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A celebration

This book offers a startling re-evaluation of what has until now been seen as the most critically lacklustre period of the British film history. It includes fresh assessment of maverick directors; Pat Jackson, Robert Hamer and Joseph Losey, and even of a maverick critic Raymond Durgnat. The book features personal insights from those inidividually implicated in 1950s cinema; Corin Redgrave on Michael Redgrave, Isabel Quigly on film reviewing, and Bryony Dixon of the BFI on archiving and preservation. A classic image from 1950s British cinema would be Jack Hawkins in The Cruel Sea, the epitome of quiet English integrity. Raymond Durgnat's A Mirror for England: British Movies from Austerity to Affluence, which deals extensively with British films of the 1950s, was written in the mid-1960s and was published in 1970. In a 1947 article called 'Angles of Approach' Lindsay Anderson delivered a fierce attack on contemporary British film culture, outlining a model for a devoted politics of creation, well in line with what we would later understand as auteurism and art cinema aesthetics . The war films of the 1950s together constitute the assented-to record of the emotions and moral judgments called upon to set in order those disorderly events. The book also talks about the Festival of Britain, White Corridors, and four Hamer's post-Ealing films: The Spider and the Fly, The Long Memory, Father Brown and The Scapegoat. A number of factors have contributed to the relative neglect of the 1950s as a decade in British cinema history.

Ian Mackillop
Neil Sinyard

could get to seeing it: The Wild One had been banned from public exhibition for alleged excessive violence by the British Board of Film Censors, whose operation then is astutely discussed below by Tony Aldgate. Again a classic image from 1950s British cinema would be Jack Hawkins in The Cruel Sea , the epitome of quiet English integrity. But during this decade, Hawkins is also the permanently irascible Police

in British cinema of the 1950s
The Spanish Gardener and its analogues
Alison Platt

) because the child’s vision is a complex thing, as complex as that of the adult whom he befriends. More importantly, when the adult figure seems to be solving the child’s problems he may also be solving his own if he knows where to look. It is this correlation between child and adult that permeates 1950s British cinema and is so evocatively recaptured in the contemporary Hollywood movie

in British cinema of the 1950s
Open Access (free)
Baker and Berman, and Tempean Films
Brian Mcfarlane

to look more expensive than they were. However, it is not my primary intention to offer elaborate analyses of these films, or to make unsustainable claims for their being long-buried, unsung treasures of auteurist film-making. It is worth looking at the Tempean phenomenon for a number of reasons in a book devoted to 1950s British cinema. First, it relates significantly to the exhibition procedures of the period, when

in British cinema of the 1950s