New Film History

TIM BERGFELDER Professor of Film Studies, University of Southampton, UKMARK CONNELLY Reader in Modern British History, University of Kent, UKLAURIE EDE Principal Lecturer in Film Studies, University of Portsmouth, UKPETER KRÄMER Lecturer in Film Studies, University of East Anglia, UKJONATHAN MUNBY Senior Lecturer in American Studies, Institute for Cultural Research, Lancaster University, UKJEFFREY RICHARDS Professor of Cultural History, Lancaster University, UKMARTIN SHINGLER Senior Lecturer in Radio and Film Studies, University of Sunderland, UKJUSTIN SMITH Senior Lecturer in Film Studies, University of Portsmouth, UKANDREW SPICER Reader in Cultural History, School of Art, Media and Design, University of the West of England, UKINGRID STIGSDOTTER Film Studies PhD candidate, University of Southampton, UKMELVYN STOKES Senior Lecturer in History, University College London, UKSARAH STREET Professor of Screen Studies, University of Bristol, UKRICHARD TAYLOR Research Professor in Politics, University of Wales, Swansea, UK

• Notes on Contributors INTRODUCTION: The New Film History; J.Chapman, M.Glancy & S.Harper PART 1: HISTORY Gone With the Wind (1939) and the Lost Cause: A Critical View; M.Stokes History and Representation: The Case of 1970s British Cinema; S.Harper Gallipoli (1981): 'A Poignant Search For National Identity'; M.Connelly 'This Ship is England': History, Politics and National Identity in Master and Commander: The Far Side of the World (2003); J.Chapman PART 2: AUTHORSHIP Art In Context: British Film Design of the 1940s; L.Ede The Author as Author: Restoring the Screenwriter to British Film History; A.Spicer When 'Hanoi Jane' Conquered Hollywood: Jane Fonda's Films and Activism, 1977-81; P.Krämer PART 3: GENRE The Politics of the Swashbuckler; J.Richards The Stalinist Musical; R.Taylor Now Voyager (1942): Melodrama Then and Now; M.Shingler From Gangster to Gangsta: The Hood Film's Criminal Allegiance with Hollywood; J.Munby PART 4: RECEPTION Blackmail (1929): Hitchcock and Film Nationalism; M.Glancy British Cinema, American Reception: Black Narcissus (1947) and the Legion of Decency; S.Street Studying Cross-Cultural Marketing and Reception: Ingmar Bergman's Persona (1966); I.Stigsdotter & T.Bergfelder The Wicker Man (1973) Email Digest: A Case Study in Web Ethnography; J.Smith Index

'A very welcome entry into the field of film history, the contributors to this exemplary collection engage rigorously and imaginatively with the structures and processes that have shaped the medium of film. Structured around the four key areas of History, Authorship, Genre and Reception, this collection tackles some of the big questions that have vexed film historians - what is the relationship between creativity and commerce, how do ideas "get into" film in a lively and informative manner. An indispensable collection for students and researchers of film, media and cognate disciplines.' - Melanie Bell, Lecturer in Film, Newcastle University, UK'...an invaluable tool in both teaching and research...the essays are scholarly and engagingly written, and genuinely extend the boundaries of the discipline. It will quickly become a central text for film history courses.' - Melanie Bell, Journal of British Cinema and Television