Historical Journal of Film, Radio and Television articles

Volume 34 (4)

The Demons of Modernity. Ingmar Bergman and European cinema
vol. 34 (4): 603-605
History on Television
vol. 34 (4): 606-607
Mussolini’s Dream Factory: film stardom in fascist Italy
vol. 34 (4): 608-610
Swedish Broadcasting. Communicative ethos, genres and institutional change
vol. 34 (4): 610-612
Deeper than Oblivion. Trauma and Memory in Israeli Cinema
vol. 34 (4): 612-614
The Oxford Handbook of Chinese Cinemas
vol. 34 (4): 614-616
Buffoon Men: classic Hollywood comedians and queered masculinity
vol. 34 (4): 617-618
Paul Abbott
vol. 34 (4): 619-620
Work|s in Progress. Digital Film Restoration within Archives
vol. 34 (4): 621-623
The World Is Ever Changing
vol. 34 (4): 623-625
Screen Culture and the Social Question 1880–1914
vol. 34 (4): 625-627
Broadcasting and the NHS in the Thatcherite 1980s: the challenge to public service
vol. 34 (4): 627-628
Waltzing with Bashir: perpetrator trauma and cinema
vol. 34 (4): 629-631
Jean-Luc Godard. Cinema Historian
vol. 34 (4): 631-633
Transatlantic Perspectives from Fidelity to History: film adaptations as cultural events in the twentieth century
vol. 34 (4): 633-635
Behind the Screen: inside European production cultures
vol. 34 (4): 635-637
Saying it with Songs: popular music and the coming of sound to Hollywood cinema
vol. 34 (4): 637-638
The Man Who Got Carter: Michael Klinger, independent production and the British film industry 1960–1980
vol. 34 (4): 639-640
The Biopic in Contemporary Film Culture
vol. 34 (4): 640-642
Geoffrey Donaldson: Een leven voor de film
vol. 34 (4): 642-643
Homemade Men in Postwar Austrian Cinema: nationhood, genre and masculinity
vol. 34 (4): 643-646
Malaysian Cinema in a Bottle: a century (and a bit more) of wayang
vol. 34 (4): 646-648

Volume 34 (2)

A Marxist in Hollywood: The Screenwriting Career of Michael Wilson (1914–1978)
vol. 34 (2): 187-207
‘Whose Films are These?’ Italian–Spanish Co-Productions of The Early 1940s
vol. 34 (2): 208-230
Hammering out a Deal: The Contractual and Commercial Contexts of The Curse of Frankenstein (1957) and Dracula (1958)
vol. 34 (2): 231-252
Till Death Us Do Part: Political Satire and Social Realism in the 1960s and 1970s
vol. 34 (2): 253-274
Local Radio, Going Global
vol. 34 (2): 275-276
Charles Urban: pioneering the non-fiction film in Britain and America, 1897–1925
vol. 34 (2): 276-278
Hollywood’s Last Golden Age: politics, society, and the seventies film in America
vol. 34 (2): 278-280
Eastwood’s Iwo Jima: critical engagement with Flags of Our Fathers and Letters from Iwo Jima
vol. 34 (2): 280-282
Inside the Tardis: the worlds of Doctor Who
vol. 34 (2): 283-286
Silent Film Comedy and American Culture
vol. 34 (2): 287-288
The Battle for the Bs: 1950s Hollywood and the rebirth of low-budget cinema
vol. 34 (2): 289-290
Archival Film Festivals
vol. 34 (2): 290-291
The Holiday and the British Film
vol. 34 (2): 292-294
John Wayne’s World: transnational masculinity in the Fifties
vol. 34 (2): 294-296
Screening Torture: media representations of state terror and political domination
vol. 34 (2): 296-298
Concentrationary Cinema: aesthetics as political resistance in Alain Resnais’s Night and Fog
vol. 34 (2): 298-300
Jimmy McGovern
vol. 34 (2): 300-302
British Trash Cinema
vol. 34 (2): 302-304