and theoretical approaches to the relationship between cinema and the city, and to show how these impact on the realities of life in urban societies.

As London is emerging from the shadow of World War II, writer Juliet Ashton discovers her next subject in a book club on Guernsey--a club born as a spur-of-the-moment alibi after its members are discovered breaking curfew by the Germans occupying their island.

Ranging over a rich variety of material from film and film literature, and encompassing a critical interrogation of traditional realist ethnographic and cinematic texts, this book highlights the extent to which the cinema has contributed to the rise of voyeurism throughout society. The cinema not only turns its audience into voyeurs, eagerly following the lives of its screen characters, but casts its key players as onlookers, spying on other's lives. The nature of the cinematic voyeur is examined in depth, as are its implications for contemporary society. Norman K Denzin analyzes Hollywood's manipulations of gender, race and class, and, drawing on the work of Foucault, argues that the cinematic gaze must be understood as pa

Would there have been a Third World without the Second? Perhaps, but it would have looked very different. From Internationalism to Postcolonialism recounts the story of two Cold War-era cultural formations that claimed to represent the Third World project in literature and cinema, and offers a compelling genealogy of contemporary postcolonial studies.

Environmentalism and ecology are areas of rapid growth in academia and society at large. Screening Nature is the first comprehensive work that groups together the wide range of concerns in the field of cinema and the environment, and what could be termed “posthuman cinema.” It comprises key readings that highlight the centrality of nature and nonhuman animals to the cinematic medium, and to the language and institution of film. The book offers a fresh and timely intervention into contemporary film theory through a focus on the nonhuman environment as principal register in many filmic texts. Screening Nature offers an extensive resource for teachers, undergraduate students, and more advanced scholars on the intersections between the natural world and the worlds of film. It emphasizes the cross-cultural and geographically diverse relevance of the topic of cinema ecology.