Historical Journal of Film, Radio and Television articles

Volume 33 (4)

Film Festival Yearbook 4: film festivals and activism
vol. 33 (4): 648-650
“Quit India”: The image of the Indian patriot on commercial British film and television, 1956-1985
vol. 33 (4): 650-653

Volume 33 (3)

EDITORS’ INTRODUCTION
vol. 33 (3): 355-364
The Two Faces of Channel Four: Some Notes in Retrospect
vol. 33 (3): 365-376
‘What We’re Trying to Do is Make Popular Politics’: The Birmingham Film and Video Workshop
vol. 33 (3): 377-395
Sex, Youth & Video Tape: Turn it Up and The Struggle to be Heard
vol. 33 (3): 396-417
A Cultural Exchange: S4C, Channel 4 and Film
vol. 33 (3): 418-433
Making Film Programmes for the BBC and Channel 4: The Shift From In-House ‘Producer Unit’ to Independent ‘Package-Unit’ Production
vol. 33 (3): 434-453
Interview Dossier
vol. 33 (3): 454-474
Deleuze & Cinema: the film concepts
vol. 33 (3): 475-477
The Decline and Fall of the United States Information Agency: American public diplomacy, 1989–2001
vol. 33 (3): 477-479
A Companion to Film Comedy
vol. 33 (3): 479-481
The Thrill Makers: celebrity, masculinity, and stunt performance
vol. 33 (3): 481-483
Documentary in a Changing State: Ireland since the 1990s
vol. 33 (3): 483-486
Equal Time: television and the Civil Rights movement
vol. 33 (3): 486-487
Cold War Broadcasting: impact on the Soviet Union and Eastern Europe, a collection of studies and documents
vol. 33 (3): 487-489
Crossing the Wall. The Western Feature Film Import in East Germany
vol. 33 (3): 490-492
The Routledge Companion to Film History
vol. 33 (3): 492-494
Gender, Nationalism and War: conflict on the movie screen
vol. 33 (3): 494-495
Col. William N. Selig, the Man who Invented Hollywood
vol. 33 (3): 495-499
The Sounds of the Silents in Britain
vol. 33 (3): 499-500
Moving Color: early film, mass culture, modernism
vol. 33 (3): 501-502
Italian Post-Neorealist Cinema
vol. 33 (3): 502-504
Czech and Slovak Cinema: theme and tradition
vol. 33 (3): 504-506
The Listener’s Voice: early radio and the American public
vol. 33 (3): 506-508
In Contrast: Croatian film today
vol. 33 (3): 508-510
Kim Ki-duk
vol. 33 (3): 510-512
Those Girls: single women in sixties and seventies popular culture
vol. 33 (3): 512-515
Radio Propaganda and the Broadcasting of Hatred: historical development and definitions
vol. 33 (3): 515-516
Framing Pictures: film and the visual arts
vol. 33 (3): 516-518
J. Edgar Hoover Goes to the Movies: the FBI and the origins of Hollywood’s Cold War
vol. 33 (3): 518-521
Spike Lee’s America
vol. 33 (3): 521-523
American Documentary Film: projecting the nation
vol. 33 (3): 523-525
Polish Film and the Holocaust: politics and memory
vol. 33 (3): 525-528
Beyond the Screen: institutions, networks, and publics of early cinema
vol. 33 (3): 528-530
Hollywood’s Detectives: crime series in the 1930s and 1940s from the whodunnit to hard-boiled noir
vol. 33 (3): 530-532

Volume 33 (2)

The Euro-British Flagship That Sank: The short life and lingering death of Associated Sound Film Industries, 1929-1936
vol. 33 (2): 187-213
‘It’s About Time British Actors Kicked Against these Roles in “Horror” Films’: Horror stars, psychological films and the tyranny of the Old World in classical horror cinema
vol. 33 (2): 214-233
Rome, Open for British Production: The lost world of ‘Britalian’ films, 1946-1954
vol. 33 (2): 234-269
A ‘Glittering Landmark for a 21st Century Entertainment Centre’: The history of The Point multiplex cinema in Milton Keynes
vol. 33 (2): 270-288