By Stephen C. Shafer
Shafer's research demanding situations the normal old assumption that British characteristic movies in the course of the Thirties have been as a rule orientated to the middle-class. in its place, he makes the severe contrast among movies meant for West finish and foreign stream and people meant essentially for household, working-class audiences. faraway from being alientated through a 'middle-class institution', operating women and men flocked to work out photographs that includes such music-hall luminaries as Gracie Fields and George Formby.
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Additional resources for British Popular Films, 1929-1939: The Cinema of Reassurance (Studies in Film, Television and the Media)
1. 5 British popular films 1929—1939 36 In five of the eleven years, the working classes figured significantly enough to be mentioned in more than two of every five films produced in Britain, and in 1935 and 1936, they were prominent in almost one of every two films made; in every other year of the decade, except somewhat surprisingly the last year prior to the war, working-class characters figured in more than one of every three features that were released. The evidence is similar for those films in which working-class characters were actually the protagonists or central figures in the plot.
46 Throughout the pages of the Gaumont-British News, a publication distributed not only to the employees of the studios making the films for the company but also to the employees of the theaters in the Gaumont-British chain, suggestions continually were being made on how to gear publicity about certain films to the working classes. 49 Sometimes the publicity for a film would emphasize the working-class characters even if they played only a small part in the plot, or if their function in the films was essentially minor.
When opinions about one aspect of this entertainment are diametrically opposed, judgments become expensive guesses about public taste. That the British film industry, or at least segments of it, did make efforts to depict the working classes more accurately cannot be denied. Throughout the decade, evidence shows that attempts were being made for more accurate depictions of the working people on every level of production from the performers to the studio executives. Some of the actors told the fan magazines that they had “researched” their roles by spending time among the “ordinary people” whom they were attempting to impersonate.