Titlebook: Britain and the Cinema in the Second World War; Philip M. Taylor (Lecturer in International Histor Book 1988 Palgrave Macmillan, a divisio

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https://doi.org/10.1007/978-1-4939-0560-7xample, who sincerely hoped and believed that war would finally push British cinema through some final barriers by inspiring the writing of better stories and the production of sharper, tougher and, above all, more realistic films. The twelve months before the actual outbreak of hostilities gave amp

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https://doi.org/10.1057/9780230294189nto three showcase venues for its West End run and was given a general release throughout Britain ten days later. It was first screened in New York on 31 March at the Twentieth Century Fox Building and by the end of April some 400 copies were in circulation across America. The film proved to be far

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Introduction: Film, the Historian and the Second World War, war, together with post-war films about the war, confirmed the stereotypes. Perhaps such stereotyping was the inevitable consequence of victory. However, set against the backdrop of cold war, the traumas of decolonisation and the threat of atomic annihilation, culminating in a Cuban missile crisis

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,Creative Tensions: ,, the Army Film Unit and Anglo-American Rivalry, 1943–5,943’.. Moreover . has withstood the test of time well. It is celebrated in most standard histories of the British cinema and is frequently included in retrospective seasons of British films on television and in cinemas. The Services Kinema Corporation holds it in sufficient esteem to retain it, stil