British children's films have played a part in the childhoods of generations of young people around the world for over a century. Until now, however, their cherished status has remained largely unexplored. In this book, Noel Brown relates the history of children's cinema in Britain from the early years of commercial cinema to the present day, to reveal the reasons behind its acclaim in international popular culture.Drawing on multiple sources, Brown provides in-depth analysis of a range of iconic films, including The Railway Children, The Thief of Bagdad, Bugsy Malone, the Harry Potter films,Mary Poppins, Nanny McPhee, Paddington, Oliver!, and Aardman's Wallace and Gromit series. Futhermore, he investigates industrial and commercial contexts, such as the role of the Children's Film Foundation; and includes revealing insights on changing social and cultural norms, such as the once-sacred tradition of Saturday morning cinema. Brown challenges common prejudices that children's films are inherently shallow or simplistic, revealing the often complex strategies that underpin their enduring appeal to audiences of all ages and backgrounds.In addition, he shows how the films allow a privileged access to historic cultures and the nation's political past. In doing so, Brown firmly establishes children's cinema as an important genre not only for students and scholars of film studies but also for those interested in socio-cultural history, the production and reception of popular entertainment and anyone looking for entertainment, escapism and nostalgia.
This book is the first to trace the story of children's cinema from the end of Victoria's reign to its demise in 1982. The book taps into, evokes through its...
This book serves as a comprehensive introduction to the children's film, examining its recurrent themes and ideologies, and common narrative and stylistic principles.
children's cinema's 30-year drought, it has not necessarily been sated by Hollywood and Disney productions. Even that mega-franchise Harry Potter (2001–2011), despite its British cast and setting, would not have been adapted to screen ...
Exploring cultural and social differences in defining a children's film / Becky Parry -- Screening innocence in children's film / Debbie Olson -- Screen adaptations of the Wizard of OZ and metafilmicity in children's film / Ryan Bunch -- ...
This book argues that over the twentieth and twenty-first centuries, the cinema in Britain became the site on which childhood was projected, examined, and understood.
National Under Fourteens Council (1947), Those Saturday Morning Cinema Clubs: Report on the cinema clubs in the London County Council Area (London). Newnham, John K., 'Film Censors', in Clarence Winchester (ed.) ...
All Our Yesterdays: 90 Years of British Cinema, London: BFI Publishing: 1–29. Bell, M. (2011) “Film ... (1972) The Movie Reader, London: November Books. ... Lejeune, C.A. (1947) Chestnuts in Her Lap, 1936–1946, London: Phoenix House.
Using original research, this book explores the recurring debates in Britain and America about children and how they use and respond to the media, focusing on a key example: the...
(Lindsay Anderson, 1968) and O Lucky Man (1973), of which Britannia is a loose sequel, the third instalment of Anderson's Michael Travis trilogy.13 But he also notes a number of allusions to popular British cinema, including the Doctor ...
Presiding over the "golden era" of the British Film Industry from the mid to late 1940s, J. Arthur Rank financed movies such as Oliver Twist, The Red Shoes, Brief Encounter, Caesar and Cleopatra and Black Narcissus.