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Amateur film, civic culture and the rehearsal of monarchy
Karen Lury

advertising the fact that the ‘Pageant film’ can be seen in the Regal Cinema. Not only is this a rather neat self-reflexive image for the film historian (the film has incorporated its own promotional intent which will then inevitably be rescreened as part of the final product) it also confirms there are directly commercial motivations as well as mythical/historical conceits that underpin the festival. Indeed, later

in The British monarchy on screen
Continuity and change
Erin Bell and Ann Gray

different intentions and remits of the broadcasters involved. For the BBC, balancing accusations of popularisation against a need to have a sizeable audience in order to justify its position as the only licence-fee-receiving broadcaster, and to maintain its status as self-declared archivist of national history, this has led to a variety of attempts to represent the royal family and its history, from

in The British monarchy on screen
Queen Victoria, photography and film at the fin de siècle
Ian Christie

Queen Victoria’s Diamond Jubilee, celebrated in 1897, is generally agreed to have been the ceremonial climax to her reign, marking an unexpected return to public appearance after decades of self-imposed seclusion following the death of Prince Albert in 1861. Yet how much its impact owed to being the first major state event to be comprehensively filmed, with records of the procession

in The British monarchy on screen