Journal of British Cinema and Television

Article	Citations
‘I am not particularly despondent yet’: The Political Tone of Jill Craigie's Equal Pay FilmTo Be a Woman	3
Unproductive Co-production: European Integration, the British Film Industry and the Franco-British Co-production Agreement of 1965	2
The Invisible Institution? Reconstructing the History of BAFTA and the 1958 Merger of the British Film Academy with the Guild of Television Producers and Directors	2
Building Reputations: The Careers of Mary Field, Margaret Thomson and Kay Mander	2
Independent Miss Craigie: Narration and the Archive in a Documentary Biopic	2
Women Documentary Film-makers and the British Housing Movement, 1930–45	2
Bringing the Battle to Britain: Band of Brothers and Television Runaway Production in the UK	2
Jill Craigie, Post-war British Film Culture and the British Film Academy	2
The Prudential Group Archive: Alexander Korda, London Film Productions and Denham Studios	1
‘How to pack a hall’: Civic Film Culture in Wartime Britain and MoI Mobile Film Shows for the Women's Institute	1
Startling or Seductive? An Analysis of Play for Today’s Title Sequences	1
Sally Wainwright: On Writing Heroic Women	1
‘The highest salary ever paid to a human being’: Creating a Database of Film Costs from the Bank of England Archive	1
Play for Today: A Statistical History	1
Inequalities in Regional Film Exhibition: Policy, Place and Audiences	1
Ken Loach and the Comedians: The Politics of ‘Acting’	1
‘I owe it to those women to own it’: Women, Media Production and Intergenerational Dialogue through Oral History	1
Performing the National? Scottish Cinema in the Time of Indyref	1
The Vampire Lovers and Hammer's Post-1970 Production Strategy	1
Alma's (Not) Normal: Normalising Working-Class Women in/on BBC TV Comedy	1
Women Writers and Writing Women into Histories of Play for Today	1
The World Turned Upside Down, Again: Hauntings of the English Revolution and Archaeologies of Futures Past in Contemporary British Films	1
Living Film Histories: Researching at the Bill Douglas Cinema Museum	1
Cat Mahoney, Women in Neoliberal Postfeminist Television Drama: Representing Gendered Experiences of the Second World War	1
The Influence of ‘Psychiatrist Friends’ on British Film Censorship in the 1960s	1

No Time to Die, the Bond Franchise and Global Hollywood: Film Release Patterns during Covid-19	1
Introduction	1
A World on His Shoulders: Nat Cohen, Anglo-EMI and the British Film Industry	1
Framing the Non-human: American Honey as Eco-Road Movie	1
Norman J. Warren: A Good Learning Curve	0
Peter Hutchings, Hammer and Beyond: The British Horror Film	0
The Diverse Spaces of Play for Today	0
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Melvyn Stokes, Matthew Jones and Emma Pett, Cinema Memories: A People’s History of Cinema-going in 1960s Britain	0
Stephen Bourne, Playing Gay in the Golden Age of British TV	0
‘They wanted a bigger, more ambitious film’: Film Finances and the American ‘Runaways’ That Ran Away	0
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Paul Dave, Revolutionary Romanticism and Cinema: Country, Land, People	0
Duncan Petrie, Melanie Williams and Laura Mayne (eds), Sixties British Cinema Reconsidered	0
Play for Today and Northern Ireland in the 1970s	0
Introduction: Film, Television and Northern Ireland	0
Louis Bayman and K. J. Donnelly (editors), Folk Horror on Film: Return of the British Repressed	0
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Angus MacPhail's Frozen Credits: Film Authorship and Collaboration in British Middlebrow and Celebrity Culture	0
James Leggott, In Fading Light: The Films of the Amber Collective	0
Rapid Evidence Analysis of Diversity in UK Public Service Television: What Do We Know and What Should We Find Out?	0
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 Care	0
Verity Lambert's Thorn-EMI Films	0
London Spy as a Subversive Spy Thriller	0
‘Bridal Outfits from the Heart of Filmland’: Clothes Rationing, Wartime Film Production and Gainsborough Pictures’ Studio Hire Service	0
Viewing I, Daniel Blake in the English Regions: Towards an Understanding of Realism through Audience Interpretation	0
Out of Time: BBC Northern Ireland and the Paradoxes of Partition	0
Oliver Reed: ‘I’m Mr England!’	0
Kristyn Gorton and Joanne Garde-Hansen, Remembering British Television: Audience, Archive and Industry	0
Nathan Townsend, Working Title Films: A Creative and Commercial History	0
Unpiecing the Jigsaw: Compulsive Heterosexuality, Sex Crime, Class and Masculinity in Early 1960s British Cinema	0
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The New Northern Ireland as a Crime Scene	0
Television Drama and Northern Ireland: The First Plays 1959–67	0
Emily Caston, British Music Video, 1966–2016: Genre, Authenticity and Art	0
Beyond the Pastoral Paradise: Orienting Black and Muslim People in British Rural Space	0
Alan Lovell 1935–2021	0
Filippo Ulivieri and Simone Odino, 2001 between Kubrick and Clarke: The Genesis, Making and Authorship of a Masterpiece	0
Kate Egan and Jeffrey Andrew Weinstock, And Now for Something Completely Different: Critical Approaches to Monty Python	0
Matthew Smith, The Child in British Cinema	0
Nigel Mather: Sex and Desire in British Films of the 2000s: Love in a Damp Climate	0
Charles Drazin, Making Hollywood Happen: The Story of Film Finances	0
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Exploiting Ambiguity:Murder!and the Meanings of Cross-Dressing in Interwar British Cinema	0
Colin Perry, Radical Mainstream: Independent Film, Video and Television in Britain 1974–90	0
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Equity, Diversity and Inclusion: Class Inequalities within the British Documentary Film Industry	0
Charles Barr, British Cinema: A Very Short Introduction	0
Matt Glasby, Britpop Cinema: From Trainspotting to This Is England	0
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David Forrest, New Realism: Contemporary British Cinema	0
Chris Grosvenor, Cinema on the Front Line: British Soldiers and Cinema in the First World War	0
‘Once you are in number 9 you are stuck in this space’: Constraint, Creativity and Inside No. 9	0
‘To me, art is just a guy's name’: Remembering Jim Cook	0
David Anderson, Landscape and Subjectivity in the Work of Patrick Keiller, W.G. Sebald, and Iain Sinclair	0
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Introduction: Play for Today at 50	0
The Left Behind: Precarity, Place and Racial Identity in the Contemporary ‘Serious Drama’	0
‘New war, same old story’: Gender and War-related Trauma in ITV’s Home Fires	0
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The Acting Class and the Myths of Meritocracy	0
‘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 Garnett	0
Repurposing the Archive: Unmade Films,Vampirellaand Adaptation	0
Kevin McNally: Recreating Classic Sitcom Performances	0
‘They know my face’: Surveillance Comedy in Scot Squad	0
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Richard Weight, Porridge: BFI TV Classics	0
Huw D. Jones, Documentary Films Audiences in Europe: Findings from the Moving Docs SurveySteve Presence, Andrew Spicer, Alice Quigley and Lizzie Green, Keeping It Real: Towards a Docu	0
Music Hall, Revue and Modernity in Victor Saville'sEvergreen	0
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Sarah Hill, Young Women, Girls and Postfeminism in Contemporary British Film	0
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Laura Mulvey (author), Peter Wollen (author), Oliver Fuke (editor), The Films of Laura Mulvey and Peter Wollen: Scripts, Working Documents, Interpretation	0
Introduction: EMI Films – Histories, Agency and Influence	0
A Profound Legacy: Vincent Porter	0
British Quota Production and Film Costs in the Early 1930s	0
Obituary: ‘The role and importance of institutions’: Tony Smith	0
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‘Treading on sacred turf’: History, Femininity and the Secret War in the Plays for Today Licking Hitler, The Imitation Game and Rainy Day Women	0
Tony Garnett, The Day the Music Died: A Memoir	0
Scotch Missed: Play for Today and Scotland	0
‘Skip the warts’: Personal Branding and Pornification inThe Look of Love	0
Space Age Cinema: The Rise and Fall of Cinecenta	0
Sarah Godfrey, Masculinity in British Cinema, 1990–2010	0
Imagining the Sudan in British Film, 1925–53	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
Johnny Walker, Rewind, Replay: Britain and the Video Boom, 1978–92	0
Film in the Workplace: Exploring the Film Holdings of the Marks and Spencer Company Archive	0
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Claire Mortimer, Spinsters, Widows and Chars: The Ageing Woman in British Film	0
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Unionist Screws: Depictions of Northern Irish Unionists in British and Irish Cinema	0
‘Something like the truth’: Confronting the Honesty of Brutalism and Post-War Planning in The Offence	0
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Return, Remembrance and Redemption: Hauntology and the Topography of Trauma inThe VirtuesandThis Is England ’88	0
‘The same virile ability of Val Guest’: The Film Finances Archive and British Film-makers	0
Matthew Melia, ed, ReFocus: The Films of Ken Russell	0
Geoffrey Macnab, The British Film Industry in 25 Careers: The Mavericks, Visionaries and Outsiders Who Shaped British Cinema	0
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Same Address, Different Doors: Post-Heritage Deconstruction of the Heritage Household inUpstairs Downstairsin the 1970s and 2010s	0
Lisa Funnell and Christoph Lindner (eds), Resisting James Bond: Power and Privilege in the Daniel Craig Era	0
Introduction	0
‘Praise these daring men’: ACT Films Ltd, 1950–1963	0
Jaap Verheul (ed.), The Cultural Life of James Bond: Spectres of 007	0
Clive Nwonka and Anamik Saha (eds), Black Film British Cinema II	0
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War and Peace: Play for Today’s Home Front Quintet	0
Melanie Bell, Movie Workers: The Women Who Made British Cinema	0
Jingan Young, Soho on Screen: Cinematic Spaces of Bohemia and Cosmopolitanism, 1948–1963	0
Victoria Lowe, Adapting Performance Between Stage and Screen	0
Well I Never! Locating Alexander Esway's Films for the Electrical Development Association in the History of Industrial Film-making	0
Frances C. Galt, Women's Activism Behind the Scenes: Trade Unions and Gender Inequality in the British Film and Television Industries	0
Ewa Mazierska (ed.), Blackpool in Film and Popular Culture	0
Mark McKenna, Nasty Business: The Marketing and Distribution of the Video Nasties	0
Feelings and Facts: Agency in Northern Irish Cinema	0
Memories of Home: The Belfast Films of Mark Cousins and Kenneth Branagh	0
Producing Outside the Box: Creative Strategies in the Work of Betty E. Box, 1957–64	0
Boredom: Mike Leigh’sMeantimeand Working-Class Youth in Thatcher’s Britain	0
EMI and the ‘Pre-heritage’ Period Film	0
Liminality and the End of Empire inThe 7thDawn	0
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Doc Martin and Comedy, with an Hegelian Twist	0
Retraction Notice: ‘“The Desert and the Dream”: Film in Wales since 2000’	0

James Chapman, The Money Behind the Screen: A History of British Film Finance, 1945–1985	0
Jack Ellitt as Director: Documentary Films of the 1940s	0
Hannah Andrews, Biographical Television Drama	0
Jamie Bennett and Victoria Knight, Prisoners on Prison Films	0
Curating the June Givanni Pan-African Cinema Archive: June Givanni in Conversation with Charlotte Brunsdon	0
Ian Christie, Robert Paul and the Origins of British Cinema	0
Quentin Falk, Charles Crichton	0
Paul Moody, EMI Films and the Limits of British Cinema	0
‘Regarded as children’: The Home Office Responds to the London Workers’ Film Society	0
‘The Billings verdict’:Kine Weeklyand the British Box Office, 1936–62	0
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The Impresario in British Cinema: Bernard Delfont at EMI	0
Amelia Watts and Phil Wickham (eds), Bill Douglas: A Film Artist	0
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Chris Pallant, Beyond Bagpuss: A History of Smallfilms Animation Studio	0
Melanie Williams, A Taste of Honey	0
Llewella Chapman, Fashioning James Bond: Costume, Gender and Identity in the World of 007	0
Andrew Spicer, Sean Connery: Acting, Stardom and National Identity	0
‘Of course it is idealised’: Lindsay Anderson's Every Day Except Christmas	0
Camping It up with EMI: The Politics of the Intersection of British Film Production with the Notion of Camp	0
Benjamin Halligan, Hotbeds of Licentiousness: The British Glamour Film and the Permissive Society	0
Adam Locks and Adrian Smith, Norman J. Warren, Gentleman of Terror: An Oral History	0
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Jamie Medhurst, The Early Years of Television and the BBC	0
Catherine Elwes, Landscape and the Moving Image	0
Alan Burton, Looking-Glass Wars: Spies on British Screens since 1960	0
Tony Dalton, Terence Fisher: Master of Gothic Cinema	0
‘Lewd, pornographic filth’: Managing Culture through Local Film Censorship in Britain, 1948–1968	0
Lindsey Decker, Transnationalism and Genre Hybridity in New British Horror Cinema	0
James Downs, Anton Walbrook: A Life of Masks and Mirrors	0
Bringing ‘the whole world on to the British screen’: Back Projection and British Film Studios in the 1930s and 1940s	0
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James Chapman, Contemporary British Television Drama	0
Confident Rogue and Anguished Conformist: The Career Paths of Northern Irish Actors Liam Neeson and James Nesbitt	0
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