1 NYU DEPARTMENT OF CINEMA STUDIES British/U.K. bibliography Aldgate, Anthony. Britain Can Take It: The British Cinema in the Second World War (NY: Blackwell, 1986). Aitken, Ian. Film and Reform: John Grierson and the Documentary Film Movement (NY: Routledge, 1992). Aitken, Ian. Alberto Cavalcanti: realism, surrealism and national cinemas (Trowbridge, Wiltshire: Flicks Books, 2000). Anthony, Scott. Night Mail. (London: BFI, 2007). Armes, Roy. A Critical History of the British Cinema (New York: Oxford University Press, 1978). Ashby, Justin and Andrew Higson, eds. British Cinema: Past and Present. NY: Routledge, 2000. Auty, Martin and Nick Roddick, eds. British Cinema Now. London: BFI, 1985. Babington, Bruce, ed. British Stars and Stardom: from Alma Taylor to Sean Connery. Manchester: Manchester University Press, 2002. Bamford, Kenton. Distorted Images: British national identity and film in the 1920s (Woodstock, N.Y.: Overlook Press, 1980). Barnes, John. The Beginnings of the Cinema in England (New York: Barnes & Noble, 1976). Barr, Charles. Ealing Studios (Woodstock, NY: Overlook Press, 1980) English Hitchcock (Moffatt: Cameron and Hollis, 1999) Barr, Charles, ed., All Our Yesterdays: 90 Years of British Cinema (London: BFI, 1986). Barrow, Sarah and John White, eds. Fifty Key British Films. New York: Routledge, 2008. Barton, Ruth. Irish National Cinema (New York: Routledge, 2004). Bell, Melanie and Melanie Williams, eds., British Women s Cinema (NY: Routledge, 2009). Betts, Ernest. The Film Business: a History of British cinema, 1896-1972 (London, Allen & Unwin, 1973). Blandford, Steven. Film, Drama and the Break-up of Britain (Chicago: Intellect, 2007). Bourne, Stephen. Brief encounters: lesbians and gays in British cinema 1930-1971 (New York: Cassell, 1996). Brown, Geoff. Launder and Gilliat. London: BFI, 1977. Brownlow, Kevin. David Lean (London: Faber, 1997). Brunel, Adrian. Nice work; the story of thirty years in British film production (London, Forbes Robertson 1949). Brunsdon, Charlotte. London in Cinema: The Cinematic City Since 1945 (London: BFI, 2007).
Carney, Ray and Leonard Quart, eds. The Films of Mike Leigh. Cambridge: Cambridge University Press, 2000. Chapman, James. The British at war: cinema, state, and propaganda, 1939-1945 (New York, N.Y.: I.B. Tauris Publishers, 1998). Chapman, James. Past and present : national identity and the British historical film (New York : I.B., 2005). Chanan Michael. The Dream that Kicks: The Prehistory and History of Cinema in Britain (London: Routledge & Kegan Paul, 1980). Chibnall, Steve. Quota Quickies: The Birth of the British 'B' Film (London: BFI, 2007). Chibnall, Steve and Robert Murphy, eds., British Crime Cinema (London: Routledge, 1999). Chibnall, Steve and Julian Petley, eds., British Horror Cinema (London: Routledge, 2001). Christie, Ian. Arrows of Desire: The Films of Michael Powell and Emeric Pressburger (London: Faber & Faber, 1994). A Matter of Life and Death (London: BFI, 2008). The Art of Film: John Box and Production Design. New York: Wallflower, 2008. Christie, Ian, ed., Powell, Pressburger and Others (London: BFI, 1978). Christie, Ian and Andrew Moor, eds., Michael Powell: International Perspectives on an English Film-Maker (London: BFI, 2008). Claydon, E. Anna. The representation of masculinity in British cinema of the 1960s: Lawrence of Arabia, The loneliness of the long distance runner, and The Hill (Lewiston: Edwin Mellen Press, 2005). Connelly, Mark. The Red Shoes. London: I.B. Tauris, 2005. Cook, Pam, Fashioning the Nation: Costume and Design in British Cinema (London: BFI, 1996). I Know Where I m Going (London: BFI, 2008). Cook, Pam, ed. Gainsborough Pictures (London: Cassell, 1998). Coultass, Clive. Images for battle: British film and the Second World War, 1939-1945 (Newark: University of Delaware Press, 1989). Curran, James and Vincent Porter, eds., British Cinema History (London: Weidenfeld and Nicholson, 1983). Dave, Paul. Visions of England: class and culture in contemporary cinema (New York: Berg, 2006). Dickinson, Margaret, ed. Rogue reels: oppositional film making in Britain, 1945-90 (London: BFI, 1999). Dickinson, Margaret and Sarah Street, Cinema and State: The Film Industry and the British Government, 1927-1984. London: BFI, 1985. Dixon, Wheeler W. The charm of evil: the life and films of Terence Fisher. Metuchen, N.J.: Scarecrow Press, 1991. Dixon, Wheeler W. ed. Re-Viewing British Cinema, 1900-1992: essays and interviews (Albany: State University of New York Press, 1994). 2
3 Donnelly, K. J. Pop music in British cinema: a chronicle (London: BFI Pub., 2001). Durgnat, Raymond, A Mirror for England: British Movies from Austerity to Affluence (London: Faber & Faber, 1971). Dyer, Richard. Brief Encounter (London: BFI, 1993). Evans, Peter William. Carol Reed (Manchester: University of Manchester Press, 2005). Everett, Wendy. Terrence Davies (Manchester: University of Manchester Press, 2004). Eyles, Allen. Gaumont British cinemas (London: BFI 1996). Field, Audrey. Picture Palace; a social history of the cinema (London, Gentry Books, 1974). Friedman, Lester, ed. Fires Were Started: British Cinema and Thatcherism (Minneapolis: University of Minnesota Press, 1993). Gardner, Colin. Joseph Losey (Manchester: University of Manchester Press, 2004). Geraghty, Christine, British Cinema in the 1950s: Gender, Genre and the New Look (London: BFI, 2000). Gillett, Philip. The British working class in postwar film (Manchester: Manchester University Press, 2003). Gledhill, Christine. Reframing British cinema, 1918-1928: between restraint and passion (London: BFI Pub., 2003). Gledhill, Christine, ed. Nationalising femininity: culture, sexuality, and British cinema in the Second World War (Manchester: Manchester University Press, 1996). Graham, Allison. Lindsay Anderson (Boston: Twayne Publishers, 1981). Griffiths, Robin, ed., British Queer Cinema (NY: Routledge, 2006). Hacker, Jonathan and David Price, eds. Take Ten: contemporary British film directors (New York: Oxford University Press, 1991). Hammond, Michael. The big show: British cinema culture in the Great War, 1914-1918 (Exeter, UK: University of Exeter Press, 2006). Hardy, Forsythe, ed., Grierson on Documentary (London: Faber & Faber, 1966). Harper, Sue. British cinema of the 1950s: a celebration (Manchester: Manchester University Press, 2003).. British cinema of the 1950s: the decline of deference (New York: Oxford University Press, 2003).. Picturing the past: the rise and fall of the British costume film (London: BFI Publishing, 1994).. Women in British cinema: mad, bad, and dangerous to know (New York: Continuum, 2000). Harper, Sue and Vincent Porter, British Cinema of the 1950s: The Decline of Deference (New York: Oxford University Press, 2007). Hepworth, Cecil. Came the Dawn: Memoirs of a Film Pioneer (London: Phoenix House, 1951).
4 Higson, Andrew. Waving the Flag: Constructing a National Cinema in Britain (New York: Oxford University Press, 1995). Higson, Andrew, ed. Dissolving Views: Key Writings on British Cinema (NY: Cassell, 1996). Higson, Andrew, ed. Young and innocent?: the Cinema in Britain, 1896-1930 (Exeter: University of Exeter Press, 2002). Hill, John. Sex, Class and Realism: British Cinema, 1956-1963 (London: BFI, 1986). ------------. British Cinema in the 1980s (London: Clarendon, 1999). Hill, John. Cinema and Northern Ireland : film, culture and politics London : BFI Pub., 2006. Hill, John, Martin McLoone and Paul Hainsworth, eds. Border crossing: film in Ireland, Britain and Europe (Belfast: Institute of Irish Studies, in association with the University of Ulster, and the British Film Institute, 1994). Hogenkamp, Bert. Deadly parallels: film and the left in Britain, 1929-1939 (London: Lawrence and Wishart, 1986). Holmes, Su. British TV and Film in the 1950s: Coming to a TV near You (Portland, OR: Intellect Books, 2005. Houston, Penelope. Went the Day Well? (London: BFI, 1992). Hunter, I. Q., ed., British Science Fiction Cinema (NY: London, 1999). Jackson, Kenneth. Lawrence of Arabia (London: BFI, 2007). Jaikumar, Priya. Cinema at the End of Empire: a Politics ofttransition in Britain and India (Durham: Duke University Press, 2006). Jones, Stephen G. The British Labour movement and film (1918-1939) (New York: Routledge & Kegan Paul, 1987). Kuhn, Annette. Dreaming of Fred and Ginger: Cinema and Cultural Memory (New York: New York University Press, 2002).. Ratcatcher (London: BFI, 2008). Lambert, Stephen. Channel Four: Television with a Difference. London: BFI, 1984. Landy, Marcia. British Genres: Cinema and Society, 1930-1960 (Princeton: Princeton University Press, 1991).. Monty Python's Flying Circus (Detroit: Wayne State University Press, 2005) Lant, Antonia. Blackout: Reinventing Women in Wartime British Cinema (Princeton: Princeton University Press, 1991). Lay, Samantha. British Social Realism: from Documentary to Brit Grit. New York: Wallflower, 2002. Leach, Jim. British Film. Cambridge: Cambridge University Press, 2004. Leggott, James. British Cinema: From Heritage to Horror. New York: Wallflower, 2008.
5 Leigh, Jacob. The cinema of Ken Loach: art in the service of the people (London ; New York: Wallflower Press, 2002). Lippard, Chris. ed. By Angels driven: The Films of Derek Jarman. New York: Praeger, 1996. Manvell, Roger. Film and the Public (Harmondsworth: Penguin, 1955). Lovell, Alan. British Cinema: the Unknown Cinema (London: BFI, 1969). MacArthur, Colin. Scotch Reels: Scotland in Cinema and Television (London: BFI, 1982). McFarlane, Brian, ed. The Cinema of Britain and Ireland (London: Wallflower, 2005). Macnab, Geoffrey. J. Arthur Rank and the British Film Industry (London: Routledge, 1993). MacPherson, Don, ed. Traditions of Independence: British Cinema in the 1930s (London: BFI, 1980) Monk, Claire and Amy Sargeant, eds., British Historical Cinema (NY: Routledge, 2002). Murphy, Robert. British cinema and the Second World War (London; New York: Continuum, 2000).. Realism and tinsel: cinema and society in Britain, 1939-1949 (New York: Routledge, 1989).. Sixties British cinema (London: BFI, 1992). Murphy, Robert, ed., The British Cinema Book (London: BFI, 2009)., ed., British Cinema of the 90s (London: BFI, 2000). Orbanz, Eva. Journey to a Legend and Back: The British Realistic Film. New York: Zoetrope, 1981. Perrry, George. Forever Ealing (London: Pavilion, 1981).. Great British Picture Show. New York: Little Brown, 1988. Petrie, Duncan. Creativity and constraint in the British film industry (New York: St. Martin's Press, 1991). Petrie, Duncan. Screening Scotland (London: BFI, 2000). Petrie, Duncan, ed., New Questions of British Cinema (BFI, 1992). Plain, Gill. John Mills and British Cinema: Masculinity, Identity and Nation (Edinburgh: Edinburgh University Press, 2006). Ramsden, John. The Dam Busters (New York: I.B. Tauris, 2003). Rattigan, Neil. This is England: British film and the People's War, 1939-1945 (Madison, N.J.: Fairleigh Dickinson University Press 2001). Richards, Jeffrey. The Age of the Dream Palace: Cinema and Society in Britain, 1930-1939 (London: Routledge & Kegan Paul, 1984). Richards, Jeffrey, ed. The unknown 1930s: an alternative history of the British cinema 1929-39 (New York: I.B. Tauris, 1998).
6 Richards, Jeffrey and Dorothy Sheridan, eds. Mass Observation at the Movies (New York: Routledge, 1987). Robertson, James C. The Hidden Cinema : British film censorship in action, 1913-1972 (New York : Routledge, 1989). Rotha, Paul. Documentary Diary: An Informal History of the British Documentary, 1928-1939 (London: Secker and Warburg, 1973). Ryall, Tom. Alfred Hitchcock and the British Cinema (London: Croom Helm, 1986).. Anthony Asquith (Manchester: University of Manchester Press, 2005).. Blackmail (London: BFI Sargeant, Amy. British Cinema: A Critical History (London: BFI, 2009). Shafer, Stephen C. British Popular Films, 1929-1939: the cinema of reassurance (New York, N.Y.: Routledge, 1997). Shail, Robert, ed. Seventies British Cinema. London: BFI, 2008. Shaw, Tony. British Cinema and the Cold War: the state, propaganda and consensus (New York: I.B. Tauris, 2001). Slide, Anthony. Banned in the USA: British Films in the United States and their Censorship, 1933-1966. London: I. B. Tauris, 1998. Smith, Murray. Trainspotting (London: BFI, 2002). Spicer, Andrew. Typical Men: the representation of masculinity in popular British cinema (New York: I.B. Tauris Publishers, 2001). Street, Sarah. British cinema in documents (New York: Routledge, 2000).. Transatlantic Crossings: British Films in the United States (New York: Continuum, 2002).. Black Narcissus. London: I.B. Tauris, 2005.. British National Cinema. (NY: Routledge, 2008). Sussex, Elizabeth, The Rise and Fall of British Documentary: The Story of the Film Movement Founded by John Grierson (Berkeley: University of California Press, 1975). Swann, Paul. The Hollywood feature film in postwar Britain (London; Wolfeboro, N.H.: Croom Helm, 1987. Swann, Paul. The British Documentary Film Movement: 1926-1946 (Cambridge, UK: Cambridge University Press, 1989). Taylor, B.F., The British New Wave. Manchester: Manchester University Press, 2006. Taylor, Philip M., ed. Britain and the cinema in the Second World War (New York: St. Martin's Press, 1988). Walker, Alexander, National Heroes: the British Film Industry in the Seventies and Eighties. New York: Orion, 2005. Whitehead, Tony. Mike Leigh ((Manchester: University of Manchester Press, 2007).
7 Williams, Tony. Structures of desire: British cinema, 1939-1955 (Albany: State University of New York Press, 2000). Winston, Brian. Claiming the Real: The Griersonian Documentary and its Limitations (London: BFI, 1995). Wright, Basil. The Long View: A Personal Perspective on World Cinema (London: Secker and Warburg, 1974). Essays Aldgate, Tony. " I Am a Camera: Film and Theatre Censorship in 1950s Britain." (Critical Essay) Contemporary European History Nov 1999 v8 i3 p425(14) Allen, Jessica. Livingstone, Sonia. Reiner, Robert. "True Lies: Changing Images of Crime in British Postwar Cinema." European Journal of Communication. 13(1):53-75. 1998 Mar Ashby, Justine. "In Focus: Postfeminism in the British Frame." Cinema Journal 44:2 (Winter 2005) p. 127-132 Bell-Williams, Melanie. "Gender and Modernity in Post-War British Cinema: A Case Study of Young Wives' Tale." Women's History Review, vol. 16, no. 2, pp. 227-43, April 2007 Boon, Timothy M. "Health education films in Britain, 1919-39: production, genres and audiences." In: Signs of life: cinema and medicine / edited by Graeme Harper and Andrew Moor. New York: Wallflower Press, 2005. Bottomore, S., ed. "Early British Cinema." [Special section]. Film History v. 16 no. 1 (2004) p. 3-91 Burrows, J. "Penny Pleasures: Film exhibition in London during the Nickelodeon era, 1906-1914." Film History v. 16 no. 1 (2004) p. 60-91 Burrows, J. "Girls on film: the musical matrices of film stardom in early British cinema." Screen v. 44 no. 3 (Aut 2003) p. 314-25 Byrne, Eleanor. "See(k)ing in the Dark: Looking at White People in Black British Cinema." Journal for the Study of British Cultures. 5(2):171-80. 1998. Cacqueray, Elizabeth de. "Constructions of Women in British Cinema: From Losey/Pinter's Modernism, to the Postmodernism of Frears/Kureishi." Caliban. 32:109-20. 1995. Toulouse, France Carson, Bruce. "Comedy, sexuality and "Swinging London" films." Journal of Popular British Cinema nr 1 (1998); p 48-62. Caughie, John. "Small Pleasures: Adaptation and the Past in British Film and Television." Ilha do Desterro: a Journal of Language & Literature. 32(1):27-50. 1997 Caughie, John. "A Culture of Adaptation: Adaptation and the Past in British Film and Television." Journal for the Study of British Cultures. 5(1):55-66. 1998 Chapman, James. 'Our finest hour revisited." Journal of Popular British Cinema nr 1 (1998); p 63-75. Chapman, James. "The True Business of the British Movie'? A Matter of Life and Death and British Film Culture." Screen, vol. 46, no. 1, pp. 33-49, Spring 2005.
8 Chibnall, Stephen. "Britain's Funk Soul Brothers: Gender, Family and Nation in the New Brit-Pics." Cineaste. 26(4):38-42. 2001 Fall Cooke, Lez. "British Cinema: From Cottage Industry to Mass Entertainment." In: Literature and culture in modern Britain / edited by Clive Bloom. pp: 167-88. New York: Longman, 2000. Cooke, Lez. "British cinema." In: An Introduction to film studies / edited by Jill Nelmes. 2nd ed. London ; New York: Routledge, 1999. Cook, Pam. "Memory in British Cinema: Brief Encounters." In: Screening the past: memory and nostalgia in cinema New York: Routledge, 2005. Diawara, Manthia."Black British Cinema: Spectatorship and Identity Formation in Territories." Public Culture. 3(1):33-47. 1990 Fall. Donnelly, K. J. "The Perpetual Busman's Holiday: Sir Cliff Richard and British Pop Musicals." Journal of Popular Film & Television. 25(4):146-54. 1998 Winter Dupin, Christophe. "The Postwar Transformation of the British Film Institute and Its Impact on the Development of a National Film Culture in Britain." Screen, vol. 47, no. 4, pp. 443-51, Winter 2006 Enkemann, Jyrgen. "Globalization, Sense of Place and Questions of Identity: British Film in the 1990s." Journal for the Study of British Cultures. 5(2):111-27. 1998 Gledhill, Christine. "Play as Experiment in 1920s British Cinema." Film History 20:1 (2008) p. 14-34. Hall, Stuart. "Cultural Identity and Cinematic Representation." In: Black British cultural studies: a reader edited by Houston A. Baker, Jr., Manthia Diawara, and Ruth H. Lindeborg. pp: 210-22. Chicago: University of Chicago Press, 1996. Harper, Sue. "Beyond the forest: Terence Fisher and Transylvania." Studies in European Cinema, 2006, Vol. 3 Issue 2, p143-151, 9p Harper, Sue; Porter, Vincent. "Moved to tears: weeping in the cinema in postwar Britain." Screen Vol XXXVII nr 2 (Summer 1996); p 152-173 Healy, Murray. "Were We Being Served? Homosexual Representation in Popular British Comedy." Screen. 36(3):243-56. 1995 Autumn Higson, Andrew. "Space, place, spectacle." Screen Vol XXV nr 4-5 (July-Oct 1984); p 2-21. Hill, John. "Government Policy and the British Film Industry 1979-90." European Journal of Communication. 8(2):203-24. 1993 June Holmes, Susan. "'As They Really Are, and in Close-Up': Film Stars on 1950s British Television." Screen. 42(2):167-87. 2001 Summer. "Looking at the wider picture on the small screen: reconsidering British television and widescreen cinema in the 1950s." Quarterly Review of Film and Video April-June 2004 v21 i2 p131-147. Landy, Marcia. "Looking Backward: History and Thatcherism in the Recent British Cinema." Film Criticism, Fall90, Vol. 15 Issue 1, p17-38, 22p. "The Sexuality of History in Contemporary British Cinema." Film Criticism. 20(1-2):78-87. 1995 Fall-1996 Winter
9. "'You Remember Diana Dors, Don't You?': History, Femininity, and the Law in 1950s and 1980s British Cinema." In: The historical film: history and memory in media / edited and with an introduction by Marcia Landy. pp: 143-72. New Brunswick, N.J.: Rutgers University Press, 2001. Lovell, T. "Landscapes and stories in 1960s British realism." Screen Vol XXXI nr 4 (Winter 1990); p 357-376. McFarlane, B. "Pulp fictions: the British B film and the field of cultural production." Film Criticism v. 21 (Fall 1996) p. 48-70. Miller, Laurence. "Evidence for a British Film Noir Cycle." Film Criticism, Fall91/Winter92, Vol. 16 Issue 1/2, p42-51, 10p. Neely, S. "Scotland, heritage and devolving British cinema." Screen v. 46 no. 2 (Summer 2005) p. 241-5. Petrie, Duncan. "A brief history of British cinematography." American Cinematographer v. 80 no. 12 (December 1999) p. 86-8+ Pines, Jim. "The Cultural Context of Black British Cinema." In: Black British cultural studies: a reader / edited by Houston A. Baker, Jr., Manthia Diawara, and Ruth H. Lindeborg. pp: 183-93 Chicago: University of Chicago Press, 1996. Porter, Vincent. "The hegemonic turn: film comedies in 1950s Britain." Journal of Popular British Cinema; nr.4 (2001); p.81-94. Ramsden, John. "Refocusing 'The People's War': British war films of the 1950s." (includes appendix on the war film boom of the 1950s) Journal of Contemporary History, Jan 1998 v33 n1 p35(32). Richards, Jeffrey. "Cinemagoing in worktown: regional film audiences in 1930s Britain." Historical Journal of Film, Radio and Television June 1994 v14 n2 p147(20). Stafford, Roy. "What's showing at the Gaumont?": rethinking the study of British cinema in the 1950s." Journal of Popular British Cinema nr 4 (2001); p 95-111