From Shorty Blake to Tubby Binns : Dunkirk and the Representation of Working-Class Masculinity in Postwar British Cinema

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Structures of authority : postwar masculinity and the British police

The British police procedural novel of the 1950s has attracted little critical attention, perhaps because the decade is seen as a ‘golden age’ of police legitimacy (Loader and Mulcahy, 2003). This perception is reinforced by the cinema of the period, where the police are predominantly represented as embodying traditional masculinities and demonstrating familiar national virtues. They are also shown to be policing a society that was itself fundamentally homogenous. Yet this template bore little resemblance to the realities of crime in the late 1940s and early 1950s, and it needs to be set against developments in the crime novel. While cinema used the genre to reassure, it is less clear whether the police procedural of the period attempted or achieved the same end. This hypothesis is explored through an examination of John Creasey’s popular Gideon books. Characterised by open endings and a disturbing level of violence, these novels demonstrate a significant transition in the representation of the police in British crime fiction, suggesting that the 1950s procedural was not a source of reassurance, but a textual space that recognised and negotiated the pressures of a changing society.PostprintPeer reviewe

U.S. Hog Marketing Contract Study

Livestock Production/Industries, Marketing,

BENEFITS OF COOL TO THE SWINE INDUSTRY

International Relations/Trade, Livestock Production/Industries,

U.S. Hog Marketing Contract Study

Livestock Production/Industries, Marketing,

ADAPTIVE PLANNING UNDER PRICE UNCERTAINTY IN PORK PRODUCTION

Livestock Production/Industries, Risk and Uncertainty,

Before the Colditz myth : telling POW stories in postwar British cinema

Before the concretization of the ‘Colditz Myth’ in the mid-1950s, British cinema's engagement with the prisoner of war (POW) narrative took unexpected generic forms. The Captive Heart (1946) and The Wooden Horse (1950) draw on the narrative conventions and structures of feeling mobilized by documentary realism, romance, melodrama, and crime. Exploring these films as hybrid genres draws attention to their capacity to symbolize a range of postwar social anxieties, in particular regarding demobilization, repatriation, and the reconstruction of peacetime masculinities. The films depict the frustration and boredom of incarceration, and build narratives of reassurance out of group and individual coping strategies. Yet, while characters might escape, the ‘duty to escape’ is not a central preoccupation: rather the films focus on the relationship between camp and home, and the reconstruction of the incarcerated male subject. Between 1946 and 1955, cinema variously imagines the prisoner of war camp as a space of holistic reconstruction, and as a site for the reconstruction of male agency through productive labour. These films, then, bear little resemblance to the war genre through which they are usually conceptualized: rather they draw on domestic tropes to examine the pressures confronting the male subject in the aftermath of war.PostprintPeer reviewe

Analysis of USDA Mandatory Hog Price Data

Livestock Production/Industries,

U.S. Pork Imports and Exports

International Relations/Trade, Livestock Production/Industries,