Ealing Revisited provides a major reappraisal of one of British cinema's best-loved institutions, Ealing Studios. During its heyday, Ealing produced a string of classic comedies, including Kind Hearts and Coronets (1949), The Lavender Hill Mob (1951) and The Ladykillers (1955), but there is much more to Ealing than these films, as this volume of new writing on the studio shows. Addressing both known and less familiar aspects of Ealing's story, its films, actors and technicians, the contributors uncover what has gone unexplored, or unspoken, in previous histories of the studio, and consider the impact that Ealing has had on British cultural life from the 1930s to the present. Listed in the Independent on Sunday's Cinema books of 2012 http://www.independent.co.uk/arts-entertainment/books/reviews/ios-books-of-the-year-2012-cinema-8373713.html

Living with Strangers examines the history and cultural representation of bed-sitting rooms and boarding houses in England from the early twentieth century to the present. Providing a historical overview, the authors explore how these alternative domestic spaces came to provide shelter for a diverse demographic of working women and men, retired army officers, gay people, students, bohemians, writers, artists, performers, migrants and asylum seekers, as well as shady figures and criminals. Drawing on historical records, case studies, and examples from literature, art, and film, the book examines how the prevalence and significance of bedsits and boarding houses in novels, plays, detective stories, Ealing comedies, and contemporary fiction and film produced its own genre of narrative. The nine chapters are written by an international range of established and emerging scholars in the fields of literary studies, art and film history, political theory, queer studies and cultural studies. A lively, highly original study, Living with Strangers makes a significant contribution to the cross-disciplinary field of home studies and provides insight into a crucial aspect of British cultural history. It is essential reading for students and researchers in anthropology, history, literary studies, sociology, gender and sexuality studies, film studies and cultural studies.

Male-female detective pairings often exhibit offbeat, dark humor and considerable chemistry as they investigate crimes. They have proven to be both entertaining and alluring on screen and television. This work reveals an evolutionary progression in the depictions of three detective duos: the married pair Nick and Nora Charles of The Thin Man, black-humored special agents John Steed and Emma Peel of The Avengers, and finally the smoldering Mulder and Scully in The X-Files. Ten chapters offer critical analysis, rich with background information and insider observations. Production comments are given throughout. Three appendices (one for each series) offer episode guides with original broadcast dates, credits and brief synopses.

Went the Day Well? is one of the most unusual pictures Ealing Studios produced, a distinctly unsentimental war film made in the darkest days of World War II, and nothing like the loveable comedies that later became the Ealing trademark. Its clear-eyed view of the potential for violence lurking just below the surface in a quiet English village possibly owes something to the Graham Greene story on which it is based, though, as Penelope Houston shows, there remains a mystery about the extent to which Greene was actually involved in the scripting. Or perhaps the direction by the Brazilian born Cavalcanti, a maverick within the Ealing coterie, is the chief reason why Went the Day Well? avoids the cosy feel of later, more familiar, Ealing films. In his foreword to this special edition, published to celebrate the 20th anniversary of the BFI Film Classics series, Geoff Brown pays homage to Penelope Houston's astute study, and places the book in the context of Went the Day Well?'s changing critical reception. Brown discusses the non-English qualities of the film's narrative, and the extent to which Cavalcanti brought a foreign sensibility to its very English setting.

Presiding over the "golden era" of the British Film Industry from the mid to late 1940s, J. Arthur Rank financed movies such as Oliver Twist, The Red Shoes, Brief Encounter, Caesar and Cleopatra and Black Narcissus. Never before, and never since, has the industry risen to such heights. J. Arthur Rank charts every aspect of the robust film culture that Rank helped to create. Having started out with relatively little knowledge of the cinema, Rank's sponsorship was to bring about astounding progress within the industry, and by establishing an organization comparable in size to any of the major Hollywood studios, Rank briefly managed to reconcile and consolidate the competing demands of "art" and "business" - an achievement very much absent from today's diminished and fragmented film industry. Macnab goes on to explain the eventual collapse of the Rank experiment amidst the economic and political maelstrom of post-war Britain, highlighting the problems still facing the industry today. By meshing archival research with interviews with Rank's contemporaries and members of his family, this definitive study firmly restores Rank to his rightful place at the hub of British film history.

This comprehensive and versatile reference source will be a most important tool for anyone wishing to seek out information on virtually any aspect of British affairs, life and culture. The resources of a detailed bibliography, directory and journals listing are combined in this single volume, forming a unique guide to a multitude of diverse topics - British politics, government, society, literature, thought, arts, economics, history and geography. Academic subjects as taught in British colleges and universities are covered, with extensive reading lists of books and journals and sources of information for each discipline, making this an invaluable manual.

In 'Kind Hearts and Coronets' (1949), Louis Mazzini (Dennis Price) schemes and murders his way to a dukedom. This title looks into the turbulent personalities that formed the complex style of this film to unravel the fusion of cynicism, contempt, sparkling wit and philosophical curiosity.

Although new writing and research on British cinema has burgeoned over the last fifteen years, there has been a continued lack of single-authored books providing a coherent overview to this fascinating and elusive national cinema. Amy Sargeant's personal and entertaining history of British cinema aims to fill this gap. With its insightful decade-by-decade analysis, British Cinema is brought alive for a new generation of British cinema students and the general reader alike. Sargeant challenges Rachel Low's premise 'that few of the films made in England during the twenties were any good' by covering subjects as diverse as the art of intertitling, the narrative complexities of Shooting Stars and Brunel's burlesques. Sargeant goes onto examine among other things, the differing acting styles of Dietrich and Donat in the seminal Knight Without Armour to early promotional campaigns in the 1930s, whereas subjects ranging from product endorsement by stars to the character of the suburban wife are covered in the 1940s. The 1950s includes topics such as the effect of post-war government intervention, to Free Cinema and Lindsay Anderson's 'infuriating lapses of rigour', together with a much-needed overview of Michael Balcon's contribution to British cinema. For Sargeant, the 1960s provides an overview of the tentative relationship between film and advertising and the rise of young Turks such as Tony Richardson, Ken Loach, Donald Cammell and Nicolas Roeg.

This book constitutes the first full volume dedicated to an academic analysis of horseracing in British cinema. Through comprehensive contextual histories of film production and reception, together with detailed textual analysis, this book explores the aesthetic and emotive power of the enduringly popular horseracing genre, its ideologically-inflected landscape and the ways in which horse owners and riders, bookmakers and punters have been represented on British screen. The films discussed span from the 1890s to the present day and include silent shorts, quota quickies and big-budget biopics. A work of social and film history, The British Horseracing Film demonstrates how the so-called “sport of kings” functions as an accessible institutional structure through which to explore cinematic discussions about the British nation—but also, and equally, national approaches to British cinema.

To what extent have digital innovations transformed the UK film industry? What new practices and processes are emerging within the contemporary UK filmmaking landscape? What impact is this having upon filmmaking professionals? The business of conventional feature filmmaking is like no other, in that it assembles a huge company of people from a range of disciplines on a temporary basis, all to engage in the collaborative endeavour of producing a unique, one-off piece of work. By focusing on the pivotal year of 2012, and by considering the input of every single contributor to the process, this book illuminates how this period of analogue to digital transition is impacting upon working practices, cultures, opportunities and structures in the industry, and examines the various causative forces behind their adoptions and resistances. With an in-depth case study of Sally Potter's 2012 film 'Ginger & Rosa', and drawing upon interviews with international film industry practitioners, 'From Film Practice to Data Process' is a groundbreaking examination of film production in its totality, in a moment of profound change.