Since the early days of cinema, filmmakers have been intrigued by the lives and loves of British monarchs. The most recent productions by ITV and Netflix show that the fascination with British royalty continues unabated both in Britain and around the world. This book examines strategies of representing power and the staging of myths of power in seven popular films about British monarchs that were made after the mid-1990s revival of the “royal biopic” genre. By combining approaches from cultural studies with concepts and theories from the humanities, such as film studies and art history, it offers a comprehensive understanding of the cinematic portraits of royalty. In addition, the volume opens up new perspectives on how meaning is generated in films about the monarchy and on the connections between the biographical narratives. The introductory chapter to the case studies reviews the different academic positions on representations of royalty, provides a toolkit for studying the subject and demonstrates ways to approach the films. The book addresses questions of historical context and goes beyond a mere exploration of historical accuracy to reveal the films’ underlying ideological aims. As such, it makes a distinctive new contribution to the growing body of interdisciplinary work on the British monarchy in general and its cinematic representations in particular. It is the first monograph about representational mechanisms of royal identities and British past(s) in royal films such as Elizabeth, The Queen and The King’s Speech.

From the mid 18th century up till after memories of the Napoleonic wars and the glories of 'Nelson's navy' had faded, the Royal Navy was the bulwark of Britain's defence and the safeguard of trade and imperial expansion. While there have been political and military histories of the Navy in this period, looking at battles and personalities, and studies of its administration and the life below decks, this book is the first study of the Navy in a cultural context, exploring contemporary attitudes to war and peace and to ideologies of race and gender. As well as literary sources, Dr Lincoln draws on the vast collections of the National Maritime Museum, in paintings, cartoons, and ceramics, amongst others, to focus attention on material that has hitherto been little used - even research into the general culture of the late-Georgian age has, curiously, neglected perceptions of the Navy, which was one of its major institutions. Individual chapters discuss the attitudes of particular groups towards the Navy - merchants, politicians, churchmen, women, scientists, and the seamen themselves - and how these attitudes changed over the course of the period.

At the intersection of the history of knowledge and science, of European trade empires and the Mediterranean, this major empirical study presents a new method for understanding the history of ignorance across politics, religion, history and science during the early Enlightenment.