Historical Journal of Film, Radio and Television articles

Volume 36 (1)

A foot in the door: the Lacy–Zarubin agreement and Soviet-American film diplomacy during the Khrushchev era, 1953–1963
vol. 36 (1): 21-39
‘No communist could dream of a more effective anti-American film’: Dr. Strangelove and its red reviewers
vol. 36 (1): 40-52
‘There is Still Time … Brother’ antipodean cinema and nuclearism in the mid-to-late Cold war
vol. 36 (1): 53-67
Red flags in Tamil cinema: agitprop and art-house during the Cold War
vol. 36 (1): 68-87
Whores and angels of our striving selves: the cold war films of John le Carré, then and now
vol. 36 (1): 88-103
Geschichte der deutschen Filmkritik
vol. 36 (1): 104-106
Myth of the Western: new perspectives on Hollywood’s Frontier Narrative
vol. 36 (1): 106-108
Networking commercial television in Australia
vol. 36 (1): 108-110
Coproducing Asia: Locating Japanese-Chinese Regional Film and Media
vol. 36 (1): 110-112
Poitier Revisited: Reconsidering a Black Icon in the Obama Age
vol. 36 (1): 112-114
Franco Sells Spain to America. Hollywood, Tourism and Public Relations as Postwar Spanish Soft Power
vol. 36 (1): 114-116
Cinematicity in Media History
vol. 36 (1): 116-118
After the Fact: The Holocaust in Twenty-First Century Documentary Film
vol. 36 (1): 118-120
When Hollywood Was Right: How Movie Stars, Studio Moguls, and Big Business Remade American Politics
vol. 36 (1): 120-122
Crack of the Bat: A History of Baseball on the Radio
vol. 36 (1): 122-124
From Jesus to the Internet: A History of Christianity and Media
vol. 36 (1): 124-125

Volume 35 (4)

The Great War and the Moving Image
vol. 35 (4): 553-558
Writing History on the Page and Screen: Mediating Conflict through Britain’s First World War Ambulance Trains
vol. 35 (4): 559-578
Everybody’s Business: Film, Food and Victory in the First World War
vol. 35 (4): 579-595
Forgetting their troubles for a while: Australian soldiers’ experiences of cinema during the First World War
vol. 35 (4): 596-614
Putting the moral into morale: YMCA cinemas on the Western Front, 1914–1918
vol. 35 (4): 615-630
‘Snapshots’: Local Cinema Cultures in the Great War
vol. 35 (4): 631-655
Pixel Lions – the image of the soldier in First World War computer games
vol. 35 (4): 656-672
Fantômas sous les tropiques. Aller au cinéma en Afrique coloniale
vol. 35 (4): 673-674
The Grierson Effect: Tracing Documentary’s International Movement
vol. 35 (4): 674-676
Cinematic homecomings: exile and return in transnational cinema
vol. 35 (4): 677-678
Und wenn sie nicht gestorben sind …: Die Kinder von Golzow – Das Ende einer Langzeitbeobachtung 1961–2007
vol. 35 (4): 678-679
Making time in Stanley Kubrick’s Barry Lyndon
vol. 35 (4): 680-681
Filming the end of the Holocaust: allied documentaries, Nuremberg and the liberation of the concentration camps
vol. 35 (4): 682-684
Mark antony and popular culture: Masculinity and the construction of an icon
vol. 35 (4): 684-685
Projected art history: biopics, celebrity culture, and the popularizing of American art
vol. 35 (4): 686-688
¡Sounds of belonging! U.S. Spanish-language radio and public advocacy
vol. 35 (4): 688-691
Cinematic terror: a global history of terrorism on film
vol. 35 (4): 691-693
Heroes and happy endings: class, gender, and nation in popular film and fiction in interwar Britain
vol. 35 (4): 693-695
The Europeanness of European cinema: identity, meaning, globalization
vol. 35 (4): 695-697

Volume 35 (3)

D.W. Griffith’s Foray Into Eastern Europe: A Recuperation of History
vol. 35 (3): 401-419
The Dictator as Spectator: Feature Film Screenings before Adolf Hitler, 1933–39
vol. 35 (3): 420-437
Filming the retreat from Burma, 1942: British newsreel coverage of the longest retreat in British Army history
vol. 35 (3): 438-453
The MacDonald Discussion Group: A Communist Conspiracy in Britain’s Cold War Film and Theatre Industry—Or MI5’s Honey-Pot?
vol. 35 (3): 454-472
Blood, Thunder and Showgirls: The Merchant Navy on the BBC, 1939–1945
vol. 35 (3): 473-488