A New History of British Documentary is the first comprehensive overview of documentary production in Britain from early film to the present day. It covers both the film and television industries and demonstrates how documentary practice has adapted to changing institutional and ideological contexts.

Based on original research from Charles Urban’s own papers, this is the first biography of this influential film maker and innovator. It is also a historical study of the development of the non-fiction film in Britain and America in the early years of cinema, told through the experiences of the leading pioneer of the form. Charles Urban was a renowned figure in his time, and he has remained a name in film history chiefly for his development of Kinemacolor, the world’s first successful natural colour moving picture system. He was also a pioneer in the filming of war, science, travel, actuality and news, a fervent advocate of the value of film as an educative force, and a controversial but important innovator of film propaganda in wartime. The book uses Urban’s story as a means of showing how the non-fiction film developed in the period 1897-1925, and the dilemmas that it faced within a cinema culture in which the entertainment fiction film was dominant. Urban’s solutions – some successful, some less so – illustrate the groundwork that led to the development of documentary film. The book considers the roles of film as informer, educator and generator of propaganda, and the social and aesthetic function of colour in the years when cinema was still working out what it was capable of and how best to reach audiences. Luke McKernan also curates a web resource on Charles Urban at www.charlesurban.com Winner of the Kraszna-Krausz Moving Image Book Award 2014.

1941. Britain is under some of the heaviest air raids of the Second World War. Concerns about Nazi paratroopers landing in Britain and invading take hold in the hearts of the British citizenry. The Home Guard has been mobilised to defend against airborne assault – and it needs training. ‘Yank’ Levy is brought in to Osterley Park to teach guerrilla warfare, from practical experience in the Spanish Civil War. ‘Yank’ trains soldiers of the Home Guard how to use surveillance, defend against tanks and armoured vehicles, how to fight in towns and across country and against a well-supplied, highly-trained and mobile occupying force. His book, Guerrilla Warfare offers such sound advice as: ‘Whether you go to a tea-party or to work on your allotment...take your rifle with you. Don’t leave it downstairs for a German to grab if he enters the house’ and 'Your motto should always be: ‘Finish them! Then a quick get-away, and another ambush some place else’’

This is the first collection of original critical essays devoted to exploring the misunderstood, neglected and frequently caricatured role played by the film producer. The editors' introduction provides a conceptual and methodological overview, arguing that the producer's complex and multifaceted role is crucial to a film's success or failure. The collection is divided into three sections where detailed individual essays explore a broad range of contrasting producers working in different historical, geographical, generic and industrial contexts. Rather than suggest there is a single type of producer, the collection analyses the rich variety of roles producers play, providing fascinating and informative insights into how the film industry actually works. This groundbreaking collection challenges several of the conventional orthodoxies of film studies, providing a new approach that will become required reading for scholars and students.

Because of his lengthy screen resume that includes almost eighty appearances in such movies as Camille and Waterloo Bridge, as well as a marriage and divorce to actress Barbara Stanwyck, Robert Taylor was a central figure of Hollywood’s classical era. Despite this, he can be regarded as a “lost” star, an interesting contradiction given the continued success he enjoyed during his lifetime. In Robert Taylor: Male Beauty, Masculinity, and Stardom in Hollywood, author Gillian Kelly investigates the initial construction and subsequent developments of Taylor's star persona across his thirty-five-year career. By examining concepts of male beauty, men as object of the erotic gaze, white American masculinity, and the unusual longevity of a career initially based on looks, Kelly highlights how gender, masculinity, and male stars and the ageing process affected Taylor's career. Placing Taylor within the histories of both Hollywood’s classical era and mid-twentieth-century America, this study positions him firmly within the wider industrial, cultural, and socioeconomic contexts in which he worked. Kelly examines Taylor’s film and television work as well as ephemeral material, such as fan magazines, to assess how his on- and off-screen personas were created and developed over time. Taking a mostly chronological approach, Kelly places Taylor’s persona within specific historical moments in order to show the complex paradox of his image remaining consistently recognizable while also shifting seamlessly within the Hollywood industry. Furthermore, she explores Taylor’s importance to Hollywood cinema by demonstrating how a star persona like his can “fit” so well, and for so long, that it almost becomes invisible and, eventually, almost forgotten.

The essays which appear in this book for the most part originated as papers delivered at a conference on Britain and the cinema in the Second World War held in London in May 1985.

This dictionary of American English is designed to help learners write and speak accurate and up-to-date English. • Ideal for upper-intermediate and advanced learners of English • Based on the Collins 4.5-billion-word database, the Collins Corpus • Up-to-date coverage of today’s English, with all words and phrases explained in full sentences • Authentic examples from the Collins Corpus show how English is really used • Extensive help with grammar, including plural forms and verb infl ections • Fully illustrated Word Web and Picture Dictionary boxes provide additional information on vocabulary and key concepts • Vocabulary-building features encourage students to improve their accuracy and fl uency: †- Word Partnership notes highlight important collocations †- Thesaurus entries offer synonyms and antonyms for common words †- Usage notes explain different meanings and uses of the word • Supplements on Grammar, Writing, Speaking, Words That Frequently Appear on TOEFL® and TOEIC®, Text Messaging and Emoticons

Dilip Sarkar has studied the Battle of Britain period for a lifetime and is renowned for his meticulous research and evidence-based approach, setting events within the broadest possible context. In doing so, he has helped enrich our appreciation and understanding of the past. In this, the first of a new seven volume series on the Battle of Britain, we have the background to the aerial conflict of the summer of 1940 revealed in great detail and told comprehensively as never before. No stone has been left unturned, no angle unexplored. This meticulous approach the research, combined with the human stories and events, many revealed for the first time, tells what Dilip calls ‘the Big Story’. The development of air power, the creation of Britain’s defenses, the German side, the Home Front and political events are all covered – and much more. After considering the background threads prior to the outbreak of war in 1939, this book then describes the developing conflict on land, sea and in the air. The German invasion of Norway, the Fall of France and the air fighting over Dunkirk are all explored, along with Hitler’s actual preferred policy towards Britain, which at first was one of blockade – not invasion. The author, with justification, questions the validity of the Battle of Britain’s official start-date being 10 July 1940, evidencing the fact that the fighting actually began eight days earlier. From that date onwards, a day-by-day, hour-by-hour, account of the fighting is provided, giving due recognition to those aircrew lost or wounded before 10 July 1940, and whose names are not, therefore, found amongst ‘The Few’. Due accord is also given to the Royal Navy, and efforts of both Bomber and Coastal commands, emphasizing just what a ‘big’ story this actually is – far from simply concerning a handful of Spitfire and Hurricane pilots. Through diligent research with crucial official primary sources and personal papers, Dilip unravels many myths, often challenging the accepted narrative. This is not, however, simply another dull record of combat losses and claims, far from it. Drawing upon unique first-hand accounts from a wide-range of combatants and eyewitnesses, along with the daily Home Intelligence Reports and the papers of politicians such as Italian Foreign Minister Count Ciano, this really is an unprecedented approach to understanding the build-up to and times of the Battle of Britain.

Through close textual and contextual analysis of British films spanning a century, this book explores how pupils, teachers and secondary education in general have been represented on the British screen. The author addresses a number of topics including the nature of public (fee-paying) and state schooling; the values of special, single-sex and co-education; the role of male and female teachers; and the nature of childhood and adolescence itself. From the silents of Hitchcock to the sorcery of Harry Potter, British cinema’s continued explorations of school life highlights its importance in the nation’s everyday experience and imaginary landscape. Beyond this, the school film, varying in scope from low-budget exploitation to Hollywood-financed blockbusters, serves both as a prism through which one can trace major shifts in the British film industry and as a barometer of the social and cultural concerns of the cinema-going public. This applies especially for gender, race and, in all senses, class.