Journal of British Cinema and Television

Papers
(The median citation count of Journal of British Cinema and Television is 0. The table below lists those papers that are above that threshold based on CrossRef citation counts [max. 250 papers]. The publications cover those that have been published in the past four years, i.e., from 2021-03-01 to 2025-03-01.)
ArticleCitations
Living Film Histories: Researching at the Bill Douglas Cinema Museum3
Introduction: Play for Today at 502
Front matter2
The Prudential Group Archive: Alexander Korda, London Film Productions and Denham Studios2
War and Peace: Play for Today’s Home Front Quintet2
Repurposing the Archive: Unmade Films,Vampirellaand Adaptation2
Jamie Bennett and Victoria Knight, Prisoners on Prison Films2
The Diverse Spaces of Play for Today2
Doc Martin and Comedy, with an Hegelian Twist2
Boredom: Mike Leigh’sMeantimeand Working-Class Youth in Thatcher’s Britain1
Ewa Mazierska (ed.), Blackpool in Film and Popular Culture1
Lisa Funnell and Christoph Lindner (eds), Resisting James Bond: Power and Privilege in the Daniel Craig Era1
Back matter1
Introduction1
Richard Weight, Porridge: BFI TV Classics1
Women Documentary Film-makers and the British Housing Movement, 1930–451
The Demotic Impulse of the Kitchen-Sink Dramas1
Michael Balcon's Vision of a National Cinema: Propaganda, the Producer and the Market1
Front matter1
Front matter1
Paul Dave, Revolutionary Romanticism and Cinema: Country, Land, People1
Back matter1
Adam Plummer, The British Trauma Film: Psychoanalysis and Popular British Cinema in the Immediate Aftermath of the Second World War1
Writing the British New Wave: David Storey and This Sporting Life1
Geoffrey Macnab, The British Film Industry in 25 Careers: The Mavericks, Visionaries and Outsiders Who Shaped British Cinema0
Chris Grosvenor, Cinema on the Front Line: British Soldiers and Cinema in the First World War0
‘A very unusual self’: Queering the Home in Saturday Night and Sunday Morning and A Taste of Honey0
Front matter0
The World Turned Upside Down, Again: Hauntings of the English Revolution and Archaeologies of Futures Past in Contemporary British Films0
Reflections in a Golden Eye: Exploring the Photographic Art of Margaret Nolan and Shirley Eaton0
Melanie Bell, Movie Workers: The Women Who Made British Cinema0
Laura Mayne, Channel 4 and the British Film Industry, 1982–19980
Alma's (Not) Normal: Normalising Working-Class Women in/on BBC TV Comedy0
Clive Chijioke Nwonka, Black Boys: The Social Aesthetics of British Urban Film0
Back matter0
Rapid Evidence Analysis of Diversity in UK Public Service Television: What Do We Know and What Should We Find Out?0
Back matter0
Music Hall, Revue and Modernity in Victor Saville'sEvergreen0
James Downs, Anton Walbrook: A Life of Masks and Mirrors0
British Quota Production and Film Costs in the Early 1930s0
Play for Today: A Statistical History0
Women Writers and Writing Women into Histories of Play for Today0
Tim Snelson, William Macauley and David Allen Kirby, Demons of the Mind: Psychiatry and Cinema in the Long 1960s0
The Acting Class and the Myths of Meritocracy0
No Time to Die, the Bond Franchise and Global Hollywood: Film Release Patterns during Covid-190
Television Drama and Northern Ireland: The First Plays 1959–670
Front matter0
Fight Like Girls: The Stuntwomen of Bond0
‘Something like the truth’: Confronting the Honesty of Brutalism and Post-War Planning in The Offence0
Kristyn Gorton and Joanne Garde-Hansen, Remembering British Television: Audience, Archive and Industry0
‘In these postmodern days, I suppose I'm just an old relic of the Enlightenment, so Marx and Freud are very important to me’: Talking TV Drama with Tony Garnett0
Angus MacPhail's Frozen Credits: Film Authorship and Collaboration in British Middlebrow and Celebrity Culture0
Ivan Phillips, Once Upon a Time Lord: The Myths and Stories of Doctor Who0
Liminality and the End of Empire inThe 7thDawn0
Front matter0
London Spyas a Subversive Spy Thriller0
Independent Miss Craigie: Narration and the Archive in a Documentary Biopic0
Mark McKenna, Nasty Business: The Marketing and Distribution of the Video Nasties0
Front matter0
‘They know my face’: Surveillance Comedy in Scot Squad0
Chris Pallant, Beyond Bagpuss: A History of Smallfilms Animation Studio0
Space Age Cinema: The Rise and Fall of Cinecenta0
Debbie McWilliams and the Elusive Role of the Casting Director in the Bond Franchise0
Stephen Glynn, The British Sitcom Spinoff Film0
Feelings and Facts: Agency in Northern Irish Cinema0
Ken Loach and the Comedians: The Politics of ‘Acting’0
‘Treading on sacred turf’: History, Femininity and the Secret War in the Plays for Today Licking Hitler, The Imitation Game and Rainy Day Women0
Louis Bayman and K. J. Donnelly (editors), Folk Horror on Film: Return of the British Repressed0
Charles Drazin, Making Hollywood Happen: The Story of Film Finances0
Out of Time: BBC Northern Ireland and the Paradoxes of Partition0
Amelia Watts and Phil Wickham (eds), Bill Douglas: A Film Artist0
Frances C. Galt, Women's Activism Behind the Scenes: Trade Unions and Gender Inequality in the British Film and Television Industries0
From Costume Romps to Queer Milestones: Adaptation, Collaboration, Queerness and Modernism in the ‘Long New Wave’ of Richardson, Schlesinger and Reisz0
‘Praise these daring men’: ACT Films Ltd, 1950–19630
Unionist Screws: Depictions of Northern Irish Unionists in British and Irish Cinema0
The New Northern Ireland as a Crime Scene0
Llewella Chapman, Fashioning James Bond: Costume, Gender and Identity in the World of 0070
‘Once you are in number 9 you are stuck in this space’: Constraint, Creativity and Inside No. 90
Back matter0
Charles Barr, British Cinema: A Very Short Introduction0
‘The same virile ability of Val Guest’: The Film Finances Archive and British Film-makers0
Revisiting Sex, Class and Realism: British Cinema 1956–19630
Memories of Home: The Belfast Films of Mark Cousins and Kenneth Branagh0
Back matter0
Lindsey Decker, Transnationalism and Genre Hybridity in New British Horror Cinema0
Introduction0
Jez Stewart, The Story of British Animation0
The Vampire Lovers and Hammer's Post-1970 Production Strategy0
The Mistress of Bond: Eileen Sullivan, and the Role of Cutting the Cloth of James Bond's Wardrobe and Beyond0
Back matter0
Kevin McNally: Recreating Classic Sitcom Performances0
Claire Hines, Terence McSweeney and Stuart Joy (eds), James Bond Will Return: Critical Perspectives on the 007 Film Franchises0
Jamie Medhurst, The Early Years of Television and the BBC0
‘They wanted a bigger, more ambitious film’: Film Finances and the American ‘Runaways’ That Ran Away0
The BFI, Cultural Diversity and its Faltering Response to Social and Epistemic Injustice0
Jack Ellitt as Director: Documentary Films of the 1940s0
Form, Time and Trauma: The Terence Davies Triptych and Queer Temporalities0
David Anderson, Landscape and Subjectivity in the Work of Patrick Keiller, W.G. Sebald, and Iain Sinclair0
Back matter0
Colin Perry, Radical Mainstream: Independent Film, Video and Television in Britain 1974–900
Beyond the Pastoral Paradise: Orienting Black and Muslim People in British Rural Space0
Obituary: ‘The role and importance of institutions’: Tony Smith0
Confident Rogue and Anguished Conformist: The Career Paths of Northern Irish Actors Liam Neeson and James Nesbitt0
Sarah Hill, Young Women, Girls and Postfeminism in Contemporary British Film0
‘The highest salary ever paid to a human being’: Creating a Database of Film Costs from the Bank of England Archive0
Back matter0
Retraction Notice: ‘“The Desert and the Dream”: Film in Wales since 2000’0
Front matter0
Alan Lovell 1935–20210
Tony Garnett, The Day the Music Died: A Memoir0
Jill Craigie, Post-war British Film Culture and the British Film Academy0
New Wave Women: Paying Attention to Brenda and Doreen in Saturday Night and Sunday Morning0
Nathan Townsend, Working Title Films: A Creative and Commercial History0
‘New war, same old story’: Gender and War-related Trauma in ITV’s Home Fires0
Unpiecing the Jigsaw: Compulsive Heterosexuality, Sex Crime, Class and Masculinity in Early 1960s British Cinema0
Back matter0
Unproductive Co-production: European Integration, the British Film Industry and the Franco-British Co-production Agreement of 19650
Mary Irwin and Jill Marshall (eds), UK and Irish Television Comedy: Representations of Region, Nation, and Identity0
Peter Hutchings, Hammer and Beyond: The British Horror Film0
Matthew Melia, ed, ReFocus: The Films of Ken Russell0
Kate Egan and Jeffrey Andrew Weinstock, And Now for Something Completely Different: Critical Approaches to Monty Python0
Front matter0
Greg M. Colón Semenza and Garrett A. Sullivan, Jr, Powell and Pressburger’s War: The Art of Propaganda, 1939–19460
Front matter0
Play for Today and Northern Ireland in the 1970s0
Alex Rock, The Metropolitan Police and the British Film Industry, 1919–1956: Public Relations, Collaboration and Control0
‘Regarded as children’: The Home Office Responds to the London Workers’ Film Society0
Laura Mulvey (author), Peter Wollen (author), Oliver Fuke (editor), The Films of Laura Mulvey and Peter Wollen: Scripts, Working Documents, Interpretation0
Scotch Missed: Play for Today and Scotland0
Melanie Williams, A Taste of Honey0
Sarah Godfrey, Masculinity in British Cinema, 1990–20100
Front matter0
Jingan Young, Soho on Screen: Cinematic Spaces of Bohemia and Cosmopolitanism, 1948–19630
Back matter0
Johnny Walker, Rewind, Replay: Britain and the Video Boom, 1978–920
‘I owe it to those women to own it’: Women, Media Production and Intergenerational Dialogue through Oral History0
Nigel Mather: Sex and Desire in British Films of the 2000s: Love in a Damp Climate0
Curating the June Givanni Pan-African Cinema Archive: June Givanni in Conversation with Charlotte Brunsdon0
Adam Locks and Adrian Smith, Norman J. Warren, Gentleman of Terror: An Oral History0
A Profound Legacy: Vincent Porter0
Tony Dalton, Terence Fisher: Master of Gothic Cinema0
Back matter0
Introduction: Film, Television and Northern Ireland0
Return, Remembrance and Redemption: Hauntology and the Topography of Trauma inThe VirtuesandThis Is England ’880
Jaap Verheul (ed.), The Cultural Life of James Bond: Spectres of 0070
The Left Behind: Precarity, Place and Racial Identity in the Contemporary ‘Serious Drama’0
Back matter0
Building Reputations: The Careers of Mary Field, Margaret Thomson and Kay Mander0
‘Skip the warts’: Personal Branding and Pornification inThe Look of Love0
James Leggott, In Fading Light: The Films of the Amber Collective0
Patrick Barwise and Peter York, The War Against the BBC: How an Unprecedented Combination of Hostile Forces Is Destroying Britain's Greatest Cultural Institution … And Why You Should Care0
‘How to pack a hall’: Civic Film Culture in Wartime Britain and MoI Mobile Film Shows for the Women's Institute0
Front matter0
Victoria Lowe, Adapting Performance Between Stage and Screen0
Hannah Andrews, Biographical Television Drama0
Viewing I, Daniel Blake in the English Regions: Towards an Understanding of Realism through Audience Interpretation0
Broadcasting the Life and Death of Victorian Cities: Urban Heritage in Ken Russell's Early BBC Shorts, 1959–610
Clive Nwonka and Anamik Saha (eds), Black Film British Cinema II0
‘Bridal Outfits from the Heart of Filmland’: Clothes Rationing, Wartime Film Production and Gainsborough Pictures’ Studio Hire Service0
Bringing ‘the whole world on to the British screen’: Back Projection and British Film Studios in the 1930s and 1940s0
Local Television, Public Service Broadcasting and Local Community Climate Action0
Nathalie Morris and Claire Smith (eds), The Cinema of Powell and Pressburger0
Introduction0
Ian Christie, Robert Paul and the Origins of British Cinema0
Catherine Elwes, Landscape and the Moving Image0
Startling or Seductive? An Analysis of Play for Today’s Title Sequences0
Quentin Falk, Charles Crichton0
Equity, Diversity and Inclusion: Class Inequalities within the British Documentary Film Industry0
Benjamin Halligan, Hotbeds of Licentiousness: The British Glamour Film and the Permissive Society0
‘The Billings verdict’:Kine Weeklyand the British Box Office, 1936–620
The C. A. Lejeune Archive: Film Criticism for The Observer, The Sketch and Britain To-day0
Introduction: Revisiting the British New Wave0
Back matter0
Melvyn Stokes, Matthew Jones and Emma Pett, Cinema Memories: A People’s History of Cinema-going in 1960s Britain0
Brian Desmond Hurst (author), Caitlin Smith and Stephen Wyatt (eds), Allan Esler Smith (Foreword), Hurst on Film 1928–1970; Lance Pettitt, The Last Bohemian: Brian Desmond Hurst, Irish Film,0
James Chapman, The Money Behind the Screen: A History of British Film Finance, 1945–19850
Bryony Dixon, The Story of Victorian Film0
‘Like a velvet whisper’: Nikki van der Zyl – The Voice of James Bond's Women0
‘Lewd, pornographic filth’: Managing Culture through Local Film Censorship in Britain, 1948–19680
Front matter0
Oliver Reed: ‘I’m Mr England!’0
Inequalities in Regional Film Exhibition: Policy, Place and Audiences0
Andrew Spicer, Sean Connery: Acting, Stardom and National Identity0
‘Of course it is idealised’: Lindsay Anderson's Every Day Except Christmas0
Front matter0
Framing the Non-human: American Honey as Eco-Road Movie0
Front matter0
Josephine Botting, Adrian Brunel and British Cinema of the 1920s: The Artist versus the Moneybags0
Matthew Smith, The Child in British Cinema0
Barbara Broccoli and the Popular Image of the Bond Producer0
Film in the Workplace: Exploring the Film Holdings of the Marks and Spencer Company Archive0
Front matter0
Emily Caston, British Music Video, 1966–2016: Genre, Authenticity and Art0
Back matter0
Cat Mahoney, Women in Neoliberal Postfeminist Television Drama: Representing Gendered Experiences of the Second World War0
Claire Mortimer, Spinsters, Widows and Chars: The Ageing Woman in British Film0
Back matter0
‘I am not particularly despondent yet’: The Political Tone of Jill Craigie's Equal Pay FilmTo Be a Woman0
0.26895189285278