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?The number of people living under British colonial rule in the two decades after 1945 shrank from 700 million to 5 million, amid the fractious and blood-soaked decomposition of the largest and most ambitious imperial venture in human history. What roles did film play across the period 1939–65, in the face of rapidly changing geopolitics? What were the varied ways in which film registered and projected colonial and neocolonial discourse and practice? What do these films now reveal about the fantasies and realities of colonial rule and its ostensible dissolution? Film and the End of Empire brings together leading international scholars to address these questions.
Contributors examine the enmeshing of cultural representation and political and economic control, and demonstrate the ways in which state and non-state actors harnessed film to instructional and pedagogical functions, putting media to work in order to shape the attitudes and conduct of populations to sustain colonial and neocolonial governmental order. They focus on a wide range of material, including newsreels; state-produced documentaries; corporate-financed non-fiction films; and narrative fiction films telling stories about the past and present of imperialist endeavour. At the same time, they address the institutions that were formed to foster colonial film, and develop new non-theatrical forms of global distribution and exhibition. Film and the End of Empire opens up a fascinating new area of film history and will be indispensable reading for those interested in global cinema history, didactic and non-theatrical cinema, film and geopolitics, and those interested in Britain's colonial history and its continuing legacy. This book was produced in conjunction with a major new website housing freely available materials and films relating to British colonial cinema, www.colonialfilm.org.uk, and a companion volume entitled Empire and Film.
Contributors examine the enmeshing of cultural representation and political and economic control, and demonstrate the ways in which state and non-state actors harnessed film to instructional and pedagogical functions, putting media to work in order to shape the attitudes and conduct of populations to sustain colonial and neocolonial governmental order. They focus on a wide range of material, including newsreels; state-produced documentaries; corporate-financed non-fiction films; and narrative fiction films telling stories about the past and present of imperialist endeavour. At the same time, they address the institutions that were formed to foster colonial film, and develop new non-theatrical forms of global distribution and exhibition. Film and the End of Empire opens up a fascinating new area of film history and will be indispensable reading for those interested in global cinema history, didactic and non-theatrical cinema, film and geopolitics, and those interested in Britain's colonial history and its continuing legacy. This book was produced in conjunction with a major new website housing freely available materials and films relating to British colonial cinema, www.colonialfilm.org.uk, and a companion volume entitled Empire and Film.
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LEE GRIEVESONis Reader in Film Studies and Director of the Graduate Programme in Film Studies at University College London. He is the author of Policing Cinema: Movies and Censorship in Early Twentieth Century America (Berkeley: University of California Press, 2004), and co-editor, most recently, of Inventing Film Studies (Durham, N.C.: Duke University Press, 2008), with Haidee Wasson. Grieveson is the co-director, with Colin MacCabe, of the Arts and Humanities Research Council funded project Colonial Cinema: Moving Images of the British Empire
COLIN MACCABEis Distinguished Professor of English and Film at the University of Pittsburgh where he has taught since 1985. He also holds a Chair in English and Humanities at Birkbeck, University of London. His research interests include modernism in both literature and film, the history of Modern and Early Modern English and theories of language. His many publications include James Joyce and the Revolution of the Word (2nd Ed. London: Palgrave, 2002); Godard: A Portrait of the Artists at 70 (New York: Farrar Strauss Giroux, 2008) and T.S. Eliot (Plymouth: British Council, 2005). He worked for the British Film Institute from 1985-1998 (first as Head of Production and then as Head of Research). He has produced or executive produced over 10 feature films and over 30 hours of documentaries on the history of the cinema.
COLIN MACCABEis Distinguished Professor of English and Film at the University of Pittsburgh where he has taught since 1985. He also holds a Chair in English and Humanities at Birkbeck, University of London. His research interests include modernism in both literature and film, the history of Modern and Early Modern English and theories of language. His many publications include James Joyce and the Revolution of the Word (2nd Ed. London: Palgrave, 2002); Godard: A Portrait of the Artists at 70 (New York: Farrar Strauss Giroux, 2008) and T.S. Eliot (Plymouth: British Council, 2005). He worked for the British Film Institute from 1985-1998 (first as Head of Production and then as Head of Research). He has produced or executive produced over 10 feature films and over 30 hours of documentaries on the history of the cinema.
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