Since Queen Elizabeth II succeeded to the throne sixty years ago Britain has seen huge social, political and economic change. As her people have celebrated the highs and mourned the lows, she has remained a constant and stable figure at the head of the world's most famous Royal Family. Through 12 Prime Ministers, four recessions, wars and a technological revolution, the Queen's determination to carry out her duties and to connect with the public has not faltered. Sixty Glorious Years celebrates her extraordinary ability to have secured a place in the hearts of generations of Britons. With rarely seen pictures, this book offers an unparalleled look at the life and work of the woman who looks set to become Britain's longest surviving sovereign.

This ground-breaking book takes as its focal point director Ken Loach's view that 'The only reason to make films that are a reflection on history is to talk about the present.' In the first book to take on this major genre in all its complexity, James Chapman argues that historical films say as much about the times in which they are made as about the past they purport to portray. Through in-depth case studies of fourteen key films spanning the 1930s up to the turn of the twenty first century, from The Private Life of Henry VIII and Zulu to Chariots of Fire and Elizabeth, Chapman examines the place of historical films in British cinema history and film culture. Looking closely at the issues that they present, from gender, class and ethnicity to militarism and imperialism, he also discusses controversies over historical accuracy, and the ways in which devices such as voice overs, title captions, and visual references to photographs and paintings assert a sense of historical verisimilitude. Exploring throughout the book the dialectical relationship between past and present, Chapman reveals how such films promote British achievements - but also sometimes question them - and how they project images of 'Britishness' to audiences both in the UK and internationally.

A compendium of trivia about the numbers one through one hundred.

The period between the two world wars is often named 'the golden age of the cinema' in Britain. This definitive and entertaining book on the cinema and cinema-goers of the era is herewith reissued with a new Introduction. Jeffrey Richards, described by Philip French as 'a shrewd critic, a compulsive moviegoer, and a professional historian', tells the absorbing story of the cinema during the decade that produced Alfred Hitchcock's thrillers, the musicals of Jessie Matthews and Alexander Korda's epics. He examines the role of going to the pictures in people's lives during a tough period when, in the sumptuous buildings that housed local cinemas, people regularly spent a few pence to purchase ready-made dreams watching Gracie Fields, Robert Donat and the other stars of the day. He scrutinizes the film industry, censorship, cinema's influence, the nature of the star system and its images, as well as the films themselves, including the visions of Britain, British history and society that they created and represented.

This is the first history of sport in Ireland, locating the history of sport within Irish political, social, and cultural history, and within the global history of sport. Sport and Ireland demonstrates that there are aspects of Ireland's sporting history that are uniquely Irish and are defined by the peculiarities of life on a small island on the edge of Europe. What is equally apparent, though, is that the Irish sporting world is unique only in part; much of the history of Irish sport is a shared history with that of other societies. Drawing on an unparalleled range of sources - government archives, sporting institutions, private collections, and more than sixty local, national, and international newspapers - this volume offers a unique insight into the history of the British Empire in Ireland and examines the impact that political partition has had on the organization of sport there. Paul Rouse assesses the relationship between sport and national identity, how sport influences policy-making in modern states, and the ways in which sport has been colonized by the media and has colonized it in turn. Each chapter of Sport and Ireland contains new research on the place of sport in Irish life: the playing of hurling matches in London in the eighteenth century, the growth of cricket to become the most important sport in early Victorian Ireland, and the enlistment of thousands of members of the Gaelic Athletic Association as soldiers in the British Army during the Great War. Rouse draws out the significance of animals to the Irish sporting tradition, from the role of horse and dogs in racing and hunting, to the cocks, bulls, and bears that were involved in fighting and baiting.

A century after the Armistice and the associated peace agreements that formally ended the Great War, many issues pertaining to the UK and its empire are yet to be satisfactorily resolved. Accordingly, this volume presents a multi-disciplinary approach to better understanding the post-Armistice Empire across a broad spectrum of disciplines, geographies and chronologies. Through the lens of diplomatic, social, cultural, historical and economic analysis, the chapters engage with the histories of Lagos and Tonga, Cyprus and China, as well as more obvious geographies of empire such as Ireland, India and Australia. Though globally diverse, and encompassing much of the post-Armistice century, the studies are nevertheless united by three common themes: the interrogation of that transitionary ‘moment’ after the Armistice that lingered well beyond the final Treaty of Lausanne in 1924; the utilisation of new research methods and avenues of enquiry to compliment extant debates concerning the legacies of colonialism and nationalism; and the common leitmotif of the British Empire in all its political and cultural complexity. The centenary of the Armistice offers a timely occasion on which to present these studies.

Both in life and death, Queen Victoria is among the most popular monarchs to be committed to film. Her reign was characterized by an explosion in media coverage that began to rely on images rather than words to tell her story. Even though Victoria has been labeled the "first media monarch," the sheer magnitude of her screen presence has been neither chronicled nor fully appreciated until now. This book examines the growth and evolution of Queen Victoria's on-screen image. From the satirical cartoons and silent films of the 19th century to the television shows, video games, and webcomics of the 21st, it demonstrates how the protean Victoria character has evolved, ultimately meaning many different things to many different people in many different ways. Each chapter looks at a facet of her character and includes analysis of how these media present Queen Victoria as a real person and shape her as a character acting within a narrative. The book includes a comprehensive and international filmography.

It has been said that the British Empire, on which the sun never set, meant little to the man in the street. Apart from the jingoist eruptions at the death of Gordon or the relief of Mafeking he remained stonily indifferent to the imperial destiny that beckoned his rulers so alluringly. Strange, then that for three-quarters of a century it was scarcely possible to buy a bar of soap or a tin of biscuits without being reminded of the idea of Empire. Packaging, postcards, music hall, cinema, boy's stories and school books, exhibitions and parades, all conveyed the message that Empire was an adventure and an ennobling responsibility. Army and navy were a sure shield for the mother country and the subject peoples alike. Boys' brigades and Scouts stiffened the backbone of youth who flocked to join. In this illuminating study John M. Mackenzie explores the manifestations of the imperial idea, from the trappings of royalty through writers like G. A. Henty to the humble cigarette card. He shows that it was so powerful and pervasive that it outlived the passing of Empire itself and, as events such as the Falklands 'adventure' showed, the embers continue to smoulder.

Whether as an epic battleground or a cradle of civilizations, Europe has left an enduring imprint on the history of the world for over two millennia. From megalithic civilizations through ancient times, the Renaissance, the Industrial Revolution, the rise of nationalism, two world wars and the years that followed, this book looks beyond a series of distinct national histories to offer the history of Europe as an often shared experience across one continent. This book delves into events such as the fall of the Berlin Wall, traces the continents evolution from the collapse of Communism through the Iraq War, global financial crisis, Brexit and Russia's invasion of Ukraine. And then looking forward, it explores what would be necessary for the continent to remain a global power-player for years to come.

'All art is propaganda,' wrote George Orwell, 'but not all propaganda is art.' Moving from World War I to the 'War on Terror' and beyond, The Story of British Propaganda Film shows how the emergence of film as a global media phenomenon reshaped practices of propaganda, while new practices of propaganda in turn reshaped the use of the moving image. It explores classic examples of cinematic propaganda such as The Battle of the Somme (1916), Listen to Britain (1942) and Animal Farm (1954) alongside little-known newsreels, 'telemagazines' and digital media initiatives, in the process challenging our understanding of propaganda itself, and its many diverse manifestations. Richly illustrated with unique material from the BFI National Archive, the book shows how central propaganda is to the development of British film, and how it has filtered our understanding of modern British history, from narratives of decolonisation to the celebration of pop culture and the meanings of the postwar consensus. In a contemporary moment so preoccupied with misinformation, malinformation and disinformation, Scott Anthony explains why the response to the ubiquity of the propaganda film has often turned out to be the production of ever more propaganda.