RAF Bomber Command in Fact, Film and Fiction is a bibliographical and media guide to the exploits of the command between 1939-1945 setting on record much of what has been written, filmed or sound recorded in the English language
Since the Second World War, depictions of Royal Air Force operations in film and television drama have become so numerous that they make up a genre worthy of scholarly attention. In this illuminating study, S. P. MacKenzie explores the different ways in which the men of RAF Bomber Command have been represented in dramatic form on the big and small screen from the war years to the present day. Bomber Boys on Screen is the first in-depth study of how and why the screen-drama image of those who flew, those who directed them, and those who provided support for RAF bomber operations has changed over time, sometimes in contested circumstances. Until now dramas that focus on Bomber Command have tended to be mentioned only in passing or studied in isolation, despite the prevalence of surveys of both the British war film genre and of aviation cinema. In Bomber Boys on Screen MacKenzie examines the development, presentation, and reception of significant dramas on a decade-by-decade basis. Titles from the beginning of the war (The Lion Has Wings, 1939) to the start of new century (Bomber's Moon, 2014) are situated in the context of technical possibilities and limitations, evolving social and cultural norms in the United Kingdom and elsewhere, and the development of moral and utilitarian controversies surrounding the wartime bomber offensive directed against Nazi Germany. While the focus is on feature films and television plays, reference is also made to documentaries, memorials, veterans' organizations, book titles, war comics, and other representations of the war fought by Bomber Command.
The cinema was the most popular form of entertainment during the Second World War. Film was a critically important medium for influencing opinion. Films, such as In Which We Serve and One of Our Aircraft is Missing, shaped the British people's perceptions of the conflict. British War Films, 1939-45 is an account of the feature films produced during the war, rather than government documentaries and official propaganda, making the book an important index of British morale and values at a time of desperate national crisis.
Ever wondered how many aircraft were converted into Japanese Zeroes and torpedo bombers for Tora! Tora! Tora! or how French Gazelle helicopters were modified for the title role in Blue Thunder? This first of its kind reference book lists aircraft featured in 350 films and television shows, providing brief individual histories, film locations, serial numbers and registrations. Aircraft are also cross-referenced by manufacturer. Appendices provide brief bios on pilots and technicians, information on aircraft collections owned by Tallmantz Aviation and Blue Max Aviation and film credits for U.S. aircraft carriers.
The cinema was the most popular form of entertainment during the Second World War. Film was a critically important medium for influencing opinion. Films, such as In Which We Serve and One of Our Aircraft is Missing, shaped the British people's perceptions of the conflict. British War Films, 1939-1945 is an account of the feature films produced during the war, rather than government documentaries and official propaganda, making the book an important index of British morale and values at a time of desperate national crisis.
Films and television dramas about the Second World War have always been popular. Written by acknowledged experts in the field, this collection offers challenging, sometimes controversial, insights into how the popular memory of the Second World War has been 're-pictured' since 1989, which marked the sixtieth anniversary of the start of the war.
Films for the Colonies examines the British Government’s use of film across its vast Empire from the 1920s until widespread independence in the 1960s. Central to this work was the Colonial Film Unit, which produced, distributed, and, through its network of mobile cinemas, exhibited instructional and educational films throughout the British colonies. Using extensive archival research and rarely seen films, Films for the Colonies provides a new historical perspective on the last decades of the British Empire. It also offers a fresh exploration of British and global cinema, charting the emergence and endurance of new forms of cinema culture from Ghana to Jamaica, Malta to Malaysia. In highlighting the integral role of film in managing and maintaining a rapidly changing Empire, Tom Rice offers a compelling and far-reaching account of the media, propaganda, and the legacies of colonialism.
This book locates and critically theorises an emerging field of twenty-first century theatre practice concerned, either thematically, methodologically, or formally, with acts of commemoration and the commemorative. With notions of memorial, celebration, temporality and remembrance at its heart, and as a timely topic for debate, this book asks how theatre and performance intersects with commemorative acts or rituals in contemporary theatre and performance practice. It considers the (re)performance of history, commemoration as a form of, or performance of, ritual, performance as memorial, performance as eulogy and eulogy as performance. It asks where personal acts of remembrance merge with public or political acts of remembrance, where the boundary between the commemorative and the performative might lie, and how it might be blurred, broken or questioned. It explores how we might remake the past in the present, to consider not just how performance commemorates but how commemoration performs.
A tribute to the pilots and crew who flew from airbases in Suffolk during the last war and whose actions displayed some of the finest examples of courage and devotion to duty.
The familiar image of the British in the Second World War is that of the plucky underdog taking on German might. David Edgerton's bold, compelling new history shows the conflict in a new light, with Britain as a very wealthy country, formidable in arms, ruthless in pursuit of its interests, and in command of a global production system. Rather than belittled by a Nazi behemoth, Britain arguably had the world's most advanced mechanized forces. It had not only a great empire, but allies large and small. Edgerton shows that Britain fought on many fronts and its many home fronts kept it exceptionally well supplied with weapons, food and oil, allowing it to mobilize to an extraordinary extent. It created and deployed a vast empire of machines, from the humble tramp steamer to the battleship, from the rifle to the tank, made in colossal factories the world over. Scientists and engineers invented new weapons, encouraged by a government and prime minister enthusiastic about the latest technologies. The British, indeed Churchillian, vision of war and modernity was challenged by repeated defeat at the hands of less well-equipped enemies. Yet the end result was a vindication of this vision. Like the United States, a powerful Britain won a cheap victory, while others paid a great price. Putting resources, machines and experts at the heart of a global rather than merely imperial story, Britain's War Machine demolishes timeworn myths about wartime Britain and gives us a groundbreaking and often unsettling picture of a great power in action.