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April 5, 2017 | Feminist Theory | By admin | 0 Comments

By Philip M. Taylor (eds.)

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12. 13. 14. 15. 16. 17. See, for example, Angus Calder, The People's War (London, 1969), Susan Briggs, Keep Smiling Through (London, 1975), and Charles Whiting, Britain Under Fire (London, 1986). Martin Ceadel, Pacifism in Britain, 1914-45 (Oxford, 1980). 12-108; Tom Harrisson, Living Through the Blitz (London, 1976) pp. 22-4. Ian Colvin, Vansittart in Office (London, 1965) p. 276. Lord Hailsham, The door wherein I went (London, 1975) p. 116. Hugh Dalton, Hitler's War (London, 1940) p. 10. , p.

The first factor that should be noted is that 44 Britain and the Cinema in the Second World War despite the almost obligatory presence of Gordon Jackson or John Laurie as the token Scotsman in films which depicted the national effort in microcosm (The Foreman Went to France (1942); Millions Like Us (1943); The Way Ahead (1944)) and despite the occasional nods in the direction of Wales (The Proud Valley (1940); The Silent Village (1942)), the national identity derived almost entirely from England, which was often used interchangeably with Britain to describe the nation.

Film technicians, who were paradoxically accorded reserved status, were thrown into unemployment. By the end of 1939 frustration permeated the entire industry, as Kine Weekly expressed it: 'So what has happened? Film production has almost completely ceased. The Films Act would have gone within a week or two of the outbreak of war but for the violent protests of producers and labour, and British film production today has never been in a more parlous state at a time when its strength and vitality is all important.

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