Author: Charles V. Reed

Royal Tourists, Colonial Subjects, and the Making of a British World, 1860-1911 examines the ritual space of nineteenth-century royal tours of empire and the diverse array of historical actors who participated in them. The book is a tale of royals who were ambivalent and bored partners in the project of empire; colonial administrators who used royal ceremonies to pursue a multiplicity of projects and interests or to imagine themselves as African chiefs or heirs to the Mughal emperors; local princes and chiefs who were bullied and bruised by the politics of the royal tour, even as some of them used the tour to symbolically appropriate or resist British cultural power; and settlers of European descent and people of colour in the empire who made claims on the rights and responsibilities of imperial citizenship and as co-owners of Britain’s global empire. Royal Tourists, Colonial Subjects, and the Making of a British World suggests that the diverse responses to the royal tours of the nineteenth century demonstrate how a multi-centred British-imperial culture was forged in the empire and was constantly made and remade, appropriated and contested. In this context, subjects of empire provincialized the British Isles, centring the colonies in their political and cultural constructions of empire, Britishness, citizenship, and loyalty.

Charles V. Reed

We were so frightened to hear that our husbands were going to war.... We had no slight idea what the war was about, the thing is, we only heard that Queen [Victoria] has asked for help, so they are going to fight for the Queen. We then know that this involves us, if they [the Germans] are fighting

in Royal tourists, colonial subjects and the making of a British world, 1860–1911
James Downs

On Monday 15 February 1937 The Times announced that ‘a Viennese actor’ had been secured to play the part of Prince Albert in a forthcoming film about Queen Victoria. 1 Over the following months the British public learned a great deal more about Anton Walbrook through press conferences, newspaper interviews, magazine features and screenings of films he had made on the continent as Adolf

in The British monarchy on screen
Open Access (free)
Charles V. Reed

Victorian monarchy, of an imperial monarchy that embraced its ritual function and all but relinquished its political role The royal tour Royal Tourists, Colonial Subjects and the Making of a British World examines royal tours of empire, from the first royal visits in 1860 to George V’s 1911 coronation durbar. 3 While Queen Victoria herself never travelled farther than Ireland

in Royal tourists, colonial subjects and the making of a British world, 1860–1911
Editor: Mandy Merck

Moving images of the British monarchy, in fact and fiction, are almost as old as the moving image itself, dating back to an 1895 dramatic vignette, The Execution of Mary Queen of Scots. Led by Queen Victoria, British monarchs themselves appeared in the new 'animated photography' from 1896. Half a century later, the 1953 coronation of Elizabeth II was a milestone in the adoption of television, watched by 20 million Britons and 100 million North Americans. At the century's end, Princess Diana's funeral was viewed by 2.5 billion worldwide. Seventeen essays by international commentators examine the portrayal of royalty in the 'actuality' picture, the early extended feature, amateur cinema, the movie melodrama, the Commonwealth documentary, New Queer Cinema, TV current affairs, the big screen ceremonial and the post-historical boxed set. These contributors include Ian Christie, Elisabeth Bronfen, Andrew Higson, Steven Fielding, Karen Lury, Glyn Davis, Ann Gray, Jane Landman, Victoria Duckett, Jude Cowan Montague, James Downs, Barbara Straumann, Deirdre Gilfedder, Jo Stephenson, Ruth Adams, Erin Bell, Basil Glynn and Nicola Rehling.

A lost epic of the reign of Victoria
Jude Cowan Montague

European diplomacy. The film was Sixty Years a Queen (1913), alternatively titled The Life and Times of Queen Victoria . Its two producers were William George Barker, an experienced filmmaker and the owner-manager of a flourishing studio at Ealing, and George Berthold Samuelson, a successful film agent and the driving force in bringing the royal story to the screen. Sixty Years a Queen has so far

in The British monarchy on screen
Screening Victoria
Steven Fielding

Queen Victoria was Britain’s second longest-reigning monarch, and the one most represented: just over 100 films and television programmes. As the author of A State of Play , an exploration of fictional representations of British politics since the late nineteenth century, I will focus on this screen monarch, concentrating on eight film dramas in which she is the central protagonist or a signifi

in The British monarchy on screen
Open Access (free)
Fateful splitting in the Victorian insanity trial
Joel Peter Eigen

to the critical element of voluntariness, again said to be missing. Moral insanity had made its conspicuous courtroom debut in medical testimony during the trial of Edward Oxford, prosecuted in 1840 for an unmotivated, unprovoked, indeed seemingly indifferent attack on Queen Victoria. As Oxford informed one of the medical witnesses who visited him prior to the trial, ‘Oh, I might as well shoot at her as any body else.’11 For present purposes, moral insanity marked the first true migration of insanity from neighbour’s fact to medical witness’s opinion. Lay people

in Domestic and international trials, 1700–2000
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
Charles V. Reed

Shortly after the Prince of Wales’ 1875–76 visit to India, Lord Lytton, Viceroy of India, wrote to Queen Victoria complaining that, hitherto, British rule had relied too heavily on ‘costly canals and irrigation works which have greatly embarrassed our finances, and are as yet so little appreciated by the Hindoo rustic that they do not pay the expense of making them’. 1

in Royal tourists, colonial subjects and the making of a British world, 1860–1911