Historical Journal of Film, Radio and Television articles

Volume 35 (4)

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
Screening black political struggle on 1970s British Television: the case of the Play for Today, A Hole in Babylon (1979)
vol. 35 (3): 489-502
‘The Martyr’s Return’: A Poem Reflecting Relations within the All India Radio during the 1930s
vol. 35 (3): 503-510
The Rise of Market Information Regimes and the Historical Development of Audience Ratings
vol. 35 (3): 511-517
Stanley Kubrick: new perspectives
vol. 35 (3): 518-519
Images & animation: introduction au cinéma d'animation en République Démocratique de Congo, au Rwanda et au Burundi
vol. 35 (3): 519-521
International Noir
vol. 35 (3): 521-523
Kinematografija u NDH
vol. 35 (3): 523-525
The beginnings of the cinema in England 1894–1901, volumes I–V
vol. 35 (3): 525-526
Portuguese film, 1930-1960. The staging of the new state regime
vol. 35 (3): 527-528
Poitier Revisited: Reconsidering a Black Icon in the Obama Age
vol. 35 (3): 528-530
The Emergence of Film Culture. Knowledge Production, Institution Building and the Fate of the Avant-garde in Europe, 1919-1945
vol. 35 (3): 530-533
The man who was Old Mother Riley: the lives and films of Arthur Lucan and Kitty McShane
vol. 35 (3): 533-535
Hollywood and the Americanization of Britain from the 1920s to the present
vol. 35 (3): 535-537
Memory, subjectivity and independent Chinese cinema
vol. 35 (3): 537-539
Frank Capra’s Eastern Horizons: American identity and the cinema of international relations
vol. 35 (3): 539-541
The documentary film book
vol. 35 (3): 541-543
Akira Kurosawa
vol. 35 (3): 543-545