Historical Journal of Film, Radio and Television articles

Volume 37 (3)

The Stanley Kubrick Archive: A Dossier of New Research
vol. 37 (3): 367-372
Stanley Kubrick: Known and Unknown
vol. 37 (3): 373-395
Stanley Kubrick: Known and Unknown
vol. 37 (3): 373-395
Epicentre of an Earthquake: The Literary Sources of Full Metal Jacket (1987)
vol. 37 (3): 396-415
Epicentre of an Earthquake: The Literary Sources of Full Metal Jacket (1987)
vol. 37 (3): 396-415
What was HAL? IBM, Jewishness and Stanley Kubrick’s 2001: A Space Odyssey (1968)
vol. 37 (3): 416-435
What was HAL? IBM, Jewishness and Stanley Kubrick’s 2001: A Space Odyssey (1968)
vol. 37 (3): 416-435
Toi, c’est moi (1936) and Prends la route (1937): mobilising desire in the operetta films of Jacques Pills and André Tabet
vol. 37 (3): 436-454
Toi, c’est moi (1936) and Prends la route (1937): mobilising desire in the operetta films of Jacques Pills and André Tabet
vol. 37 (3): 436-454
‘They’ll Be Dancing in the Aisles!’: Youth audiences, cinema exhibition and the mid-1930s swing boom
vol. 37 (3): 455-474
‘They’ll Be Dancing in the Aisles!’: Youth audiences, cinema exhibition and the mid-1930s swing boom
vol. 37 (3): 455-474
Industrial organization of film exhibitors in the Low Countries: comparing the Netherlands and Belgium, 1945–1960
vol. 37 (3): 475-498
Industrial organization of film exhibitors in the Low Countries: comparing the Netherlands and Belgium, 1945–1960
vol. 37 (3): 475-498
The omnibus film as message picture: cold war politics and the myth of national unity in It’s a Big Country (1951)
vol. 37 (3): 499-516
The omnibus film as message picture: cold war politics and the myth of national unity in It’s a Big Country (1951)
vol. 37 (3): 499-516
Creating an anti-communist motion picture producers’ network in Asia: the Asia Foundation, Asia Pictures, and the Korean Motion Picture Cultural Association
vol. 37 (3): 517-538
Creating an anti-communist motion picture producers’ network in Asia: the Asia Foundation, Asia Pictures, and the Korean Motion Picture Cultural Association
vol. 37 (3): 517-538
‘The Hideous Difficulty of Recreating Nazism at War’: escaping from Europe in The Wooden Horse (1950) and the British Prisoner of War Film
vol. 37 (3): 539-558
‘The Hideous Difficulty of Recreating Nazism at War’: escaping from Europe in The Wooden Horse (1950) and the British Prisoner of War Film
vol. 37 (3): 539-558
Whatever happened to the British ‘B’ movie? Micro-budget film-making and the death of the one-hour supporting feature in the early 1960s
vol. 37 (3): 559-576
Whatever happened to the British ‘B’ movie? Micro-budget film-making and the death of the one-hour supporting feature in the early 1960s
vol. 37 (3): 559-576
Off to the Pictures: Cinema-going, Women’s Writing and Movie Culture in Interwar Britain
vol. 37 (3): 577-579
Off to the Pictures: Cinema-going, Women’s Writing and Movie Culture in Interwar Britain
vol. 37 (3): 577-579
Notions of Genre: Writings on Popular Film Before Genre Theory
vol. 37 (3): 579-581
Notions of Genre: Writings on Popular Film Before Genre Theory
vol. 37 (3): 579-581
German Television: Historical and Theoretical Perspectives
vol. 37 (3): 581-583
German Television: Historical and Theoretical Perspectives
vol. 37 (3): 581-583
Julien Duvivier
vol. 37 (3): 583-585
Julien Duvivier
vol. 37 (3): 583-585
Sergei M. Eisenstein: Notes for a General History of Cinema
vol. 37 (3): 585-587
Sergei M. Eisenstein: Notes for a General History of Cinema
vol. 37 (3): 585-587
A Companion to the War Film
vol. 37 (3): 587-589
A Companion to the War Film
vol. 37 (3): 587-589
The History of Genocide in Cinema: Atrocities on Screen
vol. 37 (3): 589-591
The History of Genocide in Cinema: Atrocities on Screen
vol. 37 (3): 589-591
Gebannte Bewegung: Tableaux vivants und früher Film in der Kultur der Moderne
vol. 37 (3): 591-593
Gebannte Bewegung: Tableaux vivants und früher Film in der Kultur der Moderne
vol. 37 (3): 591-593

Volume 37 (2)

Lost adaptations: piracy, ‘Rip Offs’, and the Australian Copyright Act 1905
vol. 37 (2): 161-173
Lost adaptations: piracy, ‘Rip Offs’, and the Australian Copyright Act 1905
vol. 37 (2): 161-173
Early transcontinental film relations: Japan, Germany and the compromises of co-production, 1926–1933
vol. 37 (2): 174-202