Notes 1 Film and Cultural History 1. S. Harper and V. Porter, British Cinema of the 1950s: The Decline of Deference (Oxford: Oxford University Press, 2003), p. 3. 2. Ibid.,p.5. 3. R. Durgnat, A Mirror for England: British Movies from Austerity to Affluence (London: Faber and Faber, 1970). 4. J. Richards, ‘Film and TV: The Moving Image,’ in S. Barber and C.M Penniston-Bird (eds), History Beyond the Text: A Student’s Guide to Approaching Alternative Sources (Abingdon: Routledge, 2009), p. 74. 5. R. Williams, Problems in Materialism and Culture (London: Verso Editions and NLB, 1980). 6. R. Allen and D. Gomery, Film History: Theory and Practice (New York: McGraw- Hill, 1985), p. 37. 7. J. Chapman, Past and Present: National Identity and the British Historical Film (London: I.B. Tauris, 2005), p. 11. 8. R. Allen and D. Gomery, Film History, op. cit.,p.13. 9. J. Richards, ‘Rethinking British Cinema,’ in J. Ashby and A. Higson (eds), British Cinema, Past and Present (London: Routledge, 2000), pp. 21–34. 10. J. Chapman, M. Glancy and S. Harper (eds), The New Film History (Basingstoke: Palgrave Macmillan, 2007), p. 5. 11. A. Spicer, ‘Film Studies and the Turn to History,’ Journal of Contemporary History, Volume 39, Number 2 (2004), pp. 147–155. 12. J. Richards, The Age of the Dream Palace: Cinema and Society 1930–1939 (London: Routledge and Kegan Paul, 1984) and S. Harper and V. Porter, British Cinema of the 1950s: The Decline of Deference (Oxford: Oxford Uni- versity Press, 2003). 13. R. Murphy, Sixties British Cinema (London: BFI Publishing, 1992) and J. Hill, British Cinema in the 1980s (Oxford: Clarendon Press, 1999). 14. S. Harper and V. Porter, ‘Beyond Media History: The Challenge of Visual Style,’ Journal of British Cinema and Television, Volume 2, Number 1 (2005), pp. 1–17. 15. S. Street, ‘Designing for Motion Pictures.’ Paper given at Archives and Auteurs Conference, University of Stirling, 4 September 2009. 16. S. Street, British Cinema in Documents (London: Routledge, 2000), p. 2. 17. A. Spicer ‘Understanding the Independent Film Producer: Michael Klinger and New Film History.’ Paper given at Researching Film History: Perspectives and Practices in Film Historiography Conference, 7 July 2009. 18. L. Jordanova, History in Practice (London: Hodder Headline, 2000), p. 101. 19. J. Tosh, The Pursuit of History, 4th Edition (Harlow: Pearson Education, 2006), p. 60. 184 Notes 185 20. R. Samuel, Theatres of Memory: Volume 1, Past and Present in Contemporary Culture (London: Verso, 1994), p. 8. 21. Material from the Losey papers within the BFI Special Collections, pertaining to The Romantic Englishwoman. 22. S. Barber, Censoring the 1970s: The BBFC and the Decade That Taste Forgot, (Newcastle: Cambridge Scholars Press, 2011). 23. R. James, ‘Kinematograph Weekly in the 1930s: Trade Attitudes Towards Audience Taste,’ Journal of British Cinema and Television, Volume 3, Number 2 (2006), pp. 229–243. M. Glancy, When Hollywood Loved Britain: The Hollywood ‘British’ Film, 1939–45 (Manchester: Manchester University Press, 1999). S. Harper, ‘A Lower-Middle-Class Taste Community in the 1930s: Admission Figures at the Regent, Portsmouth,’ The Historical Journal of Film, Radio and Television, Volume 24, Number 4 (2004), pp. 565–588. S. Harper, ‘Fragmenta- tion and Crisis: 1940s Admissions Figures at the Regent Cinema, Portsmouth, UK,’ The Historical Journal of Film, Radio and Television, Volume 26, Number 3 (2006), pp. 361–394. 24. S. Barber, ‘Beyond Sex, Bond and Star Wars: Exhibition Data from the Southampton Odeon 1972–1980,’ POST SCRIPT: Essays in Film and the Humanities, Volume 30, Number 3 (2011), pp. 77–90. 25. R. Perks and A. Thomson (eds), The Oral History Reader (London: Routledge, 1998), p. ix. 26. A. Spicer, ‘Film Studies and the Turn to History,’ Journal of Contemporary History, Volume 39, Number 2 (2004), pp. 147–155, p. 152. 2 Understanding the 1970s 1. A. Sutcliffe, An Economic and Social History of Western Europe Since 1945 (Harlow: Longman, 1996), p. 204. 2. D. Sandbrook, State of Emergency. The Way We Were: Britain 1970–1974 (Penguin Books; London 2011). 3. Ibid., p. 30. 4. Ibid., p. 41. 5. N. Shrapnel, The 70’s: Britain’s Inward March (London: Constable, 1980), p. 13. C. Booker, The 70s: Portrait of a Decade (London: Penguin Books, 1980). A. Walker, National Heroes: British Cinema in the 70s and 80s (London: Harrap, 1985). 6. M. Bloch, The Historian’s Craft, 7th Edition (Manchester: Manchester Univer- sity Press, 1992), p. 48. 7. R. Weight, Patriots: National Identity in Britain 1940–2000 (London: Macmillan Press, 2002). A. Marr, A History of Modern Britain (London: Macmillan Press, 2007). 8. A. Marwick, ‘Locating Key Texts Amid the Distinctive Landscape of the Six- ties,’ in A. Aldgate, J. Chapman and A. Marwick (eds), Windows on the Sixties: Exploring key texts of Media and Culture (London: I.B. Tauris, 2000), p. xii. 9. N. Shrapnel, The 70’s, op. cit., p. 13. A.W. Turner, Crisis? What Crisis? Britain in the 1970s (London: Aurum Press, 2008). 10. E. Hobsbawm, Age of Extremes: The Short 20th Century 1914–1991 (London: Michael Joseph, 1984), p. 404. 186 Notes 11. M. Garnett, From Apathy to Anger: The Story of Politics, Society and Popular Culture in Britain since 1975 (London: Vintage Books, 2008). 12. A. Beckett, When the Lights Went Out: Britain in the 1970s (London: Faber and Faber, 2009), p. 5. 13. A. Marwick, Culture in Britain Since 1945 (Oxford: Basil Blackwell, 1991), p. 97 and A. Marr, A History of Modern Britain, op. cit., p. 359. 14. R. Weight, Patriots, op. cit., p. 18. 15. H. Sounes, Seventies: The Sights, Sounds and Ideas of a Brilliant Decade (London: Simon & Schuster, 2006). 16. A.W. Turner, Crisis? What Crisis? op. cit.,p.ix. 17. B. Moore-Gilbert (ed), The Arts in the 1970s: Cultural Closure? (London: Routledge, 1994). 18. R. Hewison, Too Much: Art and Society in the Sixties 1960–75 (London: Methuen, 1986). 19. J.A. Walker, Left Shift: Radical Art in 1970s Britain (London: I.B Tauris, 2002). 20. R. Williams, Problems in Materialism and Culture (London: Verso Editions and NLB, 1980), p. 38. 21. Ibid.,p.40. 22. Ibid.,p.41. 23. A. Walker, National Heroes, op. cit. 24. J. Walker, The Once and Future Film: British Cinema in the Seventies and Eighties (London: Methuen, 1985). 25. E. Betts, The Film Business (London: George Allen and Unwin, 1973). M. Dickinson and S. Street, Cinema and State: The Film Industry and the British Government 1927–1984 (London: BFI Publishing, 1985). B. Baillieu and J. Goodchild, The British Film Business (Chichester: John Wiley and Sons, 2002). 26. S. Street, British National Cinema (London: Routledge: 1997). J. Leach, British Film (Cambridge: Cambridge University Press, 2004). A. Sargeant, British Cinema: A Critical History (London: BFI Publishing, 2005). 27. L. Hunt, British Low Culture: From Safari Suits to Sexploitation (London: Routledge. 1998). 28. A. Higson, ‘A Diversity of Film Practices: Renewing British Cinema in the 1970s,’ in Bart Moore-Gilbert (ed), The Arts in the 1970s: Cultural Closure? (London: Routledge, 1994), pp. 218–237, p. 227. 29. S. Chibnall and J. Petley (eds), British Horror Cinema (London: Routledge, 2002). A. Medhurst, ‘Music Hall and British Cinema,’ in C. Barr (ed), All Our Yesterdays: Ninety Years of British Cinema (London: BFI Publishing, 1986), pp. 168–188 and ‘Carry On Camp,’ Sight and Sound,Volume2,Num- ber 4 (1992), pp. 16–19. P. Hutchings, ‘The Problem of British Horror,’ in M. Jancovich (ed), Horror: The Film Reader (London: Routledge, 2002), pp. 117–124 and Hammer and Beyond: The British Horror Film (Manchester: Manchester University Press, 1993). 30. G.A. Smith, Uneasy Dreams: The Golden Age of British Horror Films 1956– 1976 (London: McFarland and Company, 2000). S. Chibnall, ‘A Heritage of Evil: Pete Walker and the Politics of Gothic Revisionism,’ in S. Chibnall and J. Petley (eds), British Horror Cinema (London: Routledge, 2002), pp. 156–171. 31. Publications which cover Carry On and the sexploitation film include D. McGillivray, Doing Rude Things: The History of the British Sex Film Notes 187 1957–1981 (London: Sun Tavern Fields, 1992). S. Sheridan, Keeping the British End Up: Four Decades of Saucy Cinema (Richmond: Reynolds and Hearn, 2005). M. Bright and R. Ross, Carry On Uncensored (London: Boxtree 1999). I. Conrich, ‘Forgotten Cinema: The British Style of Sexploitation,’ Journal of Popular British Cinema, Volume 1, Number 1 (1998) pp. 87–100. M. Anderson ‘Stop Messing About: The Gay Fool in Carry On Films,’ Journal of Popular British Cinema, Volume 1, Number 1 (1998), pp. 37–47. 32. C. McCabe, Performance, BFI Film Classics (London: BFI Publishing, 1998), S. Chibnall, Get Carter British Film Guides series (London: I.B. Tauris, 2003) and M. Sanderson, Don’t Look Now, BFI Film Classics (London: BFI Publishing, 1996). 33. J. Chapman, ‘From Amicus to Atlantis: The Lost Worlds of 1970s British Cinema,’ in R. Shail (ed), Seventies British Cinema (London: BFI/Palgrave Macmillan, 2008), pp. 56–64. J. Chapman, Past and Present, op. cit. 34. Biographies of key 1970s filmmakers include; J. Baxter, An Appalling Talent: Ken Russell (London: Joseph, 1973). J. Lanza, Phallic Frenzy: Ken Russell and His Films (London: Aurum Press, 2008). R. Wymer, Derek Jarman (Manchester: Manchester University Press, 2005). N. Sinyard, The Films of Nicolas Roeg (London: Letts, 1991). J. Palmer, TheFilmsofJosephLosey(Cambridge: Cambridge University Press). A. Yule, Enigma: David Puttnam, The Story So Far (Edinburgh: Mainstream, 1988). M. Deeley and M. Field, Blade Runners, Deer Hunters and Blowing the Bloody Doors Off: My Life in Cult Movies (London: Faber and Faber, 2008). 35. Work on production companies includes R. Murphy, ‘Three Companies: Boyd’s Co, Handmade and Goldcrest,’ in M.