Relevant bibliographies by topics / British national film movement

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'British national film movement'

Author: Grafiati
Published: 4 June 2021
Last updated: 17 February 2022

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'British national film movement.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "British national film movement"

1

MacDonald, Richard. "Evasive Enlightenment:World Without Endand the Internationalism of Postwar Documentary." Journal of British Cinema and Television 10, no. 3 (July 2013): 452–74. http://dx.doi.org/10.3366/jbctv.2013.0150.

Full text
Abstract:
This article explores the discursive theme of documentary's crisis and renewal through internationalism as it evolved at the Edinburgh International Film Festival, established in 1947. During its first decade Edinburgh was the most significant forum for discussion on the future of documentary as an international genre, a debate to which all the key figures of the prewar generation contributed, as critics, panelists, advisors, speakers and film-makers. Amid a sense of crisis for British documentary, marked by the perceived dominance of instructional film-making of limited social and aesthetic ambition, these figures urged film-makers to look to the developing world, where the old themes of documentary could inspire new work to match the canonical works of the past. Presented at Edinburgh in 1953 World Without End, an aesthetically ambitious film made in Siam and Mexico, sponsored by the international agency UNESCO and co-directed by two of the British documentary movement's most celebrated film-makers Basil Wright and Paul Rotha, was widely praised as renewing the prewar traditions of the sponsored documentary. The article argues that the well-intentioned critical discourse of renewal through thematic engagement with international development, evident in the reception of World Without End, evades the contemporary politics of the British state's relationship to its empire, the movements of national liberation that actively sought to end it and the new forms of despotism nurtured by the geopolitics of the Cold War.
APA, Harvard, Vancouver, ISO, and other styles
2

Roggen, Sam. "No Quarterly Can Be Too Personal: How Sequence Provided a Pragmatic Alternative to the Politique des Auteurs." Journal of British Cinema and Television 10, no. 2 (April 2013): 340–57. http://dx.doi.org/10.3366/jbctv.2013.0138.

Full text
Abstract:
This article offers a critical reassessment of Sequence, the short-lived British film journal (1946–52), which is mainly remembered because its contributors co-founded the Free Cinema movement. Sequence, however, played a crucial, but overlooked, role in the development of film theory. Its core ideas foreshadowed those of Cahiers du Cinéma, the magazine that invariably occurs in the canon as the first journal to emphasise the crucial role of the director and to re-evaluate a group of film-makers regarded as anonymous studio employees. This article, which is based on a close reading of pieces from Sequence's fourteen issues, compares its vision and policy with those of Cahiers (which it preceded), revealing deep-seated similarities between the two, from a dissatisfaction with their respective national film cultures to a preference for analyses focusing on visual style. But whilst the Sequence writers argued that the director played the cardinal role in the production process, they also opposed the Young Turks of Cahiers by never approaching films as the expression of the director's vision alone. Sequence focused on the collective nature of Hollywood production, and thus came closer to the ideas of André Bazin, who actually criticised his young disciples at Cahiers for neglecting the genius of the system. Furthermore, Sequence demonstrated the possibility of a nuanced analysis that did not sacrifice the fascination with the intense, poetic moments that escape traditional theory, thereby echoing Jean Epstein's concept of photogénie, as well as prefiguring more recent forms of cinephilia. This article argues that it is precisely Sequence's pragmatic approach that is the reason for its relative absence in traditional film theory, which is modelled as a dialectical series of radical ideas, such as those of the polemically minded Cahiers.
APA, Harvard, Vancouver, ISO, and other styles
3

Low, D. A. "VI. Counterpart Experiences: Indian and Indonesian Nationalisms 1920s–1950s." Itinerario 10, no. 1 (March 1986): 117–44. http://dx.doi.org/10.1017/s0165115300009013.

Full text
Abstract:
India's national day is 26 January; Indonesia's 17 August. They point to a difference. 26 January derives from the Indian National Congress' decision at its Lahore Congress in December 1929 to launch a Civil Disobedience movement against the British Government in India. Jawaharlal Nehru as Congress' President arranged that the first step would be for thousands of Congress rank and file to join together on 26 January 1930 to take the Independence Pledge. This declared that since ‘it is the inalienable right of the Indian people […] to have freedom, […] if any government deprives a people of those rights […] the people have a […] right to […] abolish it […]. We recognise, however, that the most effective way of gaining freedom is not through violence. We will, therefore, prepare ourselves by withdrawing, so far as we can, all voluntary association from the British Government and will prepare for Civil Disobedience.’ From that moment onwards 26 January has been India's Independence Day, though when it was first held India's independence still stood 17 years away. The celebrations have thus come to link post-independent India with the feats of the Indian national movement which for so many years pursued the strategy of civil disobedience, and which, despite a series of intervening fits and starts, is seen to have been crucial to its success. For India the heroics of its freedom struggle lie, that is, in its elon-gated pre-independence past, of long years of humiliating harassment and costly commitment. They are not much associated with the final run up to independence. With the emphasis rather upon the earlier, principally Gandhian years, of protests and processions, of proscriptions and prison, the final transfer of power is not seen, moreover, as comprising a traumatic break with the past, but as the logical climax to all that had gone before. The direct continuities between the pre- and post-independence periodes in India in these respects are accepted as a central part of its national heritage.
APA, Harvard, Vancouver, ISO, and other styles
4

Swinton, Tilda. "Subverting Images of the Female." New Theatre Quarterly 6, no. 23 (August 1990): 215–28. http://dx.doi.org/10.1017/s0266464x00004516.

Full text
Abstract:
This is the third in a series of interviews with women who are involved in various capacities in feminist theatre today, whose career paths intersect and connect with the feminist movement and the feminist theatre movement, tracing developments and shifts in the feminist theory and practice of the past fifteen years. The first interview, with Gillian Hanna of Monstrous Regiment, set out to provide an update of previously published information, and thereby to keep alive and accurate the current debate about British feminist theatre groups. The second interview, with playwright Charlotte Keatley, put forward a new vision of a ‘map’ to women and (play)writing. This interview carries on the discourse between feminist theatres and their intended audiences by putting forward the responses of one of Britain's strongest young performers, Tilda Swinton, to questions about the challenges and expectations involved in performing gender roles and reversals, or of ‘playing woman’, on film and on stage. Tilda Swinton was born in London in 1960. She studied Social and Political Sciences and English at Cambridge as an undergraduate from 1980 to 1983, under the supervision of Margot Heinemann. It was at Cambridge that Swinton first met and worked with director Stephen Unwin, her closest colleague throughout her career. In 1983, she went to Southampton and worked for six months at the Nuffield Theatre, where she earned her Equity card. In 1984–85, she worked with the RSC, but has chosen not to work on the main stages of the nationally subsidized theatres since. Swinton is primarily known for her work in political theatre, based at the Traverse Theatre, Edinburgh, the Almeida (most notably on The Tourist Guide in 1987 and Mozart and Salieri in 1989), and the Royal Court in London, where she starred in the celebrated Man to Man – a transfer from the Traverse – in 1987, and where she assistant-directed Conquest of the South Pole in 1988. Swinton has also worked at the National Theatre Studio, and has just played Nova at the Cottesloe in a production of Peter Handke's The Long Way Round. She has worked in Italian opera (1988), and has collaborated on and been featured in films by John Berger (Play Me Something, 1988) and Derek Jarman (most notably, Caravaggio, 1986; The Last of England, 1987; and War Requiem, 1988): she continues to collaborate with both. Current and future projects include work on a TV series written by John Byme, which began filming in late September 1989, and work with director Sally Potter on a film adaptation of Virginia Woolf's Orlando, in which Swinton plays Orlando.
APA, Harvard, Vancouver, ISO, and other styles
5

Martin, Tara. "The Beginning of Labor's End? Britain's “Winter of Discontent” and Working-Class Women's Activism." International Labor and Working-Class History 75, no. 1 (2009): 49–67. http://dx.doi.org/10.1017/s0147547909000052.

Full text
Abstract:
AbstractIn the midst of the freezing winter of 1978 and 1979, strikes erupted across Britain. In what became infamously known as the “Winter of Discontent,” workers struck against the Labour Government's attempts to curtail wage increases. The defeat of this “incomes policy” and Labour's subsequent electoral defeat ushered in an era of unprecedented political, economic, and social change for Britain. Conservative victory, under the leadership of Margaret Thatcher, not only seemed to signal the dissolution of “traditional” working-class ties to the Labour Party, it also suggested that British working-class politics might finally be on its last leg. Furthermore, a potent social myth developed around the Winter of Discontent, one where “bloody-minded” workers brought down a sympathetic government and “invited” the ravages of Thatcherism upon the British labor movement.Absent from these various narratives are the experiences of rank-and-file activists, in particular, the growing number of female trade unionists active in these strikes. This article examines the experiences of a group of women trade unionists from the National Union of Public Employees (NUPE) who participated in the strikes of the Winter of Discontent. Based on oral histories and corresponding archival material, it argues that the Winter of Discontent provided a crucial “rite of passage” for these women, one which exposed them to an unprecedented level of involvement in grassroots labor activism and leadership. Thereafter, these working-class women began to make significant inroads into NUPE and the Labour Party, which helped to make working women's issues more central to the British labor movement for decades to come. Therefore, rather than being the death knell of British working-class politics, this study of women involved in the Winter of Discontent strikes reveals that while one form of working-class politics was in decline, a reconfigured one was in the process of being born.
APA, Harvard, Vancouver, ISO, and other styles
6

Travers, Tim, and Paul Swann. "The British Documentary Film Movement, 1926-1946." American Historical Review 96, no. 2 (April 1991): 519. http://dx.doi.org/10.2307/2163290.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Thomas, Peter. "The British workshop movement and Amber film." Studies in European Cinema 8, no. 3 (May 18, 2012): 195–209. http://dx.doi.org/10.1386/seci.8.3.195_1.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Britain, Ian, and Stephen G. Jones. "The British Labour Movement and Film, 1918-1939." American Historical Review 95, no. 1 (February 1990): 171. http://dx.doi.org/10.2307/2163020.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Macfie, A. "British Intelligence and the Turkish National Movement, 1919-22." Middle Eastern Studies 37, no. 1 (January 2001): 1–16. http://dx.doi.org/10.1080/714004366.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Higson, A. "Ian Aitken, Film and Reform: John Grierson and the Documentary Film Movement; Paul Swann, The British Documentary Film Movement, 1926-1946 (Cambridge Studies in Film)." Screen 32, no. 3 (September 1, 1991): 350–56. http://dx.doi.org/10.1093/screen/32.3.350.

Full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "British national film movement"

1

Wiest, Jessica Caroline Alder. "Alexander Korda and his "Foreignized Translation" of The Thief of Bagdad (1940)." BYU ScholarsArchive, 2010. https://scholarsarchive.byu.edu/etd/2545.

Full text
Abstract:
Adaptation studies has recently turned an eye towards translation theory for valuable discussion on the role of movie makers as translators. Such discussion notes the difficulties inherent in adapting a medium such as a book, a play, or even a theme park ride into film. These difficulties have interesting parallels to the translation of one language into another. Translation theory, in fact, can shed important light on the adaptation process. Intrinsic to translation theory is the dichotomy between domesticating translation and foreignizing translation, the two major styles of translation. Translation scholar Lawrence Venuti, the author of these two terms, argues that while the former is an "ethnocentric reduction of the foreign text to receiving cultural values, bringing the author back home," the latter is "an ethnodeviant pressure on those values to register the linguistic and cultural differences of the foreign text, sending the reader abroad" (15). Venuti suggests that foreignizing translations, ones that maintain distinct cultural difference within the translated target text, are more desirable and ultimately commit less violence on the source text and language. This paper analyzes the 1940 film The Thief of Bagdad, a British remake of a 1924 Hollywood film by the same name, for its elements of foreignizing translation. Producer Alexander Korda, acting as a kind of translator, made this film during the height of the British national film movement. Supported by this movement, and inspired by his own personal vendetta against Hollywood, Korda took an American blockbuster and re-vised it with distinctly British thematic elements. Because his ultimate audience was an American one, however, I argue that his film took an American source text, The Thief of Bagdad (1924), and foreignized it, hoping, in the process, to establish British cinema as a major player in the international film world.
APA, Harvard, Vancouver, ISO, and other styles
2

Burton, Alan George. "The British Consumer Co-operative Movement and film, 1896-1970." Thesis, De Montfort University, 2000. http://hdl.handle.net/2086/6257.

Full text
Abstract:
The British Consumer Co-operative Movement was a pioneer of the industrial film. The Movement engaged with cinema from the late 1890s and film was used to promote its ideals and trade well into the twentieth century. Existing studies of Labour cinema in Britain have paid little attention to the film propaganda of Co-operators and this thesis challenges the historiography for being too concerned with a narrowly defined political activism and chronologically restricted to the decade 1929-1939. An examination of the cinema of Co-operation reveals a far broader engagement with film; both in terms of its role in promoting a moralistic form of distribution, which sought to replace Capitalism and the exploitative profit system; and in the Movement's notable achievements with film both before and after the pre-World War two decade. The thesis begins by considering the treatment of the Co-operative Movement by Labour historians, and demonstrates an equal diminishing of its role in workers' cultural and economic struggle as that characteristic of Labour film scholars. The historiographical analysis is succeeded by an examination of the culture of Co-operation, considering the Movement as an alternative and oppositional formation to the dominant society, and proceeds to survey some of the principal cultural and recreational activities and formations sponsored by Co-op Societies: education, drama, music, sport, holidays and the family. The historiographical and cultural analysis contextually informs the succeeding historical examination of the Co-operative Movement's engagement with film in the period 1896-1970. This work arises out of a close inspection of the primary evidence preserved in the wealth of literature put out by the Movement. The observations and conclusions presented here are significantly informed by a reading and analysis of the numerous Movement films, the majority of which have never been consulted by film scholars before, and have come to light and been preserved as a part of the research conducted for the thesis. A detailed critical filmography, presented as an appendix, supplements the thesis.
APA, Harvard, Vancouver, ISO, and other styles
3

Carolan, Victoria Diane. "British maritime history, national identity and film, 1900-1960." Thesis, Queen Mary, University of London, 2012. http://qmro.qmul.ac.uk/xmlui/handle/123456789/8375.

Full text
Abstract:
This thesis examines the creation, transmission and preservation of the idea of Britain as a 'maritime nation' on film from 1900 to 1960. By placing an analysis of maritime films' frequency, content and reception into the broader maritime sphere and the British film industry, this thesis explores how maritime symbols functioned to project national identity. Films are used as the major source to provide an evidential frame through which to assess the depth and functioning of maritime culture in mass culture. The thesis traces the origins of key concepts associated with a maritime identity to establish the configuration of maritime history in popular culture by 1900. It then examines the importance of maritime film production during the period 1900-1939; the representation of shipbuilding from the 1930s; maritime scenarios in Second World War film; maritime comedies; and post-war maritime films. It concludes by suggesting the reasons for the decline in the frequency of maritime film after 1960. The thesis argues first, that the relationship established in the Victorian period between the nation and the maritime sphere endured with remarkable strength. Only after 1960 was the contemporary element of this connection broken by a combination of the decline of the subject matter and by political and social change. The second argument is that to understand these films it is essential to consider them as a complete body of evidence as well as individual films in discrete time periods. By setting these films back into the tradition from which they came is it possible to understand how symbols of national identity became so embedded that they became unquestioned: the most powerful level at which such symbols operate.
APA, Harvard, Vancouver, ISO, and other styles
4

Fryers, Mark. "British national identity and maritime film and television, 1960-2012." Thesis, University of East Anglia, 2015. https://ueaeprints.uea.ac.uk/59453/.

Full text
Abstract:
This thesis considers the mythology connected to the maritime sphere and notions of British national identity and collective unity through the projection of the maritime in British film and television. Specifically, it traces the evolution of this myth through the period 1960-2012, a post-Imperialist era characterised by broad social, economic and political changes and internal divisions within the historic Union of Great Britain, demonstrating how British culture continually uses the past to comment on the present. The thesis argues that the maritime remains a vibrant cultural site of British national self-examination and re-examination despite the precipitous decline of both Empire and Royal Navy within this time period. The specific audio-visual properties of the filmic and televisual forms and their position as the most successful cultural industries of the 20th Century suggest themselves as vital components for interrogating national myth and projections of collective unity and the attendant challenges to these. Aligned to this is the manner in which critical reception continues to operate as an indigent of collective memory, morality and communality aligning itself as provision not only of positive cultural taste but also of a wider debate on the merits or de-merits of the specific components of myth and identity. Each text is situated within its specific historical and industrial context and a combination of primary sources, textual analysis and reception studies are unified to argue that both the texts themselves and their reception within critical discourse collectively negotiate the role that media cultures play in constructing and challenging notions of collective identity and myth. Finally, this thesis argues constructively, that the seemingly banal cultural symbols of national identity and mythology, far from being an irrelevance in a globalised age, remain amongst the most vital cultural, social, political and economic discourses of the age.
APA, Harvard, Vancouver, ISO, and other styles
5

Hutchings, Peter. "The British horror film : an investigation of British horror production in its national context." Thesis, University of East Anglia, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.329537.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Bell, Geoffrey. "The British working class movement and the Irish national question, 1916-1921." Thesis, University of Leeds, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.343216.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Weekes, Richard John. "The British retail co-operative movement : a study of the British retail co-operative movement and an analysis of the post-merged regional structure and national society issues." Thesis, University of Sunderland, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.340580.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Aitkin, I. W. "John Grierson and the origins, ideals and development of the of the British documentary film movement 1914-1936." Thesis, University of Westminster, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.383362.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Lee, Monika. "People Want To Know Who We Are: Contestations Over National Identity Through Film." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/917.

Full text
Abstract:
A critical analysis of the film Remember the Titans, released in 2000, shows a preoccupation with nation and national identity through race and football. Set in 1971, it follows the desegregation and integration of a high school football team in Virginia. The film articulates a revisionist racial reconciliation reading of the Civil War based on white suffering and subsequent redemption. At its core it is a story about the progress of race relations and racism, framed as interpersonal relationships and segregation, in the United States.
APA, Harvard, Vancouver, ISO, and other styles
10

Faulkner, Jacqueline Suzanne Marie Jeanne. "The role of national defence in British political debate, 1794-1812." Thesis, University of Cambridge, 2006. https://www.repository.cam.ac.uk/handle/1810/271636.

Full text
Abstract:
This thesis examines the role of national defence in British parliamentary politics between 1794 and 1812. It suggests that previous analyses of the late eighteenth-century political milieu insufficiently explore the impact of war on the structure of the state. Work by J.E. Cookson, Linda Colley, J.C.D. Clark, and Paul Langford depicts a decentralised state that had little direct involvement in developing a popular “British” patriotism. Here I argue that the threat of a potential French invasion during the wars against Revolutionary and Napoleonic France provoked a drive for centralisation. Nearly all the defence measures enacted during the period gave the government a much greater degree of control over British manpower and resources. The readiness of successive governments to involve large sections of the nation in the war effort through military service, financial contributions, and appeals to the British “spirit”, resulted in a much more inclusive sense of citizenship in which questions of national participation and political franchise were unlinked. National identity was also affected, and the focus on military defence of the British Isles influenced political attitudes towards the regular army. By 1810, however, the nation was disillusioned by the lengthy struggle with France. The result of lingering political weakness was that attention shifted from national defence onto domestic corruption and venality. The aftermath of the Irish Act of Union, too, demonstrated the limits of attempts to centralise the policy of the whole United Kingdom. Significantly, however, the debates over the relationship between the centre and the localities in the 1830s and 1840s, and the response to a new French invasion threat in the 1850s and 1860s, revived themes addressed during the 1790s and 1800s. The political reaction to the invasion threats between 1794 and 1812 ultimately had more in common with a Victorian state bureaucracy than an eighteenth-century ancien régime.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Books on the topic "British national film movement"

1

Service, British Library National Bibliographic. British national film and video. London: British Library, National Bibliographic Service, 2000.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

Institute, British Film. British national film and video catalogue. London: British Film Institute, 1988.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

British Library. British national film and video guide. London: British Library, 2002.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

The British co-operative movement film catalogue. Westport, Conn: Greenwood Press, 1997.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

The British documentary film movement, 1926-1946. Cambridge [England]: Cambridge University Press, 1989.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

The British Labour movement and film, 1918-1939. London: Routledge & Kegan Paul, 1987.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

Indian national movement: The role of British liberals. New Delhi: Criterion Publications, 1986.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

British national cinema. 2nd ed. New York, NY: Routledge, 2008.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

British national cinema. London: Routledge, 1997.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

Burton, Alan George. The British consumer co-operative movement and film, 1896-1970. Leicester: De Montfort University, 2000.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "British national film movement"

1

Mazey, Paul. "Folk Song: National and Regional Music." In British Film Music, 83–113. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-33550-2_4.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Kerry, Matthew. "Interrogating National Identity in the Recent British Holiday Film." In The Holiday and British Film, 193–211. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9780230349667_9.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Kerry, Matthew. "Conclusion: Summarising Representations of National Identity in the British Holiday Film." In The Holiday and British Film, 212–15. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9780230349667_10.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Anthony, Scott. "Imperialism and Internationalism: The British Documentary Movement and the Legacy of the Empire Marketing Board." In Empire and Film, 135–48. London: British Film Institute, 2011. http://dx.doi.org/10.1007/978-1-349-92498-1_7.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Copsey, Nigel. "Meeting the Challenge of Contemporary British Fascism? The Labour Party’s Response to the National Front and the British National Party." In British Fascism, the Labour Movement and the State, 182–202. London: Palgrave Macmillan UK, 2005. http://dx.doi.org/10.1057/9780230522763_10.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Shail, Robert. "Negotiating National Boundaries in Recent British Children’s Cinema and Television." In The Palgrave Handbook of Children's Film and Television, 365–78. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-17620-4_20.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Burns, James. "Uplifting the Empire: Colonial Cinema and the Educational Film-Movement, 1913–1940." In Cinema and Society in the British Empire, 1895–1940, 93–132. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137308023_4.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Holtar, Ingrid S. "Out of the Margins of Feminist Filmmaking: Vibeke Løkkeberg, Norway, and the Film Cultures of 1970s West Berlin." In Nordic Film Cultures and Cinemas of Elsewhere, 85–93. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474438056.003.0007.

Full text
Abstract:
This chapter addresses how 1970s films by Norwegian women filmmakers form an unexplored history of cinematic and feminist “elsewheres,” through their many international connections. In particular, the films by Vibekke Løkkeberg were part of the international women’s film festival circuit at the time. Foregrounding her Women in media (1974), shot while the director was participating at the First International Women’s Film Seminar in West Berlin in 1973, the chapter emphasizes connections to women’s filmmaking in the New German Cinema movement. Women in media is comprised of interviews with French, Italian, British and American women working in film and television who discuss the difficulties of gaining access to production. As a case study, Løkkeberg’s film provides an interesting document about the fight for equality in media in Western Europe, and contextualizing connections between a peripheral feminist national cinema (such as that of Norway at the time), and an emerging international feminist network.
APA, Harvard, Vancouver, ISO, and other styles
9

"The National Health: Great Britain/Deep England." In British Film, 13–29. Cambridge University Press, 2004. http://dx.doi.org/10.1017/cbo9780511606953.002.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

"Millions like Us: National Cinema as Popular Cinema." In British Film, 86–103. Cambridge University Press, 2004. http://dx.doi.org/10.1017/cbo9780511606953.006.

Full text
APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "British national film movement"

1

D’Sena, Peter. "Decolonising the curriculum. Contemplating academic culture(s), practice and strategies for change." In Learning Connections 2019: Spaces, People, Practice. University College Cork||National Forum for the Enhancement of Teaching and Learning in Higher Education, 2019. http://dx.doi.org/10.33178/lc2019.13.

Full text
Abstract:
In 2015, students at the University of Cape Town called for the statue of Cecil Rhodes, the 19th century British coloniser, to be removed from their campus. Their clarion call, in this increasingly widespread #RhodesMustFall movement, was that for diversity, inclusion and social justice to become a lived reality in higher education (HE), the curriculum has to be ‘decolonised’. (Chantiluke, et al, 2018; Le Grange, 2016) This was to be done by challenging the longstanding, hegemonic Eurocentric production of knowledge and dominant values by accommodating alternative perspectives, epistemologies and content. Moreover, they also called for broader institutional changes: fees must fall, and the recruitment and retention of both students and staff should take better account of cultural diversity rather than working to socially reproduce ‘white privilege’ (Bhambra, et al, 2015) Concerns had long been voiced by both academics and students about curricula dominated by white, capitalist, heterosexual, western worldviews at the expense of the experiences and discourses of those not perceiving themselves as fitting into those mainstream categories (for an Afrocentric perspective, see inter alia, Asante, 1995; Hicks & Holden, 2007) The massification of HE across race and class lines in the past four decades has fuelled these debates; consequentially, the ‘fitness’ of curricula across disciplines are increasingly being questioned. Student representative bodies have also voiced the deeper concern that many pedagogic practices and assessment techniques in university systems serve to reproduce society’s broader inequalities. Certainly, in the UK, recent in-depth research has indicated that the outcomes of inequity are both multifaceted and tangible, with, for example, graduating students from Black, Asian and Minority Ethnic (BAME) backgrounds only receiving half as many ‘good’ (first class and upper second) degree classifications as their white counterparts (RHS, 2018). As a consequence of such findings and reports, the momentum for discussing the issues around diversifying and decolonising the university has gathered pace. Importantly, however, as the case and arguments have been expressed not only through peer reviewed articles and reports published by learned societies, but also in the popular press, the core issues have become more accessible than most academic debates and more readily discussed by both teachers and learners (Arday and Mirza, 2018; RHS, 2018). Hence, more recently, findings about the attainment/awarding gap have been taken seriously and given prominence by both Universities UK and the National Union of Students, though their shared conclusion is that radical (though yet to be determined) steps are needed if any movements or campaigns, such as #closingthegap are to find any success. (Universities UK, 2019; NUS, 2016; Shay, 2016)
APA, Harvard, Vancouver, ISO, and other styles

Reports on the topic "British national film movement"

1

Tymoshyk, Mykola. LONDON MAGAZINE «LIBERATION WAY» AND ITS PLACE IN THE HISTORY OF UKRAINIAN JOURNALISM ABROAD. Ivan Franko National University of Lviv, February 2021. http://dx.doi.org/10.30970/vjo.2021.49.11057.

Full text
Abstract:
One of the leading Western Ukrainian diaspora journals – London «Liberation Way», founded in January 1949, has become the subject of the study for the first time in journalism. Archival documents and materials of the Ukrainian Publishing Union in London and the British National Library (British Library) were also observed. The peculiarities of the magazine’s formation and the specifics of the editorial policy, founders and publishers are clarified. A group of OUN members who survived Hitler’s concentration camps and ended up in Great Britain after the end of World War II initiated the foundation of the magazine. Until April 1951, including issue 42, the Board of Foreign Parts of the Organization of Ukrainian Nationalists were the publishers of the magazine. From 1951 to the beginning of 2000 it was a socio-political monthly of the Ukrainian Publishing Union. From the mid-60’s of the twentieth century – a socio-political and scientific-literary monthly. In analyzing the programmatic principles of the magazine, the most acute issues of the Ukrainian national liberation movement, which have long separated the forces of Ukrainian emigration and from which the founders and publishers of the magazine from the beginning had clearly defined positions, namely: ideology of Ukrainian nationalism, the idea of ​​unity of Ukraine and Ukrainians, internal inter-party struggle among Ukrainian emigrants have been singled out. The review and systematization of the thematic palette of the magazine’s publications makes it possible to distinguish the following main semantic accents: the formation of the nationalist movement in exile; historical Ukrainian themes; the situation in sub-Soviet Ukraine; the problem of the unity of Ukrainians in the Western diaspora; mission and tasks of Ukrainian emigration in the context of its responsibilities to the Motherland. It also particularizes the peculiarities of the formation of the author’s assets of the magazine and its place in the history of Ukrainian national journalism.
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'British national film movement' for particular source types:
Journal articles Dissertations / Theses Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography