Notes and References 1 Introduction: Film, Television, and the Second World War – The First Fifty Years 1. A.J.P. Taylor, English History, 1914–1945 (Oxford: Oxford University Press, 1965): p. 313. 2. James Chapman, Cinemas of the World (London: Reaktion, 2003): pp. 96–97, 197. 3. On the changes in British war films in the 1950s, see John Ramsden, ‘Refo- cusing the “People’s War”: British War Films of the 1950s’, Journal of Contem- porary History, 33: 1 (1998): pp. 35–63; James Chapman, ‘Our Finest Hour Revisited: The Second World War in British Feature Films Since 1945’, Journal of Popular British Film, 1 (1998): pp. 63–75. 4. For an excellent survey of American combat films, see Jeanine Basinger, The World War II Combat Film: Anatomy of a Genre (New York: Columbia University Press, 1986). 5. The most comprehensive survey of Second World War films up to the early 1970s is Roger Manvell, Films and the Second World War (London: Dent, 1974). 6. Pierre Sorlin, European Cinemas, European Societies, 1939–1990 (London: Routledge, 1991): p. 54. 7. Susan Hayward, French National Cinema (London: Routledge, 1993). 8. Chapman, Cinemas of the World: p. 233. 9. M. Liehm, Passion and Defiance: Films in Italy from 1942 to the Present (Berkeley: UCLA Press, 1984); Pierre Sorlin, Italian National Cinema, 1896– 1996 (London: Routledge, 1996). 10. Mark Baker, ‘ “Trummerfilme”: Postwar German Cinema, 1946–1948’, Film Criticism, 20: 1–2 (1996): p. 94. 11. Jason Jacobs, The Intimate Screen: Early British Television Drama (Oxford: Oxford University Press, 2000): p. 98. 12. The period from the late 1960s through to the beginning of the 1990s was particularly fertile for television war stories. Through the 1990s production slowed, but after 1999 interest seems to have increased. War drama on television has received remarkably little scholarly attention, but a useful introduction is Cary Bazalgette, ‘TV Drama Goes Back to Front’ in Geoff Hurd, ed., National Fictions: World War Two in British Films and Television (London: BFI, 1984): pp. 43–50. 13. John E. O’Connor, Image as Artifact: The Historical Analysis of Film and Tele- vision (Malabar FL: Krieger, 1990): p. 324. 14. See Jacobs, The Intimate Screen: pp. 117–124. 2 ‘Rose-tinted Blighty’: Gender and Genre in Land Girls 1. Nicholas Pronay, ‘The British Post-bellum Cinema: A Survey of the Films Relating to World War II Made in Britain between 1945 and 1960’, Historical Journal of Film, Radio and Television, 8 (1988): p. 39. 205 206 Notes and References 2. The Battle of Britain (Guy Hamilton, 1969); A Bridge Too Far (Richard Atten- borough, 1977). 3. Wendy Webster, Englishness and Empire, 1939–1965 (Oxford: Oxford Univer- sity Press, 2005): Chapter 2. 4. Land Girls (John Page, 1942). 5. Against the Wind (Charles Crichton, 1947); Odette (Herbert Wilcox, 1950); Carve Her Name With Pride (Lewis Gilbert, 1958); A Town Like Alice (Jack Lee, 1956). 6. Tenko ran from 1981 to 1984 with a special reunion episode in 1985. Wish Me Luck ran from 1988 to 1990. 7. These films included Yanks (John Schlesinger, 1979); Hanover Street (Peter Hyams, 1979); Another Time, Another Place (Michael Radford, 1983); The Brylcreem Boys (Terence Ryan, 1996); Hope and Glory (John Boorman, 1987); The Dressmaker (Jim O’Brien, 1988); Chicago Joe and the Showgirl (Bernard Rose, 1989); Memphis Belle (Michael Caton-Jones, 1990); The English Patient (Anthony Minghella, 1996); Enigma (Michael Apted, 2001); Charlotte Gray (Gillian Armstrong, 2002). 8. John Ramsden, ‘Refocusing “The People’s War”: British War Films of the 1950s’, Journal of Contemporary History, 33 (1998): pp. 35–63. Emphasis in the original. 9. Discussion of British Second World War films made before the 1970s includes the following: Christine Geraghty, British Cinema in the Fifties: Gender, Genre and the ‘New Look’ (London: Routledge, 2000), Chapter 10; Robert Murphy, British Cinema and the Second World War (London: Continuum, 2000), Chapter 8; Michael Paris, Warrior Nation: Images of War in British Popular Culture, 1850–2000 (London: Reaktion, 2000), Chapter 7; Richard Weight, Patriots: National Identity in Britain 1940–2000 (Basings- toke: Macmillan, 2002): pp. 340–351. For discussion of post-1970 produc- tions, see Robert Murphy, British Cinema and the Second World War (London: Continuum, 2000): Chapter 9. 10. Andrew Higson in English Heritage, English Cinema: Costume Drama Since 1980 (Oxford: Oxford University Press, 2003) excludes discussion of period films and costume drama that deal with the period from the 1940s to the present, but notes that ‘several such films were set in the Second World War’, including Hope and Glory (1988), The Dressmaker (1988), Chicago Joe and the Showgirl (1989) and Enigma (2001) as well as Land Girls (p. 32). 11. John Hill, British Cinema in the 1980s (Oxford: Clarendon Press, 1999): p. 77; Andrew Higson, ‘The Heritage Film and British Cinema’ in Andrew Higson, ed., Dissolving Views: Key Writings on British Cinema (London: Cassell, 1996): pp. 233–234. 12. Quoted in Sonya Rose, Which People’s War?: National Identity and Citizenship in Wartime Britain 1939–1945 (Oxford: Oxford University Press, 2003): p. 110. 13. Dad’s Army ran on television from 1968 to 1977. 14. Millions Like Us (Frank Launder and Sidney Gilliat, 1943). The qualities given to Charlie in this film also distinguished an earlier wartime portrait of a factory foreman in The Foreman Went to France (Charles Frend, 1941). 15. Rose, Which People’s War?: p. 118. 16. Antonia Lant, Blackout: Reinventing Women for Wartime British Cinema (Prin- ceton NJ: Princeton University Press, 1991): pp. 72–73. Notes and References 207 17. Daily Express, 24 September 1943. 18. These Hollywood films included The Color Purple (Steven Spielberg, 1985); Fried Green Tomatoes at the Whistle Stop Café (Jon Avnet, 1991); Thelma and Louise (Ridley Scott, 1991). 19. The Gentle Sex (Leslie Howard and Maurice Elvey, 1943). 20. Pierre Sorlin, ‘Children as War Victims in Postwar European Cinema’, in Jay Winter and Emmanuel Sivan, eds, War and Remembrance in the Twentieth Century (Cambridge: Cambridge University Press, 1999): p. 108. 21. Letter from Mrs H. Boyde, Romiley, Cheshire, no date, but reply sent on 2 December 1954. BBC Written Archives Centre, T6/311. Emphasis in the original. Philip Dorte, the director of War in the Air had served as a Signals Officer in the Royal Air Force Volunteer Reserve (RAFVR) and was mentioned three times in dispatches. John Elliot, producer of the series, served with the BEF in France and Belgium and with the 16th Infantry Brigade in the Middle East. 22. Independent on Sunday, 6 September 1998. 23. Exeter Express and Echo, 5 August 1998. 24. London Evening Standard, 3 September 1998. 25. The Woodlanders (Phil Agland, 1997); The Scarlet Tunic (Stuart St Paul, 1997). Television serials of Far From the Madding Crowd and Tess of the d’Urbevilles were both shown in 1998. 26. London Evening Standard, 3 September 1998; The Observer, 6 September 1998. 27. The People, 6 September 1998; Belfast Telegraph, 8 September 1998; The Scotsman, 24 September 1998; Gloucestershire Echo, 25 September 1998. 28. The People, 6 September 1998. See also Daily Mail, 4 September 1998; The Independent, 3 September 1998. 29. The Scotsman, 24 September 1998; Belfast Telegraph, 8 September 1998; Daily Mirror, 4 September 1998. 30. The People, 6 September 1998; Daily Mail, 4 September 1998; Daily Mirror, 4 September 1998. For a discussion of what he calls ‘heritage-baiting’, see Raphael Samuel, Theatres of Memory (London: Verso, 1994), Vol. I: pp. 259–273. 31. Daily Mail, 8 and 21 August 1998; Daily Mirror, 3 September 1998; Gloucester- shire Echo, 23–25 September 1998. 32. Daily Mirror, 4 September 1998. 33. I Live in Grosvenor Square (Herbert Wilcox, 1945) and The Way to the Stars (Anthony Asquith, 1945) both avoided sealing heterosexual union through dispatching American men to death on active service. 34. The Affair (Paul Seed, 1995). 35. Jewish experience was occasionally explored in dramas made for television: The Evacuees (Alan Parker, 1975); Forbidden (Anthony Page, 1984). 36. See Michael Paris, Come See the Paradise, Chapter 9 of this book. 3 Policing the People’s War: Foyle’s War and British Television Drama My thanks to Professor Clive Emsley of the Open University for providing refer- ences to the history of crime and policing during the Second World War. 208 Notes and References 1. Foyle’s War is produced by Greenlit Productions for ITV1. To date there have been 14 feature-length episodes. The dates in parantheses are for the first networked broadcast on ITV1: ‘The German Woman’ (27.10.2002), ‘The White Feather’ (03.11.2002), ‘A Lesson in Murder’ (10.11.2002), ‘Eagle Day’ (17.11.2002), ‘Fifty Ships’ (16.11.2003), ‘Among the Few’ (23.11.2003), ‘War Games’ (30.11.2003), ‘The Funk Hole’ (07.12.2003), ‘The French Drop’ (24.10.2004), ‘Enemy Fire’ (31.10.2004), ‘They Fought in the Fields’ (07.11.2004), ‘A War of Nerves’ (14.11.2004), ‘Invasion’ (15.01.2006) and ‘Bad Blood’ (23.01.2006). At the time of writing a further two episodes were in production for probable broadcast in 2007. Most episodes are written by Anthony Horowitz, the exceptions being ‘Among the Few’ (Matthew Hall), ‘War Games’ (Michael Russell) and ‘They Fought in the Fields’ (Rob Heyland). 2. This quotation is from the Press Pack for Series 3 of Foyle’s War,p.1,on the microfiche for the series held by the National Library of the British Film Institute, London. 3. On British war films of the 1950s, see James Chapman, ‘Our Finest Hour Revisited: The Second World War in British Feature Films since 1945’, Journal of Popular British Cinema, 1 (1998): pp. 63–75; Robert Murphy, British Cinema and the Second World War (London: Continuum, 2000): pp.