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Morley-Dissertation A THE SCREEN’S THREATENING SKIES: AERIAL WARFARE AND BRITISH CINEMA, 1927-1939 A Thesis Submitted to the College of Graduate Studies and Research In Partial Fulfilment of the Requirements For the Degree of Doctor of Philosophy In the Department of History University of Saskatchewan Saskatoon By Robert Michael Morley © Copyright Robert Michael Morley, January 2014. All rights reserved. PERMISSION TO USE In presenting this thesis in partial fulfilment of the requirements for a Postgraduate degree from the University of Saskatchewan, I agree that the Libraries of this University may make it freely available for inspection. I further agree that permission for copying of this thesis in any manner, in whole or in part, for scholarly purposes may be granted by the professor or professors who supervised my thesis work or, in their absence, by the Head of the Department or the Dean of the College in which my thesis work was done. It is understood that any copying or publication or use of this thesis or parts thereof for financial gain shall not be allowed without my written permission. It is also understood that due recognition shall be given to me and to the University of Saskatchewan in any scholarly use which may be made of any material in my thesis. Head of the Department of History University of Saskatchewan 9 Campus Drive, Arts Building Saskatoon, Saskatchewan S7N 5A5 Canada OR Dean College of Graduate Studies and Research University of Saskatchewan Place Saskatoon, Saskatchewan S7N 5A2 Canada i ABSTRACT This dissertation supplements previously conducted research on aviation in interwar Britain by providing a necessary examination of the appearance of aerial warfare on British cinema screens between 1927 and 1939. It examines the presentation of the First World War, military aviators, the Royal Air Force, bombing, and aerial warfare to the British public. More specifically, it examines the connections between flying, aerial warfare, cinema, and the popular imagination in interwar Great Britain. It uses feature films, specifically Hell’s Angels, The Dawn Patrol, Things to Come, documentaries like RAF, The Gap, and The Warning, and newsreels. In additional to examining cinematic sources, it also extensively utilizes film press books, scripts, programmes, and British Government documents to determine the motives for producing these pictures, what influenced their writing, how they were promoted to the British public, and how cinema reviewers responded to them. It reveals that the cinema helped shape British perceptions of aerial warfare (and the First World War) during the interwar period, providing insight into how the British state and military interacted with the nation’s mass media complex. In doing so, it highlights the important, and often underappreciated, symbiotic relationship between mass culture and government policy. ii ACKNOWLEDGEMENTS My supervisor, John McCannon, was instrumental in the completion of this dissertation. I am thankful for his support over nine years of professional partnership and friendship. Without his constant assistance and attention the finished product would have been a far inferior one. I would also like to thank my advisory committee: Christopher Kent, Mark Meyers, and William Bartley, along with my external examiner Jonathan Vance. Your comments have made this a stronger dissertation and opened my eyes to new ways to think about history. I would also like to thank Nadine Penner and Linda Dietz for all the work they have done on my behalf. This dissertation was completed with funding from the Social Sciences and Humanities Research Council of Canada, the University of Saskatchewan Department of History, and CUPE 3287. I am grateful to each funding organization. Whether it was floor hockey, drinks, or discussions, my graduate student and post-doc colleagues made this process all the more bearable, even enjoyable. I would like to mention in particular Mark McCulloch, Michael Kirkpatrick, and Matt Todd, and single-out Lucas Richert for his academic and personal support. I would especially like to thank Marc MacDonald, Nana Puiia-MacDonald, and Samuel Puiia-MacDonald. You have become like family. I will forever value our friendship. I want to sincerely thank my family in England: Roz, Ken, Amanda, Alison, Liz, and Jill. On three separate research trips, whether it was through lengthy games of euchre, amazing suppers, football matches, or weekend trips to Birmingham, you again gave me a sense of home while I commuted in and out of London for my research. iii I would like to thank my parents and my sister and her husband for their constant encouragement and unwavering support of my pursuit of this degree. My children, Wynn and Vaughn, have provided the most wonderful (and necessary) distractions any graduate student could ask for. They have made my life richer than any professional accomplishment could. I hold Sara Roberts responsible for the completion of my dissertation. Without her support and sacrifice it simply would not have been accomplished. I am grateful beyond words and I dedicate this to her. iv TABLE OF CONTENTS Permission to use ..................................................................................................................... i Abstract ................................................................................................................................... ii Acknowledgements ...............................................................................................................iii Table of Contents .................................................................................................................... v List of Illustrations ................................................................................................................ vii List of Abbreviations ...........................................................................................................viii INTRODUCTION .................................................................................................................. 1 1. HISTORIOGRAPHY AND PRIMARY SOURCES ....................................................... 7 1.1 Existing Literature: Interwar British Cinema ....................................................... 7 1.2 Aviation Historiography ...................................................................................... 9 1.3 Interwar Aviation on Film ................................................................................ 14 1.4 Primary Sources .................................................................................................. 17 2. LIGHTS, CAMERA, ACTION: AIRMINDEDNESS AND THE CINEMA IN INTERWAR GREAT BRITAIN .................................................................. 22 2.1 Airmindedness and the Industrialized World, 1919-1939 ................................. 22 2.2 Spectacle and Inspiration: Britain and the Airplane........................................... 24 2.3 No Longer an Island: British Anxiety Surrounding the Airplane...................... 31 2.4 Media of the Masses: The Cinema in Interwar Great Britain ............................ 36 2.5 Airmindedness on the Screen, 1927-1939.......................................................... 43 2.6 Conclusion........................................................................................................... 47 3. THE FIRST WORLD WAR IN THE AIR: THE CINEMATIC FLYER-HERO AND THE GREAT WAR ON THE SCREEN, 1927- 1939 ................................................................................................................................... 48 3.1 The Flyer-Hero and British Memories of the Great War................................... 49 3.2 WWI Films in the Age of Talking Pictures........................................................ 55 3.3 The Plots and Players of Hell’s Angels and The Dawn Patrol........................... 60 3.4 Brothers in Arms: Pilot Camaraderie on the Screen ......................................... 67 3.5 The Reluctant Warriors: Patriotism and Disillusionment .................................. 71 3.6 Disproportionately Destructive: The Image of the Airplane.............................. 76 3.7 Exploiting the Airman: Promotion of Hell’s Angels and The Dawn Patrol...... 82 3.8 Accepting the Aviator: British Reviews............................................................. 93 3.9 Conclusion........................................................................................................... 99 4. BRITAIN’S GUARDIANS: THE RAF ON THE SCREEN......................................... 100 4.1 The Growth of the RAF and the Management of Its Public Image................. 101 4.2 Showcases for the RAF: Hendon and Other Air Pageants in British Newsreels............................................................................................................ 110 4.3 The RAF, the Empire, and British Society in Newsreels................................. 116 4.4 Newsreels as the RAF Prepares for War .......................................................... 121 4.5 The RAF in Feature Films ................................................................................ 132 4.6 Conclusion......................................................................................................... 140 5. IMAGINING THE APOCALYPSE: H. G. WELLS’S THINGS TO COME ............... 142 5.1 The Writer and Source Material ....................................................................... 143 v 5.2 Production and Promotion ..............................................................................
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