Historical Journal of Film, Radio and Television articles

Volume 32 (3)

Hollywood Film 1963–1976: years of revolution and reaction
vol. 32 (3): 472-473
Ken Loach: the politics of film and television
vol. 32 (3): 473-475
Red, White & Black: cinema and the structure of U.S. antagonisms
vol. 32 (3): 475-477
Cinema and Radio in Britain and America, 1920–60
vol. 32 (3): 477-479
Shadows of Progress: documentary film in post-war Britain
vol. 32 (3): 479-482
The continental connection German-speaking émigrés and British cinema, 1927–45
vol. 32 (3): 482-484
Out of Time: desire in atemporal cinema
vol. 32 (3): 484-485
Destabilizing the Hollywood Musical: music, masculinity and mayhem
vol. 32 (3): 485-488
Explorations in New Cinema History: approaches and case studies; Cinema, Audiences and Modernity: new perspectives on European cinema history
vol. 32 (3): 489-491
Humphrey Jennings and British Documentary Film: a re-assessment
vol. 32 (3): 492-494
Disappearing Tricks: silent film, Houdini, and the new magic of the twentieth century
vol. 32 (3): 494-496
Moscow Prime Time: how the Soviet Union built the media empire that lost the cultural Cold War
vol. 32 (3): 496-498
Screening the East. Heimat, Memory and Nostalgia in German Film since 1989
vol. 32 (3): 498-500

Volume 32 (2)

The Reith Mission: Global Telecommunications and The Decline of The British Empire
vol. 32 (2): 167-185
Making Early American Broadcasting's Public Sphere: Radio Fortune Telling and The Demarcation of Private and Public Speech
vol. 32 (2): 187-205
BBC Reporting in India in The 1970s and 1980s: Globally Connected Media Ahead of Its Time
vol. 32 (2): 207-224
The Anomaly of Galei Tzahal: Israel's Army Radio as a Cultural Vanguard and Force for Pluralism
vol. 32 (2): 225-243
A Technician's Dream? The Critical Reception of 3-D Films in Britain
vol. 32 (2): 245-265
‘Remember! it's Only a Movie!’ Expectations and Receptions of The Day After (1983)
vol. 32 (2): 267-292
The Routledge–IAMHIST Prizes for 2011
vol. 32 (2): 293-0
Grey Gardens
vol. 32 (2): 295-297
The Fantasy Film
vol. 32 (2): 297-300
Korda: Britain's movie mogul
vol. 32 (2): 300-302
Sergei Eisenstein: selected works volume 1. Writings, 1922–1934; Sergei Eisenstein: selected works volume 2. Writings, 1934–1947; Sergei Eisenstein: selected works volume 3. Towards a theory of montage
vol. 32 (2): 302-304
Runaway Romances: Hollywood's postwar tour of Europe
vol. 32 (2): 305-306
Invasion of the Body Snatchers
vol. 32 (2): 306-307
Cold War Femme: lesbianism, national identity, and Hollywood cinema
vol. 32 (2): 307-309
Sound Business: newspapers, radio, and the politics of new media
vol. 32 (2): 309-311
Cinema and the Swastika: the international expansion of Third Reich cinema
vol. 32 (2): 311-313
Hitler im deutschsprachigen Spielfilm nach 1945—Ein filmgeschichtlicher Überblick
vol. 32 (2): 313-314
The New Entrepreneurs: an institutional history of television anthology writers
vol. 32 (2): 315-317
Je t’aime … Moi non plus: Franco-British cinematic relations
vol. 32 (2): 317-320
The Sound of Musicals
vol. 32 (2): 320-322
Big Bigger Cinema. Film- und Kinomarketing in Deutschland (1910–1933)
vol. 32 (2): 322-324
Chromatic Cinema: a history of screen colour
vol. 32 (2): 325-327
Cinema Babel: translating global cinema
vol. 32 (2): 327-328
Von Sternberg
vol. 32 (2): 328-330
Moscow Believes in Tears: Russians and their movies
vol. 32 (2): 330-332
Police Aesthetics: literature, film and the secret police in Soviet times
vol. 32 (2): 332-333
Film im Sozialismus—Die DEFA; Im Schatten der DEFA. Private Filmproduzenten in der DDR
vol. 32 (2): 334-336