Domesticating the frontier: Gender, empire and adventure landscapes in British Cinema, 1945-59

Gender and History

Volumn 15, Issue 1, 2003, Pages 85-107

  Webster, Wendy ^a  

^a UNIVERSITY OF CENTRAL LANCASHIRE   (United Kingdom)

Author keywords

[No Author keywords available]

Indexed keywords

GENDER RELATIONS;

EID: 0037392974     PISSN: 09535233     EISSN: None     Source Type: Journal    
DOI: 10.1111/1468-0424.00291     Document Type: Article

References (83)

1. Men of Two Worlds (Thorold Dickinson, 1946).
2. Simba (Brian Desmond Hurst, 1955).
3. North West Frontier (J. Lee Thompson, 1959).
4. Martin Green, Dreams of Adventure, Deeds of Empire (Routledge and Kegan Paul, 1980); Patrick Brantlinger, Rule of Darkness: British Literature and Imperialism, 1830-1914 (Cornell University Press, 1988);
5. Patrick Brantlinger, Rule of Darkness: British Literature and Imperialism, 1830-1914 (Cornell University Press, 1980).
6. John McClure, Late Imperial Romance (Verso, 1994). For a critique of what he calls 'the end-of-adventure arguments' which, he suggests, concentrate on 'serious' and 'literary' forms at the expense of popular narratives,
7. Graham Dawson, Soldier Heroes: British Adventure, Empire and the Imaginings of Masculinities (Routledge, 1994), pp. 171-2.
8. Bernard Bergonzi, Heroes' Twilight: A Study of the Literature of the Great War (Constable, 1965);
9. Paul Fussell, The Great War and Modern Memory (Oxford University Press, 1975);
10. Robert Wohl, The Generation of 1914 (Weidenfeld & Nicolson, 1980);
11. Elaine Showalter, 'Rivers and Sassoon: The Inscription of Male Gender Anxieties', in Margaret Higgonet, (ed.), Behind the Lines: Gender and the Two World Wars (Yale University Press, 1987), pp. 61-9;
12. Alison Light, Forever England: Femininity, Literature and Conservatism Between the Wars (Routledge, 1991);
13. Susan Kingsley Kent, Making Peace: The Reconstruction of Gender in Interwar Britain (Princeton University Press, 1993).
14. The Four Feathers (Zoltan Korda, 1939)
15. Kathryn Dodd and Philip Dodd, 'Engendering the Nation: British Documentary Film, 1930-1939', in Andrew Higson (ed.), Dissolving Views: Key Writings on British Cinema (Cassell, 1996), pp. 45-6.
16. Sara Street The Drum (Zoltan Korda, 1938)
17. British National Cinema (Routledge, 1997), pp. 43-6.
18. Jeffrey Richards, '"Patriotism with Profit" British Imperial Cinema in the 1930s', in James Curran and Vincent Porter (ed.), British Cinema History (Weidenfeld & Nicolson, 1983), pp. 245-56;
19. Jeffrey Richards, 'Boy's Own Empire: Feature Films and Imperialism in the 1930s', in John MacKenzie (ed.), Imperialism and Popular Culture (Manchester University Press, 1986), pp. 140-64;
20. Marcia Landy, British Genres: Cinema and Society 1930-1960 (Princeton University Press, 1991),
21. Ella Shohat and Robert Stam, Unthinking Eurocentrism: Multiculturalism and the Media (Routledge, 1994).
22. Lola Young, Fear of the Dark: 'Race', Gender and Sexuality in the Cinema (Routledge, 1996).
23. Jeffrey Richards, Films and British National Identity (manchester University Press, 1997).
24. Propaganda and Empire: The Manipulation of British Public Opinion (Manchester University Press, 1984).
25. E. Ann Kaplan explores the relationship between the 'male' gaze and the 'imperial' gaze in Looking For the Other: Feminism, Film, and the Imperial Gaze (Routledge, 1997).
26. Prem Chowdhry, Colonial India and the Making of Empire Cinema: Image, Ideology and Identity (Manchester University Press, 2000), pp. 17-28.
27. James Burns, 'Watching Africans Watch Films: Theories of Spectatorship in British Colonial Africa', Historical Journal of Film, Radio and Television 20 (2000), pp. 197-211.
28. Michael Balcon, 'Let British Films Be Ambassadors to the World', Kinematography Weekly, 11 January 1945, p. 163.
29. Illustrated London News, 3 January 1953.
30. The Conquest of Everest (Countryman Films, 1953).
31. The Flame Trees of Thika (Thames Television, 1981), set in Africa.
32. Heat and Dust (james Ivory, 1982).
33. A Passage to India (David Lean, 1984).
34. Laura Kipnis, 'The Phantom Twitchings of an Amputated Limb: Sexual Spectacle in the Post-Colonial Epic', Wide Angle 11 (1989), p. 50.
35. John Hill, British Cinema in the 1980s (Clarendon Press, 1999), p. 112.
36. Richard Dyer, 'There's Nothing I Can Do! Nothing!', in Richard Dyer, White (Routledge, 1997), p. 184.
37. Black Narcissus (Michael Powell and Emeric Pressburger, 1947).
38. Lawrence of Arabia (David Lean, 1962).
39. Zulu (Cyril Endfiled, 1964).
40. Khartoum (Basil Dearden, 1966).
41. Andy Medhurst, '1950s War Films', in Geoff Hurd (ed.), National Fictions: World War Two in British Films and Television, (London, BFI Publishing, 1984), pp. 35-9;
42. Nicholas Pronay, 'The British Post-bellum Cinema: A Survey of the Films Relating to World War II Made in Britain between 1945 and 1960', Historical Journal of Film, Radio and Television 8 (1988), pp. 39-54;
43. Neil Rattigan, 'The Last Gasp of the Middle Class: British War Films of the 1950s', in Wheeler Dixon, (ed.), Reviewing British Cinema, 1900-1992 (State University of New York Press, 1994), pp. 143-52;
44. John Ramsden, 'Refocusing "The People's War": British War Films of the 1950s', Journal of Contemporary History 33 (1998), pp. 35-63;
45. Michael Paris, Warrior Nation: Images of War in British Popular Culture 1850-2000 (Reaktion Books, 2000), pp. 222-30.
46. Daily Express, 1 June, 1953.
47. Richard Symonds, Oxford and Empire: The Last Lost Cause? (Clarendon Press, 1986), p. 290.
48. Becky Conekin, Frank Mort, and Chris Waters (eds), Moments of Modernity: Reconstructing Britain 1945-1964 (Rivers Oram Press, 1999), pp. 1-3.
49. Gordon Stewart, 'Tenzing's Two Wrist-Watches: The Conquest of Everest and Late Imperial Culture in Britain 1921-1953', Past and Present 149 (1995), pp. 170-97;
50. Peter Hansen, 'Confetti of Empire: the Conquest of Everest in Nepal, India, Britain, and New Zealand', Comparative Studies in Society and History 42 (2000), pp. 307-32.
51. Peter Hansen, 'Coronation Everest: the Empire and Commonwealth in the "Second Elizabethan Age"', in Stuart Ward (ed.), British Culture and the End of Empire (Manchester University Press, 2001), pp. 57-72.
52. Margaret Strobel, European Women and the Second British Empire (Indiana University Press, 1991);
53. Nupur Chaudhuri and Margaret Strobel (eds), Western Women and Imperialism: Complicity and Resistance (Indiana University Press, 1992);
54. Inderpal Grewal, Home and Harem: Nation, Gender, Empire and the Cultures of Travel (Leicester University Press, 1996).
55. Clare Midgley (ed.), Gender and Imperialism (Manchester University Press, 1998).
56. Kathryn Castle, Britannia's Children: Reading Colonialism Through Children's Books and Magazines (Manchester University Press, 1996);
57. Richard Phillips, Mapping Men and Empire: A Geography of Adventure (Routledge, 1997). For representations of the intrepid imperial female in the post-1945
58. Wendy Webster, 'Elspeth Huxley: Gender, Empire and Narratives of Nation, 1935-64', Women's History Review 8 (1999), pp. 527-45.
59. Rosaleen Smyth, 'Britain's African Colonies and British Propaganda During the Second World War', Journal of Imperial and Commonwealth History, 141 (1985), pp. 65-82;
60. Thomas Hajkowski, 'The BBC, the Empire, and the Second World War, 1939-1945', Historical Journal of Film, Radio and Television, 22 (2002), pp. 135-155;
61. Barbara Bush, Imperialism, Race and Resistance: Africa and Britain, 1919-1945 (Routledge, 1999).
62. Daily Telegraph, 6 November, 1951.
63. The Planter's Wife (Ken Annakin, 1952).
64. Windom's Way (Ronald Neame, 1957).
65. The Seekers (Ken Annakin, 1954).
66. Outcast of the Islands (Carol Reed, 1951).
67. Margaret Dickinson and Sarah Street, Cinema and State: The Film Industry and the Government of 1927-1984 (British Film Institute, 1985), p. 58.
68. H. Mark Glancy, When Hollywood Loved Britain: The Hollywood 'British' Film 1939-45 (Manchester University Press, 1999), p. 17.
69. Andrew Higson and Richard Maltby (eds), 'Film Europe' and 'Film America': Cinema, Commerce and Cultural Exchange 1920-1939 (University of Exeter Press, 1999).
70. Andrew Higson, Waving the Flag: Constructing a National Cinema in Britain (Clarendon Press, 1995), esp. pp. 15-22.
71. Paul Swann, The Hollywood Feature Film in Postwar Britain (Croom Helm, 1987).
72. Dick Hebidge, Hiding in the Light (Routledge, 1988), Chapter 3.
73. Neil Nehring, Flowers in the Dustbin: Culture, Anarchy, and Postwar England (University of Michigan Press, 1993), Chapter 4.
74. Richard Pells, Not Like Us: How Europeans Have Loved, Hated, and Transformed American Culture Since World War II (Basic Books, 1997).
75. The Rains Came (Clarence Brown, 1939).
76. Soldiers Three (Tay Garnett, 1951).
77. The Overlanders (Harry Watt, 1946).
78. Steve Chibnall, J. Lee Thompson (Manchester University Press, 2000), p. 278.
79. Vincent Porter, 'Methodism Versus the Market Place: The Rank Organisation and British Cinema', in Robert Murphy (ed.), The British Cinema Book (British Film Institute, 1997), p. 129.
80. Chris Waters, '"Dark Strangers" in Our Midst: Discourses of Race and Nation in Britain, 1947-1963', Journal of British Studies 36 (1997), pp. 207-38;
81. Kathleen Paul, Whitewashing Britain: Race and Citizenship in the Postwar Era (Cornell University Press, 1997).
82. Wendy Webster, Imagining Home: Gender, 'Race' and National Identity, 1945-64 (UCL Press, 1998).
83. Christine Geraghty, British Cinema in the Fifites: Gender, Genre and the 'New Look' (Routledge, 2000), p. 126.