Journal of British Cinema and Television

Article	Citations
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Michael Balcon's Vision of a National Cinema: Propaganda, the Producer and the Market	3
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Angus MacPhail's Frozen Credits: Film Authorship and Collaboration in British Middlebrow and Celebrity Culture	1
‘Bridal Outfits from the Heart of Filmland’: Clothes Rationing, Wartime Film Production and Gainsborough Pictures’ Studio Hire Service	1
‘Media for children, to be truly public service, should be about them, with them and to an extent by them’: A Conversation with Greg Childs	1
Neil Fox, Music Films: Documentaries, Concert Films and Other Cinematic Representations of Popular Music	1
Debbie McWilliams and the Elusive Role of the Casting Director in the Bond Franchise	1
Down and Out in Birmingham and Leeds: Thinking the Lumpenproletariat in the Films of Penny Woolcock	1
Jamie Medhurst, The Early Years of Television and the BBC	1
Matthew Smith, The Child in British Cinema	1
Melvyn Stokes, Matthew Jones and Emma Pett, Cinema Memories: A People’s History of Cinema-going in 1960s Britain	1
Chris Pallant, Beyond Bagpuss: A History of Smallfilms Animation Studio	1
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Front matter	1
David Anderson, Landscape and Subjectivity in the Work of Patrick Keiller, W.G. Sebald, and Iain Sinclair	1
Memories of Home: The Belfast Films of Mark Cousins and Kenneth Branagh	1
‘Like a velvet whisper’: Nikki van der Zyl – The Voice of James Bond's Women	1
Front matter	1
Bryony Dixon, The Story of Victorian Film	1
The BFI, Cultural Diversity and its Faltering Response to Social and Epistemic Injustice	1
Laura Mulvey (author), Peter Wollen (author), Oliver Fuke (editor), The Films of Laura Mulvey and Peter Wollen: Scripts, Working Documents, Interpretation	0
Lawrence Jackson, Uncanny Landscapes in 21st Century Cinema: The Pestilence in the Ditch	0
Reith and the Pre-television Child: The BBC’s Struggle to Understand Britain’s First Generation of Child Radio Listeners through Children’s Hour (1922–7)	0

Laura Mayne, Channel 4 and the British Film Industry, 1982–1998	0
Peter Hutchings, Hammer and Beyond: The British Horror Film	0
James Downs, Anton Walbrook: A Life of Masks and Mirrors	0
Tony Dalton, Terence Fisher: Master of Gothic Cinema	0
Rapid Evidence Analysis of Diversity in UK Public Service Television: What Do We Know and What Should We Find Out?	0
‘New war, same old story’: Gender and War-related Trauma in ITV’s Home Fires	0
British Quota Production and Film Costs in the Early 1930s	0
‘Once you are in number 9 you are stuck in this space’: Constraint, Creativity and Inside No. 9	0
Charles Drazin, Making Hollywood Happen: The Story of Film Finances	0
Television Drama and Northern Ireland: The First Plays 1959–67	0
The World Turned Upside Down, Again: Hauntings of the English Revolution and Archaeologies of Futures Past in Contemporary British Films	0
Hearts of Fire, Bodies on the Line: Impressions of Work and Labour in The Red Shoes	0
UK Broadcasting and Media for Children: Past, Present and Looking to the Future	0
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Steve Chibnall, Lost Star: The Life and Loves of Belinda Lee	0
The Demotic Impulse of the Kitchen-Sink Dramas	0
Community and Creative Survival: Artists in Ken Loach’s North-East Trilogy	0
Repurposing the Archive: Unmade Films,Vampirellaand Adaptation	0
Interview with Kevin Jon Davies ‘The Prat at the Back’: The Making of Shakedown: Return of the Sontarans	0
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
‘The highest salary ever paid to a human being’: Creating a Database of Film Costs from the Bank of England Archive	0
The Mistress of Bond: Eileen Sullivan, and the Role of Cutting the Cloth of James Bond's Wardrobe and Beyond	0
Benjamin Halligan, Hotbeds of Licentiousness: The British Glamour Film and the Permissive Society	0
Laura Minor, Reclaiming Female Authorship in UK Television Comedy	0
Introduction	0
Melanie Williams, A Taste of Honey	0
Revisiting Sex, Class and Realism: British Cinema 1956–1963	0
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To Travel and to Stay at Home: Exploring Canal TV	0
‘They know my face’: Surveillance Comedy in Scot Squad	0
From Costume Romps to Queer Milestones: Adaptation, Collaboration, Queerness and Modernism in the ‘Long New Wave’ of Richardson, Schlesinger and Reisz	0
Broadcasting the Life and Death of Victorian Cities: Urban Heritage in Ken Russell's Early BBC Shorts, 1959–61	0
Doc Martin and Comedy, with an Hegelian Twist	0
Music Hall, Revue and Modernity in Victor Saville'sEvergreen	0
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Sheldon Hall and Robert Shail (eds), Film Critics and British Film Culture: New Shots in the Dark	0
Amelia Watts and Phil Wickham (eds), Bill Douglas: A Film Artist	0
Introduction	0
Tim Snelson, William Macauley and David Allen Kirby, Demons of the Mind: Psychiatry and Cinema in the Long 1960s	0
Chris Grosvenor, Cinema on the Front Line: British Soldiers and Cinema in the First World War	0
What Do We Know About Class in Television Studies?	0
Inhabiting the Landscape: An Interview with Clio Barnard	0
Confident Rogue and Anguished Conformist: The Career Paths of Northern Irish Actors Liam Neeson and James Nesbitt	0
‘The same virile ability of Val Guest’: The Film Finances Archive and British Film-makers	0
Johnny Walker, Rewind, Replay: Britain and the Video Boom, 1978–92	0
‘A very unusual self’: Queering the Home in Saturday Night and Sunday Morning and A Taste of Honey	0
Introduction: Revisiting the British New Wave	0
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Monstrous Megaliths: Ancient Stones in Folk Horror Film and Television – Showing, Telling and Making On-Screen Folklore	0
Unionist Screws: Depictions of Northern Irish Unionists in British and Irish Cinema	0

Reflections in a Golden Eye: Exploring the Photographic Art of Margaret Nolan and Shirley Eaton	0
‘If you don’t ask, you don’t get’: Placing Children at the Centre of Public Service and News Media	0
Alex Rock, The Metropolitan Police and the British Film Industry, 1919–1956: Public Relations, Collaboration and Control	0
Girls on a Mission: Feminist Humanitarianism and the War on Terror in Tony Grounds's Our Girl	0
No Time to Die, the Bond Franchise and Global Hollywood: Film Release Patterns during Covid-19	0
Liminality and the End of Empire inThe 7thDawn	0
Stephen Glynn, The British Sitcom Spinoff Film	0
Beyond the Pastoral Paradise: Orienting Black and Muslim People in British Rural Space	0
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Sad Places: Catch Us If You Can	0
‘Praise these daring men’: ACT Films Ltd, 1950–1963	0
Louis Bayman and K. J. Donnelly (editors), Folk Horror on Film: Return of the British Repressed	0
‘Lewd, pornographic filth’: Managing Culture through Local Film Censorship in Britain, 1948–1968	0
Out of Time: BBC Northern Ireland and the Paradoxes of Partition	0
The Televising of the English Landscape: W. G. Hoskins	0
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Adam Plummer, The British Trauma Film: Psychoanalysis and Popular British Cinema in the Immediate Aftermath of the Second World War	0
James Chapman, The Money Behind the Screen: A History of British Film Finance, 1945–1985	0
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Local Television, Public Service Broadcasting and Local Community Climate Action	0
Johnny Rodger, The Housing Film	0
Feelings and Facts: Agency in Northern Irish Cinema	0
Baroness Floella Benjamin, What Are You Doing Here? My Autobiography	0
Greg M. Colón Semenza and Garrett A. Sullivan, Jr, Powell and Pressburger’s War: The Art of Propaganda, 1939–1946	0
‘Something like the truth’: Confronting the Honesty of Brutalism and Post-War Planning in The Offence	0
Ill Fares the Land: Images of Farming in British Cinema from Akenfield to Dark River	0
Catherine Elwes, Landscape and the Moving Image	0
‘Solidarity Forever’? Histories of Gender, Sexuality and Industrial Action in Made in Dagenham and Pride	0
Death in Filmland: British Film Studios and 1930s Detective Fiction	0
Film in the Workplace: Exploring the Film Holdings of the Marks and Spencer Company Archive	0
Matthew Melia, ed, ReFocus: The Films of Ken Russell	0
The C. A. Lejeune Archive: Film Criticism for The Observer, The Sketch and Britain To-day	0
Martin Shingler, Diana Dors: Film Star and Actor	0
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Current Debates: Introduction	0
Form, Time and Trauma: The Terence Davies Triptych and Queer Temporalities	0
The Prudential Group Archive: Alexander Korda, London Film Productions and Denham Studios	0
Jingan Young, Soho on Screen: Cinematic Spaces of Bohemia and Cosmopolitanism, 1948–1963	0
Geoff Brown, Silent to Sound: British Cinema in Transition	0
Derek Johnston (ed.), Nigel Kneale and Horror: Medium, Culture, Time and Genre	0
Mary Irwin and Jill Marshall (eds), UK and Irish Television Comedy: Representations of Region, Nation, and Identity	0
The Left Behind: Precarity, Place and Racial Identity in the Contemporary ‘Serious Drama’	0
Speaking with One Voice – The Future of UK Children's PSB Provision and Policy Making, Updated	0
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Alma's (Not) Normal: Normalising Working-Class Women in/on BBC TV Comedy	0
Navigating the Storm: Assessing UK Government and British Film Institute Efforts to Support the Film Industry during the COVID-19 Pandemic	0
Subverting Norms and Shaping Perceptions: Strictly Come Dancing as a Site for Social Change?	0
Llewella Chapman, Fashioning James Bond: Costume, Gender and Identity in the World of 007	0
Ivan Phillips, Once Upon a Time Lord: The Myths and Stories of Doctor Who	0
New Wave Women: Paying Attention to Brenda and Doreen in Saturday Night and Sunday Morning	0
Introduction: Film, Television and Northern Ireland	0
Kieran Foster, Hammer Goes to Hell: The House of Horror's Unmade Films	0
Clive Chijioke Nwonka, Black Boys: The Social Aesthetics of British Urban Film	0
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Claire Hines, Terence McSweeney and Stuart Joy (eds), James Bond Will Return: Critical Perspectives on the 007 Film Franchises	0
Dressing Gainsborough Pictures: The Costume House in British Film History	0
Nathalie Morris and Claire Smith (eds), The Cinema of Powell and Pressburger	0
The Family, Generation and Kinship in the Television Series Years and Years	0
Josephine Botting, Adrian Brunel and British Cinema of the 1920s: The Artist versus the Moneybags	0
Carolyn Owen-King, British Masculinity in Transatlantic Cinema: Ronald Colman and Basil Rathbone	0
Patches on the Skin, Patches on the Soul: Coping with the Psoriasis Stigma in Dennis Potter’s The Singing Detective	0
Andrew Spicer, Sean Connery: Acting, Stardom and National Identity	0
Barbara Broccoli and the Popular Image of the Bond Producer	0
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Boredom: Mike Leigh’sMeantimeand Working-Class Youth in Thatcher’s Britain	0
‘Is it any good? Why does it matter?’ Issues of Quality and Value in Children's Television	0
‘Skip the warts’: Personal Branding and Pornification inThe Look of Love	0
A Profound Legacy: Vincent Porter	0
Charles Barr, British Cinema: A Very Short Introduction	0
Ewa Mazierska (ed.), Blackpool in Film and Popular Culture	0
Rebalancing Our Audio-visual Ecosystem: The Report of the Culture Media and Sport Committee on Independent Film and HETV Production, 2024–5	0
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Writing the British New Wave: David Storey and This Sporting Life	0
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Yuval Gozansky (ed.), Histories of Children's Television Around the World	0
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Introduction: On Land	0
Sarah Godfrey, Masculinity in British Cinema, 1990–2010	0

The New Northern Ireland as a Crime Scene	0
Sheldon Hall, Armchair Cinema: A History of Feature Films on British Television, 1929–1981	0
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Alan J. Harding, Public Information Films: British Government Film Units, 1930–52	0
Equity, Diversity and Inclusion: Class Inequalities within the British Documentary Film Industry	0
Identifying the Barriers to Change in TV Production: Affectivity, Care and the Prevention of ‘Good Work’	0
A Historical Framework for Understanding Public Service Media and Children’s Education in the UK: BBC School Broadcasting 1924–2008	0
Whydunit? Narrative Perspective in Adolescence	0
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Fight Like Girls: The Stuntwomen of Bond	0
Living Film Histories: Researching at the Bill Douglas Cinema Museum	0
Lisa Funnell and Christoph Lindner (eds), Resisting James Bond: Power and Privilege in the Daniel Craig Era	0
Angus MacPhail: The Man Who Wrote a Lot for Hitchcock	0
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Jez Stewart, The Story of British Animation	0
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‘The Billings verdict’:Kine Weeklyand the British Box Office, 1936–62	0
The Role of Cultural Perceptions of Frenchness in British Film Censorship of Sexual Imagery	0
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Cameo Performance and Industrial Allegory in Joanna Hogg’s The Souvenir and The Souvenir: Part II	0
‘Magicians responsible for the magic spaces on screen’: Landscape Guardians in A Canterbury Tale, Excalibur and A Field in England	0
London Spyas a Subversive Spy Thriller	0
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