This volume provides a new study on the Co-operative Movement's engagement with film for educational, cultural and publicity purposes. It provides insights into the political and commercial use of cinema in the 20th century and significantly extends our understanding of the achievements of workers' cinema in Britain.

The co-operative movement has played a notable role in the retail, wholesale, productive, political, educational and cultural life of Britain. As a movement it has consciously represented consumer interests and has carried out work in the arena of consumer protection. However, its study has suffered relative neglect when compared to research into the Labour Party, trade unions and the wider politics of retail and consumption. This book reassesses the impact of the co-operative movement on various communities in Britain during the period 1914-1960, providing a comprehensive account of the grass roots influence of co-operatives during both war and peace. This is a national study with a local dimension. It considers how national directives and perspectives were locally applied, if indeed they were applicable within the context of individual societies. Each chapter focuses on a different aspect of the co-operative movement by examining various societies in England, Scotland and Wales. Particular attention is paid to the midlands, due to the movement's expansion here during the interwar period, with consideration also given to comparative developments in Europe. The author explores: the movement's relationship with other labour organizations; its cultural and social aspects (including the role sport played in co-operative societies); the politicization of the movement and local response to the formation of the Co-operative Party; the education of co-operators; what co-operative membership entailed and how co-operative ideology was expressed; the economic impact membership could have on families (including the provision of financial assistance and credit); and the co-operative movement's development alongside consumer activism. The book is a major national study of the growth of Co-operation during this crucial period of British social, economic and consumer history. Given the few modern scholarly works on Co-operation, it is a timely and much needed reassessment.

The neighbourhood co-op store was an essential element in the English shopping landscape for a century and more. Initially identified by the iconic co-operative symbols of beehives and wheatsheaves, eclectic store designs by local architects made a lasting impact on the townscape. Robustly independent local co-operative societies and lack of overall branding happily produced an unusually diverse range of architectural styles. And they were much more than just shops – their integrated educational facilities, libraries and halls made them a focal point for communities. The Co-op eventually offered a ‘cradle to grave’ service for its members. Behind the network of stores was the Co-operative Wholesale Society, the federal body responsible for manufacturing and distribution. Its factories employed thousands during the productive peak of the 1930s, and its architects brought modern design standards to bear on the whole gamut of co-op buildings. Co-op architecture is still around us countrywide, with everything from Victorian edifices to post-war artworks there to be seen and enjoyed. Using a wonderful selection of archive and modern illustrations, this book reveals the intriguing story behind the co-op’s buildings, from corner shops to vast department stores and innovative industrial structures. Remember, it’s all at the co-op now!

While many have interpreted the cooperative movement as propagating a radical alternative to capitalism, Cooperative Rule shows that in the late British Empire, cooperation became an important part of the armory of colonialism. The system was rooted in British rule in India at the end of the nineteenth century. Officials and experts saw cooperation as a unique solution to the problems of late colonialism, one able to both improve economic conditions and defuse anticolonial politics by allowing community uplift among the empire’s primarily rural inhabitants. A truly transcolonial history, this ambitious book examines the career of cooperation from South Asia to Eastern and Central Africa and finally to Britain. In tracing this history, Aaron Windel opens the door for a reconsideration of how the colonial uses of cooperation and community development influenced the reimagination of community in Europe and America from the 1960s onward.

A history of 1950s and 1960s British political culture, Redefining British Politics interrogates ideas, movements and identities bordering social and political change: consumer organisations; campaigns about TV, morality and culture; Young Conservatism; and how party politics used media like TV and was represented in popular culture.

In twentieth-century Britain, consumerism increasingly defined and redefined individual and social identities. New types of consumers emerged: the idealized working-class consumer, the African consumer and the teenager challenged the prominent position of the middle and upper-class female shopper. Linking politics and pleasure, Consuming Behaviours explores how individual consumers and groups reacted to changes in marketing, government control, popular leisure and the availability of consumer goods.From football to male fashion, tea to savings banks, leading scholars consider a wide range of products, ideas and services and how these were marketed to the British public through periods of imperial decline, economic instability, war, austerity and prosperity. The development of mass consumer society in Britain is examined in relation to the growing cultural hegemony and economic power of the United States, offering comparisons between British consumption patterns and those of other nations.Bridging the divide between historical and cultural studies approaches, Consuming Behaviours discusses what makes British consumer culture distinctive, while acknowledging how these consumer identities are inextricably a product of both Britain’s domestic history and its relationship with its Empire, with Europe and with the United States.

British cinema has been around from the very birth of motion pictures, from black-and-white to color, from talkies to sound, and now 3D, it has been making a major contribution to world cinema. Many of its actors and directors have stayed at home but others ventured abroad, like Charlie Chaplin and Alfred Hitchcock. Today it is still going strong, the only real competition to Hollywood, turning out films which appeal not only to Brits, just think of Bridget Jones, while busily adding to franchises like James Bond and Harry Potter. So this Historical Dictionary of British Cinema has a lot of ground to cover. This it does with over 300 dictionary entries informing us about significant actors, producers and directors, outstanding films and serials, organizations and studios, different films genres from comedy to horror, and memorable films, among other things. Two appendixes provide lists of award-winners. Meanwhile, the chronology covers over a century of history. These parts provide the details, countless details, while the introduction offers the big story. And the extensive bibliography points toward other sources of information.

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.

This collection of new essays recovers and explores a neglected archive of women's print media and dispels the myth of the interwar decades as a retreat to 'home and duty' for women.

This book sheds new light on the cinema and modernity debate by confronting established theories on the role of the modern cinematic experience with new empirical work on the history of the social experience of cinema-going, film audiences and film exhibition. The book provides a wide range of research methodologies and perspectives on these matters, including: the use of oral history methods questionnaires diaries audience letters as well as industrial, sociological and other accounts on historical film audiences. The collection’s case studies thus provide a "how to" compendium of current methodologies for researchers and students working on film and media audiences, film and media experiences, and historical reception. The volume is part of a ‘new cinema history’ effort within film and screen studies to look at film history not only as a history of production, textual relations or movies-as-artefacts, but rather to concentrate more on the receiving end, the social experience of cinema, and the engagement of film/cinema (history) ‘from below’. The contributions to the volume reflect upon the very different ways in which cinema has been accepted, rejected or disciplined as an agent of modernity in neighbouring parts of Europe, and how cinema-going has been promoted and regulated as a popular social practice at different times in twentieth-century European history.