"There'll always be an England": Representations of colonial wars and immigration, 1948-1968

Journal of British Studies

Volumn 40, Issue 4, 2001, Pages 557-584

  Webster, Wendy ^a  

^a UNIVERSITY OF CENTRAL LANCASHIRE   (United Kingdom)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 84949115711     PISSN: 00219371     EISSN: None     Source Type: Journal    
DOI: 10.1086/386267     Document Type: Review

References (118)

1. Daily Mail (26 January 1953).
2. See esp. Paul Gilroy, "There Ain't No Black in the Union Jack": The Cultural Politics of Race and Nation (London, 1987)
3. Bill Schwarz, " 'The Only White Man in There': The Re-racialisation of England, 1956-1968," Race and Class 38 (1996): 65-78
4. Chris Waters, " 'Dark Strangers' in Our Midst: Discourses of Race and Nation in Britain, 1947-1963," Journal of British Studies 36 (1997): 207-38
5. Kathleen Paul, Whitewashing Britain: Race and Citizenship in the Postwar Era (Ithaca, N.Y., 1997)
6. Wendy Webster, Imagining Home: Gender, "Race" and National Identity, 1945-64 (London, 1998).
7. Waters, " 'Dark Strangers' in Our Midst,' " p. 208.
8. Quoted in Martin Wiener, English Culture and the Decline of the Industrial Spirit, 1850-1980 (Cambridge, 1981), p. 60.
9. Alison Light, Forever England: Femininity, Literature and Conservatism between the Wars (London, 1991).
10. Waters, " 'Dark Strangers' in Our Midst,' " p. 208.
11. Bill Schwarz, " 'The Only White Man in There,' " "Black Metropolis, White England," in Modern Times: Reflections on a Century of English Modernity, ed. Mica Nava and Alan O'Shea (London, 1996), pp. 182-207
12. "Reveries of Race: The Closing of the Imperial Moment," in Moments of Modernity: Reconstructing Britain, 1945-1964, ed. Becky Conekin, Frank Mort, and Chris Waters (London, 1999), pp. 189-207.
13. Schwarz, "The Only White Man in There," p. 73.
14. Lynn Segal, "Look Back in Anger: Men in the Fifties," in Male Order: Unwrapping Masculinity, ed. Rowena Chapman and Jonathan Rutherford, (London, 1988), pp. 68-96
15. Alan Sinfield, Literature, Politics and Culture in Postwar Britain (Oxford, 1989)
16. Sheila Jeffreys, Anticlimax: A Feminist Perspective on the Sexual Revolution (London, 1990)
17. Chris Waters, "Disorders of the Mind, Disorders of the Body Social: Peter Wildeblood and the Making of the Modern Homosexual," in Moments of Modernity, ed. Conekin, Mort, and Waters, pp. 134-51.
18. John Hill, "Working-Class Realism and Sexual Reaction: Some Theses on the British 'New Wave,' " in British Cinema History, ed. James Curran and Vincent Porter (London, 1983) pp. 303-11
19. Sex, Class and Realism: British Cinema, 1956-1963 (London, 1986)
20. Micheline Wandor, Look Back in Gender: Sexuality and the Family in Post-war British Drama (London, 1987)
21. Terry Lovell, "Landscapes and Stories in 1960s British Realism," Screen 31 (1990): 357-76.
22. But see Richard Dyer, White (London, 1997), esp. pp. 184-206
23. Webster, Imagining Home.
24. Schwarz, " 'The Only White Man in There,' " p. 65.
25. Gayatri Spivak, Outside in the Teaching Machine (New York, 1993), p. 226.
26. Benedict Anderson, Imagined Communities: Reflections on the Origin and Spread of Nationalism (London, 1983).
27. James Ryan, Picturing Empire: Photography and the Visualisation of the British Empire (London, 1997).
28. Bill Schwarz, "Politics and Rhetoric in the Age of Mass Culture," History Workshop Journal 46 (1998): 139.
29. For a discussion of this imagery, see Graham Dawson, Soldier Heroes: British Adventure, Empire and the Imagining of Masculinities (London, 1994), esp. pp. 58-76.
30. Two Thousand Women (Frank Launder, 1944)
31. The Captive Heart (Basil Dearden, 1946).
32. See Jeffrey Richards, Films and British National Identity: From Dickens to Dad's Army (Manchester, 1997), pp. 97-104
33. Richards records that This England (1941) was retitled Our Heritage for its Scottish release (p. 97).
34. Millions Like Us (Frank Launder and Sidney Gilliat, 1943)
35. The Gentle Sex (Leslie Howard and Maurice Elvey, 1943)
36. A Canterbury Tale (Michael Powell and Emeric Pressburger, 1944).
37. see Antonia Lant, Blackout: Reinventing Women for Wartime British Cinema (Princeton, N.J., 1991), esp. chap. 2.
38. A Diary for Timothy (Humphrey Jennings, 1945).
39. In Frieda (Basil Dearden, 1947)
40. Marcia Landy, British Genres: Cinema and Society, 1930-1960 (Princeton, N.J., 1991), p. 178
41. Odette (Herbert Wilcox, 1950)
42. Carve Her Name with Pride (Lewis Gilbert, 1958).
43. John Ramsden, "Refocusing 'The People's War': British War Films of the 1950s," Journal of Contemporary History 33 (1998): 57.
44. Landy, British Genres, p. 176.
45. See Andy Medhurst, "1950s War Films," in National Fictions, ed. Geoff Hurd (London, 1984), pp. 35-39
46. 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): 39-54
47. Neil Rattigan, "The Last Gasp of the Middle Class: British War Films of the 1950s," in Reviewing British Cinema, 1900-1992, ed. Wheeler Dixon (New York, 1994), pp. 143-52
48. Ramsden, "Refocusing 'The People's War.'" Ramsden notes a dearth of studies of British postwar films about the war of 1939-45
49. The Planter's Wife (Ken Annakin, 1952)
50. Simba (Brian Desmond Hurst, 1955).
51. Richard Dyer, "White," Screen 29 (1988): 44-64
52. Webster, Imagining Home pp. 52-55.
53. See Susan Carruthers, Winning Hearts and Minds: British Governments, the Media and Colonial Counter-Insurgency, 1944-1960 (London, 1995), pp. 167-68.
54. See Andrew Spicer, "Male Stars, Masculinity and British Cinema, 1945-1960," in The British Cinema Book, ed. Robert Murphy (London, 1997), pp. 144-53.
55. Dirk Bogarde also starred in The High Bright Sun (Ralph Thomas, 1965)
56. The Planter's Wife was one of Rank's biggest box-office successes in 1952.
57. See Vincent Porter, "Methodism versus the Market Place: The Rank Organisation and British Cinema," in The British Cinema Book, ed. Murphy, p. 126.
58. The Drum (Zoltan Korda, 1938).
59. Jeffrey Richards, "Boy's Own Empire: Feature Films and Imperialism in the 1930s," in Imperialism and Popular Culture, ed. John MacKenzie (Manchester, 1986), pp. 140-64
60. Landy, British Genres, pp. 101-10
61. Lola Young, Fear of the Dark: 'Race,' Gender and Sexuality in the Cinema (London, 1996), pp. 55-83
62. Richards, Films and British National Identity, pp. 31-81.
63. Daily Mail (16 August 1948).
64. Daily Mail (5 January 1953).
65. Daily Express (7 January 1953).
66. Daily Express (24 November 1952).
67. Daily Express (7 January 1953).
68. John Newsinger, "The Military Memoir in British Imperial Culture: The Case of Malaya," Race and Class 35 (1994): 48.
69. Daily Express (3 January 1953)
70. Daily Express (26 January 1952).
71. Guns at Batasi (John Guillermin, 1964).
72. See Webster, Imagining Home, chap. 4.
73. The Times (19 September 1952).
74. Pronay, "The British Post-bellum Cinema," p. 39.
75. The Ship That Died of Shame (Basil Dearden, 1955).
76. Quoted in Steve Cohen, "Anti-semitism, Immigration Controls and the Welfare State," Critical Social Policy 13 (1985): 74.
77. Light, Forever England, esp. pp. 1-19.
78. J. B. Priestley, Postscripts (London, 1940), pp. 1-4.
79. This image had particular currency in Hollywood "British" empire films, such as Gunga Din (George Stevens, 1939)
80. Daily Express (5 January 1953).
81. See, e.g., Daily Express (5 January 1953)
82. Daily Mail (5 January 1953)
83. Illustrated London News (17 January 1953).
84. See, e.g., Sheila Patterson, Dark Strangers: A Sociological Study of the Absorption of a Recent West Indian Migrant Group in Brixton, South London (London, 1963), pp. 198-99.
85. Daily Express (7 January 1953).
86. Daily Mail (5 January 1953).
87. Patterson, Dark Strangers, pp. 198-99.
88. Elspeth Huxley, Back Street New Worlds: A Look at Immigrants in Britain (London, 1964), pp. 46-47.
89. see Dawson, Soldier Heroes, p. 91.
90. Dyer, "White," p. 49.
91. See John Gabriel, Whitewash: Racialized Politics and the Media (London, 1998), p. 58.
92. See Paul Rich, Race and Empire in British Politics (Cambridge, 1990), p. 130
93. See Marika Sherwood, Many Struggles: West Indian Workers and Service Personnel in Britain (London, 1985)
94. Ben Bousquet and Colin Douglas, West Indian Women at War: British Racism in World War II (London, 1991)
95. Sonya Rose, "Sex, Citizenship, and the Nation in World War II Britain," American Historical Review 103 (1998): 1147-76.
96. Trevor Philpott, "Would You Let Your Daughter Marry a Negro?" Picture Post (30 October 1954)
97. Colin Maclnnes, "A Short Guide for Jumbles to the Life of Their Coloured Brethren in England," in his England: Half English (London, 1961), p. 25
98. Daily Express (18 July 1956).
99. Flame in the Streets (Roy Baker, 1961).
100. Young, Fear of the Dark, chap. 4
101. Webster, Imagining Home, chap. 3.
102. The Times (19 September 1952).
103. see Ann Stoler, Race and the Education of Desire: Foucault's History of Sexuality and the Colonial Order of Things (Durham, N.C., 1995), chap. 4.
104. See Anne McClintock, Imperial Leather: Race, Gender and Sexuality in the Colonial Contest (London, 1995), pp. 118-22.
105. Patterson, Dark Strangers, p. 98
106. Huxley, Back Street, p. 47.
107. Quoted in Stoler, Race and the Education of Desire, p. 128.
108. see Ian Baucom, Out of Place: Englishness, Empire and the Locations of Identity (Princeton, N.J., 1999), pp 55-62.
109. Pool of London (Basil Dearden, 1950)
110. A Taste of Honey (Tony Richardson, 1961).
111. The Sunday Times (6 November 1966).
112. See Schwarz, " 'The Only White Man In There.' "
113. J. Enoch Powell, "Myth and Reality," in Freedom and Reality, ed. John Wood (London, 1969), p. 243.
114. Quoted in Simon Heffer, Like the Roman: The Life of Enoch Powell (London, 1998), p. 115.
115. Quoted in Humphrey Berkeley, The Odyssey of Enoch: A Political Memoir (London, 1977), p. 52
116. Heffer, Like the Roman, p. 169.
117. J. Enoch Powell, "Myth and Reality," pp. 245-50.
118. J. Enoch Powell, "Immigration," in Wood, ed., Freedom and Reality, pp. 213-19.