Bibliographic update April 2016: All

Historical Journal of Film, Radio and Television

‘Snapshots’: Local Cinema Cultures in the Great War
vol. 35 (4): 631-655
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
The Europeanness of European cinema: identity, meaning, globalization
vol. 35 (4): 695-697
¡Sounds of belonging! U.S. Spanish-language radio and public advocacy
vol. 35 (4): 688-691
Heroes and happy endings: class, gender, and nation in popular film and fiction in interwar Britain
vol. 35 (4): 693-695
Putting the moral into morale: YMCA cinemas on the Western Front, 1914–1918
vol. 35 (4): 615-630
Forgetting their troubles for a while: Australian soldiers’ experiences of cinema during the First World War
vol. 35 (4): 596-614
Pixel Lions – the image of the soldier in First World War computer games
vol. 35 (4): 656-672
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
Fantômas sous les tropiques. Aller au cinéma en Afrique coloniale
vol. 35 (4): 673-674
A chance for a propaganda coup? The Reagan administration and The Day After (1983)
(Un)Familiar spaces of television production: the BBC’s visit to the Soviet Union in 1956
‘Adjuncts of Government’: Darryl F. Zanuck and 20th Century-Fox in Service to the Executive Branch, 1935–1971
‘The good earth and the still waters’: new deal rhetoric in FDR’s political speeches and M-G-M’s captains courageous
The ballad of Alan and Auntie Beeb: Alan Lomax’s radio programmes for the BBC, 1943–1960
What’s wrong with this picture: casual disregard for history in George Clooney’s The Monuments Men (2014)
Channel 4 and the declining influence of organized religion on UK television. The case of Jesus: The Evidence
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