Böcker av Steve Chibnall

The first to examine the work of a man once hailed as the finest film-maker to emerge from the British studio system after the Second World War, J. Lee Thompson -- .

This is the first book to provide a thorough examination of the British 'B' movie, from the war years to the 1960s. The authors draw on archival research, contemporary trade papers and interviews with key 'B' filmmakers to map the 'B' movie phenomenon both as artefact and as industry product, and as a reflection on their times.

Providing a history of the British B film, this book traces the development of the low-budget supporting feature from the 1927 Films Act to the age of television, when B film producers channelled their energies into making TV programmes. It also addresses leading producers and studios, B film stars, distributors, the genres and themes, and more.

British cinema has been around from the very birth of motion pictures, from black-and-white to color, from talkies to sound, and now 3D, it has been making a major contribution to world cinema. Many of its actors and directors have stayed at home but others ventured abroad, like Charlie Chaplin and Alfred Hitchcock. Today it is still going strong, the only real competition to Hollywood, turning out films which appeal not only to Brits, just think of Bridget Jones, while busily adding to franchises like James Bond and Harry Potter.So this Historical Dictionary of British Cinema has a lot of ground to cover. This it does with over 300 dictionary entries informing us about significant actors, producers and directors, outstanding films and serials, organizations and studios, different films genres from comedy to horror, and memorable films, among other things. Two appendixes provide lists of award-winners. Meanwhile, the chronology covers over a century of history. These parts provide the details, countless details, while the introduction offers the big story. And the extensive bibliography points toward other sources of information.

Released in 1971, "Get Carter" fell out of fashion until the cultural changes of the 1990s gave a new currency to its pessimistic vision of a doomed male within a decaying social order. Steve Chibnall places the film in its social context, describes its making and discusses its characteristics.