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British Submarines 1939–45 (New Vanguard #129)
by Tony Bryan Innes McCartneyThe submarine was the invisible but formidable weapon of the Royal Navy during World War II. This book examines the three major classes – 'S', 'T' and 'U' – detailing their design, development and modification. The major submarine engagements of the war are recounted, including the Norwegian campaign, the battle of Malta in March 1942, Operation Pedestal, and many other engagements in all theatres between the British subs, German U-Boats and Japanese subs. Using many previously unpublished sources and his own extensive underwater explorations, Innes McCartney gives a highly detailed account of the British submarine.
British Submarines of World War I (New Vanguard #145)
by Tony Bryan Innes McCartneyAs the major powers engaged in an arms race in the early years of the 20th century, the Admiralty was tasked with developing that deadly stalker of the high seas the submarine. In 1905, briefed with creating a vessel that could be employed on an enemy's coastline, the Admiralty took several technological leaps forward to match Germany's own revolutionary vessels. Written by an influential expert in the field and covering all classes of submarine developed and deployed during the war, this book includes great technical detail, gripping operational accounts and is accompanied by artwork. With fascinating details of daring submarine raids in the Baltic and the Dardanelles, this book reveals the exceedingly dangerous world of early submarine warfare which claimed an extraordinary number of lives on both sides and paved the way for a new kind of naval warfare in the 20th century and beyond.
British Submarines of World War I (New Vanguard #145)
by Tony Bryan Innes McCartneyAs the major powers engaged in an arms race in the early years of the 20th century, the Admiralty was tasked with developing that deadly stalker of the high seas the submarine. In 1905, briefed with creating a vessel that could be employed on an enemy's coastline, the Admiralty took several technological leaps forward to match Germany's own revolutionary vessels. Written by an influential expert in the field and covering all classes of submarine developed and deployed during the war, this book includes great technical detail, gripping operational accounts and is accompanied by artwork. With fascinating details of daring submarine raids in the Baltic and the Dardanelles, this book reveals the exceedingly dangerous world of early submarine warfare which claimed an extraordinary number of lives on both sides and paved the way for a new kind of naval warfare in the 20th century and beyond.
British Subversive Propaganda during the Second World War: Germany, National Socialism and the Political Warfare Executive (Britain and the World)
by Kirk Robert GrahamThis book offers the first in-depth intellectual and cultural history of British subversive propaganda during the Second World War. Focussing on the Political Warfare Executive (PWE), it tells the story of British efforts to undermine German morale and promote resistance against Nazi hegemony. Staffed by civil servants, journalists, academics and anti-fascist European exiles, PWE oversaw the BBC European Service alongside more than forty unique clandestine radio stations; they maintained a prolific outpouring of subversive leaflets and other printed propaganda; and they trained secret agents in psychological warfare. British policy during the occupation of Germany stemmed in part from the wartime insights and experiences of these propagandists. Rather than analyse military strategy or tactics, British Subversive Propaganda during the Second World War draws on a wealth of archival material from collections in Germany and Britain to develop a critical genealogy of British ideas about Germany and National Socialism. British propagandists invoked discourses around history, morality, psychology, sexuality and religion in order to conceive of an audience susceptible to morale subversion. Revealing much about the contours of mid-century European thought and the origins of our own heavily propagandised world, this book provides unique insights for anyone researching British history, the Second World War, or the fight against fascism.
British Summer Time Begins: The School Summer Holidays 1930-1980
by Ysenda Maxtone GrahamBritish Summer Time Begins is about summer holidays of the mid-twentieth century and how they were spent, as recounted to Ysenda Maxtone-Graham in vividly remembered detail by people who were there. Through this prism, it paints a revealing portrait of twentieth-century Britain in summertime: how we were, how families functioned, what houses and gardens and streets were like, what journeys were like, and what people did all day in their free time. It explores their expectations, hopes, fears and habits, the rules or lack of rules under which they lived, their happiness and sadness, their sense of being treasured or neglected - all within living memory, from pre-war summers to the late 1970s. Ysenda takes us back to the long stretch of time from the last days of June till the early days of September - those months when the term-time self was cast off and you could become the person you really were, and you had (if you were lucky) enough hours in the endless succession of days to become good at the things that would later define your adulthood. The 'showpiece' part of the summer holidays was 'the summer holiday', when families took off to the seaside, or to grandparents' houses teeming with cousins, or on early package holidays to France or Spain, siblings wedged into the back of small cars, roof-racks clattering, mothers preparing picnics. British Summer Time Begins is as much about the long weeks either side of that holiday as the trip itself: the weeks when nothing much officially happened, boredom often lurked nearby, and you vanished for hours on end, nobody much knowing or even caring where you were. Could it be that those unscheduled days were actually the most important and formative of your life?From the author of the beloved Terms & Conditions, British Summer Time Begins is a delightful, nostalgic and joyous celebration of summers.
British Tank Crewman 1939-45 (Warrior)
by Graham Turner Neil Grant Nikolai BogdanovicGreat Britain had introduced the tank to the world during World War I, and maintained its lead in armoured warfare with the 'Experimental Mechanised Force' during the late 1920s, watched with interest by German advocates of Blitzkrieg. Despite these successes, the Experimental Mechanised Force was disbanded in the 1930s, making Britain relatively unprepared for World War II, both in terms of armoured doctrine and equipment. This fully illustrated new study examines the men who crewed the tanks of Britain's armoured force during World War II, which was only four battalions large in 1939. It looks at the recruitment and training of the vast numbers of men required, their equipment, appearance and combat experience in every theatre of the war as the British armoured division sought to catch up with the German Panzers.
British Tank Crewman 1939-45 (Warrior #183)
by Graham Turner Neil Grant Nikolai BogdanovicGreat Britain had introduced the tank to the world during World War I, and maintained its lead in armoured warfare with the 'Experimental Mechanised Force' during the late 1920s, watched with interest by German advocates of Blitzkrieg. Despite these successes, the Experimental Mechanised Force was disbanded in the 1930s, making Britain relatively unprepared for World War II, both in terms of armoured doctrine and equipment. This fully illustrated new study examines the men who crewed the tanks of Britain's armoured force during World War II, which was only four battalions large in 1939. It looks at the recruitment and training of the vast numbers of men required, their equipment, appearance and combat experience in every theatre of the war as the British armoured division sought to catch up with the German Panzers.
British Tank Production and the War Economy, 1934-1945
by Benjamin CoombsBritish Tank Production and the War Economy, 1934-1945 explores the under-researched experiences of the British tank industry in the context of the pressures of war. Benjamin Coombs explores the various demands placed on British industry during the Second World War, looking at the political, military and strategy pressures involved. By comparing the British tank programme with the Canadian, American, Russian and Australian equivalents, this study offers an international perspective on this aspect of the war economy. Topics covered include the premature contraction of the tank programme and dependence on American armour, the supply of the Valentine tank to the Russian authorities and the ongoing employment of the tank in the postwar peacetime markets.
British Tank Production and the War Economy, 1934-1945
by Benjamin CoombsBritish Tank Production and the War Economy, 1934-1945 explores the under-researched experiences of the British tank industry in the context of the pressures of war. Benjamin Coombs explores the various demands placed on British industry during the Second World War, looking at the political, military and strategy pressures involved. By comparing the British tank programme with the Canadian, American, Russian and Australian equivalents, this study offers an international perspective on this aspect of the war economy. Topics covered include the premature contraction of the tank programme and dependence on American armour, the supply of the Valentine tank to the Russian authorities and the ongoing employment of the tank in the postwar peacetime markets.
British Television Animation 1997-2010: Drawing Comic Tradition
by V. NorrisBritish Television Animation 1997-2010 charts a moment in TV history where UK comic animation graduated from the margins as part of a post-Simpsons broadcast landscape. Shows like Monkey Dust, Modern Toss and Stressed Eric not only reflected the times but they ushered in an era of ambition and belief in British adult animation.
British Television Drama: Past, Present and Future
by Jonathan Bignell Stephen LaceyFeaturing leading scholars of British television drama and noted writers and producers from the television industry, this new edition of British Television Drama evaluates past and present TV fiction since the 1960s, and considers its likely future.
British Territorial Units 1914–18 (Men-at-Arms)
by Mike Chappell Ray WestlakeIn his Army Reforms of 1906/07 the Secretary of State for War, Richard Burdon Haldane, provided for an expeditionary force the Regular Army supplemented by the old Militia and a new organisation intended for home defence, the Territorial Force. This new 'Citizen's Army' was formed by the transfer of the Honourable Artillery Company, Imperial Yeomanry and Volunteer Force, all with many years of service and tradition. At the outbreak of war, the Territorial Force was organised as per the Regular Army, with infantry battalions, artillery, engineers, supply and medical formations. This title takes a highly detailed and illustrated look at the badges and uniforms and the changing organisation of the British Territorial units during the Great War. It also covers the combat experiences of the men who soon found themselves in service overseas, in the thick of the fighting.
British Territorial Units 1914–18 (Men-at-Arms #245)
by Mike Chappell Ray WestlakeIn his Army Reforms of 1906/07 the Secretary of State for War, Richard Burdon Haldane, provided for an expeditionary force the Regular Army supplemented by the old Militia and a new organisation intended for home defence, the Territorial Force. This new 'Citizen's Army' was formed by the transfer of the Honourable Artillery Company, Imperial Yeomanry and Volunteer Force, all with many years of service and tradition. At the outbreak of war, the Territorial Force was organised as per the Regular Army, with infantry battalions, artillery, engineers, supply and medical formations. This title takes a highly detailed and illustrated look at the badges and uniforms and the changing organisation of the British Territorial units during the Great War. It also covers the combat experiences of the men who soon found themselves in service overseas, in the thick of the fighting.
British Theatre and Performance 1900-1950 (Critical Companions)
by Rebecca D'MonteBritish theatre from 1900 to 1950 has been subject to radical re-evaluation with plays from the period setting theatres alight and gaining critical acclaim once again; this book explains why, presenting a comprehensive survey of the theatre and how it shaped the work that followed. Rebecca D'Monte examines how the emphasis upon the working class, 'angry' drama from the 1950s has led to the neglect of much of the century's earlier drama, positioning the book as part of the current debate about the relationship between war and culture, the middlebrow, and historiography. In a comprehensive survey of the period, the book considers: - the Edwardian theatre; - the theatre of the First World War, including propaganda and musicals; -the interwar years, the rise of commercial theatre and influence of Modernism; - the theatre of the Second World War and post-war period.Essays from leading scholars Penny Farfan, Steve Nicholson and Claire Cochrane give further critical perspectives on the period's theatre and demonstrate its relevance to the drama of today. For anyone studying 20th-century British Drama this will prove one of the foundational texts.
British Theatre and Performance 1900-1950 (Critical Companions)
by Rebecca D'MonteBritish theatre from 1900 to 1950 has been subject to radical re-evaluation with plays from the period setting theatres alight and gaining critical acclaim once again; this book explains why, presenting a comprehensive survey of the theatre and how it shaped the work that followed. Rebecca D'Monte examines how the emphasis upon the working class, 'angry' drama from the 1950s has led to the neglect of much of the century's earlier drama, positioning the book as part of the current debate about the relationship between war and culture, the middlebrow, and historiography. In a comprehensive survey of the period, the book considers: - the Edwardian theatre; - the theatre of the First World War, including propaganda and musicals; -the interwar years, the rise of commercial theatre and influence of Modernism; - the theatre of the Second World War and post-war period.Essays from leading scholars Penny Farfan, Steve Nicholson and Claire Cochrane give further critical perspectives on the period's theatre and demonstrate its relevance to the drama of today. For anyone studying 20th-century British Drama this will prove one of the foundational texts.
British Theatre and the Great War, 1914 - 1919: New Perspectives
by Andrew MaunderBritish Theatre and the Great War examines how theatre in its various forms adapted itself to the new conditions of 1914-1918. Contributors discuss the roles played by the theatre industry. They draw on a range of source materials to show the different kinds of theatrical provision and performance cultures in operation not only in London but across parts of Britain and also in Australia and at the Front. As well as recovering lost works and highlighting new areas for investigation (regional theatre, prison camp theatre, troop entertainment, the threat from film, suburban theatre) the book offers revisionist analysis of how the conflict and its challenges were represented on stage at the time and the controversies it provoked. The volume offers new models for exploring the topic in an accessible, jargon-free way, and it shows how theatrical entertainment of the time can be seen as the `missing link’ in the study of First World War writing.
British Theatre Companies: CAST, The People Show, Portable Theatre, Pip Simmons Theatre Group, Welfare State International, 7:84 Theatre Companies (British Theatre Companies: From Fringe to Mainstream)
by John Bull Graham SaundersThis series of three volumes provides a groundbreaking study of the work of many of the most innovative and important British theatre companies from 1965 to the present. Each volume provides a survey of the political and cultural context; an extensive survey of the variety of theatre companies from the period, and detailed case studies of six of the major companies drawing on the Arts Council Archives to trace the impact of funding on the work produced.1965–1979, covers the period often accepted as the 'golden age' of British Fringe companies, looking at the birth of companies concerned with touring their work to an ever-expanding circuit of 'alternative' performance venues. Leading academics provide case studies of six of the most important companies, including:* CAST, by Bill McDonnell (University of Sheffield, UK)* The People Show, by Grant Tyler Peterson (Brunel University London, UK)* Portable Theatre, by Chris Megson (Royal Holloway, University of London, UK)* Pip Simmons Theatre Group, by Kate Dorney (The Victoria and Albert Museum, UK)* Welfare State International, by Gillian Whitely (Loughborough University, UK)* 7:84 Theatre Companies, by David Pattie (University of Chester, UK).
British Theatre Companies: CAST, The People Show, Portable Theatre, Pip Simmons Theatre Group, Welfare State International, 7:84 Theatre Companies (British Theatre Companies: From Fringe to Mainstream)
by John Bull Graham SaundersThis series of three volumes provides a groundbreaking study of the work of many of the most innovative and important British theatre companies from 1965 to the present. Each volume provides a survey of the political and cultural context; an extensive survey of the variety of theatre companies from the period, and detailed case studies of six of the major companies drawing on the Arts Council Archives to trace the impact of funding on the work produced.1965–1979, covers the period often accepted as the 'golden age' of British Fringe companies, looking at the birth of companies concerned with touring their work to an ever-expanding circuit of 'alternative' performance venues. Leading academics provide case studies of six of the most important companies, including:* CAST, by Bill McDonnell (University of Sheffield, UK)* The People Show, by Grant Tyler Peterson (Brunel University London, UK)* Portable Theatre, by Chris Megson (Royal Holloway, University of London, UK)* Pip Simmons Theatre Group, by Kate Dorney (The Victoria and Albert Museum, UK)* Welfare State International, by Gillian Whitely (Loughborough University, UK)* 7:84 Theatre Companies, by David Pattie (University of Chester, UK).
British Theatre Companies: Joint Stock, Gay Sweatshop, Complicite, Forced Entertainment, Women's Theatre Group, Talawa (British Theatre Companies: From Fringe to Mainstream)
by Graham Saunders John BullThis series of three volumes provides a groundbreaking study of the work of many of the most innovative and important British theatre companies from 1965 to the present. Each volume provides a survey of the political and cultural context, an extensive survey of the variety of theatre companies from the period, and detailed case studies of six of the major companies.Volume Two, 1980–1994, covers the period when cuts under Margaret Thatcher's Tory government changed the landscape for British theatre. Yet it also saw an expansion of companies that made feminism and gender central to their work, and the establishment of new black and Asian companies. Leading academics provide case studies of six of the most important companies, including:* Monstrous Regiment, by Kate Dorney (The Victoria & Albert Museum)*Forced Entertainment, by Sarah Gorman (University of Roehampton, London, UK)* Gay Sweatshop, by Sara Freeman (University of Puget Sound, USA)* Joint Stock, by Jaqueline Bolton (University of Lincoln, UK)* Theatre de Complicite, by Michael Fry* Talawa, by Kene Igweonu (Canterbury Christ Church University, UK)
British Theatre Companies: Joint Stock, Gay Sweatshop, Complicite, Forced Entertainment, Women's Theatre Group, Talawa (British Theatre Companies: From Fringe to Mainstream)
by Graham Saunders John BullThis series of three volumes provides a groundbreaking study of the work of many of the most innovative and important British theatre companies from 1965 to the present. Each volume provides a survey of the political and cultural context, an extensive survey of the variety of theatre companies from the period, and detailed case studies of six of the major companies.Volume Two, 1980–1994, covers the period when cuts under Margaret Thatcher's Tory government changed the landscape for British theatre. Yet it also saw an expansion of companies that made feminism and gender central to their work, and the establishment of new black and Asian companies. Leading academics provide case studies of six of the most important companies, including:* Monstrous Regiment, by Kate Dorney (The Victoria & Albert Museum)*Forced Entertainment, by Sarah Gorman (University of Roehampton, London, UK)* Gay Sweatshop, by Sara Freeman (University of Puget Sound, USA)* Joint Stock, by Jaqueline Bolton (University of Lincoln, UK)* Theatre de Complicite, by Michael Fry* Talawa, by Kene Igweonu (Canterbury Christ Church University, UK)
British Theatre Companies: Mind the Gap, Kneehigh Theatre, Suspect Culture, Stan's Cafe, Blast Theory, Punchdrunk (British Theatre Companies: From Fringe to Mainstream)
by Liz Tomlin Graham Saunders John BullThis series of three volumes provides a groundbreaking study of the work of many of the most innovative and important British theatre companies from 1965 to 2014. Each volume provides a survey of the political and cultural context, an extensive survey of the variety of theatre companies from the period, and detailed case studies of six of the most important companies. Volume Three, 1995-2014, charts the expansion of the sector in the era of Lottery funding and traces the resistant influences of earlier movements in the emergence of new companies and an independent theatre ecology that seeks to reconfigure the mainstream. Leading academics provide case studies of six of the most important companies, including:* Mind the Gap, by Dave Calvert (University of Huddersfield, UK)* Blast Theory, by Maria Chatzichristodoulou (University of Hull, UK)* Suspect Culture, by Clare Wallace (Charles University, Prague, Czech Republic)* Punchdrunk, by Josephine Machon (Middlesex University, UK)* Kneehigh, by Duška Radosavljevic (University of Kent, UK)* Stans Cafe, by Marissia Fragkou (Canterbury Christ Church University, UK)
British Theatre Companies: Mind the Gap, Kneehigh Theatre, Suspect Culture, Stan's Cafe, Blast Theory, Punchdrunk (British Theatre Companies: From Fringe to Mainstream)
by Liz Tomlin Graham Saunders John BullThis series of three volumes provides a groundbreaking study of the work of many of the most innovative and important British theatre companies from 1965 to 2014. Each volume provides a survey of the political and cultural context, an extensive survey of the variety of theatre companies from the period, and detailed case studies of six of the most important companies. Volume Three, 1995-2014, charts the expansion of the sector in the era of Lottery funding and traces the resistant influences of earlier movements in the emergence of new companies and an independent theatre ecology that seeks to reconfigure the mainstream. Leading academics provide case studies of six of the most important companies, including:* Mind the Gap, by Dave Calvert (University of Huddersfield, UK)* Blast Theory, by Maria Chatzichristodoulou (University of Hull, UK)* Suspect Culture, by Clare Wallace (Charles University, Prague, Czech Republic)* Punchdrunk, by Josephine Machon (Middlesex University, UK)* Kneehigh, by Duška Radosavljevic (University of Kent, UK)* Stans Cafe, by Marissia Fragkou (Canterbury Christ Church University, UK)
British Theatre in the Great War: A Revaluation
by Gordon WilliamsBritish Theatre in the Great War deals with a theatrical phase customarily dismissed by those charting twentieth-century developments. What becomes clear is that assessment by unsuitable literary criteria has masked the importance of the war years in British theatrical history. In avoiding a texts bias, the book reveals a period of unsurpassed prosperity in which the stage's substantial contribution to the war effort is only one notable feature. That it also saw the commercial theater's absorption of Continental avant-gardeism by way of revue, the last great epoch of music hall, the rise of the Old Vic with a project in opera and Shakespeare, and the unprecedented popularity of opera everywhere--this was surely the most fruitful period of Thomas Beecham's theatrical career--is compelling argument for revaluation. In his reassessment of this period, Dr. Williams extensively examines scripts and press coverage, providing a comprehensive overview from popular pantomime to the specialist work of the private stage as well as discussion of such issues as working conditions and censorship.
British Theatre in the Great War: A Revaluation
by Gordon WilliamsBritish Theatre in the Great War deals with a theatrical phase customarily dismissed by those charting twentieth-century developments. What becomes clear is that assessment by unsuitable literary criteria has masked the importance of the war years in British theatrical history. In avoiding a texts bias, the book reveals a period of unsurpassed prosperity in which the stage's substantial contribution to the war effort is only one notable feature. That it also saw the commercial theater's absorption of Continental avant-gardeism by way of revue, the last great epoch of music hall, the rise of the Old Vic with a project in opera and Shakespeare, and the unprecedented popularity of opera everywhere--this was surely the most fruitful period of Thomas Beecham's theatrical career--is compelling argument for revaluation. In his reassessment of this period, Dr. Williams extensively examines scripts and press coverage, providing a comprehensive overview from popular pantomime to the specialist work of the private stage as well as discussion of such issues as working conditions and censorship.
British Theatre of the 1990s: Interviews with Directors, Playwrights, Critics and Academics
by M. Aragay H. Klein E. Monforte P. ZozayaThis exciting book uniquely combines interviews with scholars and practitioners in theatre studies to look at what most people feel is a pivotal moment of British theatre - the 1990s. With a particular focus on 'in-yer-face theatre', this volume will be essential reading for all students and scholars of contemporary British theatre.