British Children’s Cinema: From the Thief of Bagdad to Wallace and Gromit

Cover\nHalf-title\nEndorsement\nCinema and Society series\nTitle page\nCopyright information\nTable of contents\nIllustrations\nAcknowledgments\nGeneral Editor’s Introduction\nIntroduction\n1 In the Beginning: Children and British Cinema in the Silent Era\n	Early British Films and Children\n	The ‘Child’ Audience\n	Children and Reformers\n	Children and the Talkies\n2 The Children’s Adventure Movie, 1930–60\n	Emil and the Detectives and the Children’s Adventure Movie Cycle\n	Sabu: The Child as Star\n	The Child as Outsider\n	The Child and the Family\n3 Family Entertainers: Formby, Hay, Lucan, Wisdom\n	Child Appeal\n	Symbolic Childhood\n	Populism and National Identity\n	Self-Parody and the Child Audience\n4 J. Arthur Rank, Saturday Morning Cinema and the Children’s Film Foundation\n	1930s Children’s Film Culture\n	J. Arthur Rank and Children’s Entertainment Films\n	The Children’s Film Foundation and Mary Field\n	Branching out in the 1960s\n	Geddes and the Later Years\n5 Happiest Days: British Cinema and the Family Audience in the Fifties\n	The School Film\n	The Domestic Comedy\n	Adaptation and Halas and Batchelor’s Animal Farm\n	Teen Films and ‘Adult’ Movies\n	Whistle Down the Wind and the End of Consensus\n6 Disney in Britain\n	Disney’s Gambit: Treasure Island and the British Cycle\n	Disney and British National Identity\n	Disney and the British Family\n7 Summers of Love and Winters of Discontent: The Sixties and Seventies\n	The Missing Audience\n	The Boom: Family Films in the 1960s\n	The Beatles on Film\n	Family Blockbusters: Oliver! and Chitty Chitty Bang Bang\n	‘Permissive’ Films\n	The Railway Children and Other Stories\n	The Animal Film\n	The Fantastic Turn\n8 From Thatcher to Blair: The Eighties and Nineties\n	Black Jack, Time Bandits and The Witches\n	A New Outlet: Television and the Made-for-TV Children’s Film\n	Branded Britishness\n9 Exporting Englishness\n	Harry Potter, Britishness and Contemporary Family Entertainment\n	Aardman\n	Liminality in Contemporary British Children’s Cinema\nConclusion\nNotes\n	Introduction\n	Chapter 1: In the Beginning: Children and  British Cinema in the Silent Era\n	Chapter 2: The Children’s Adventure Movie,  1930– 60\n	Chapter 3: Family Entertainers: Formby,  Hay, Lucan, Wisdom\n	Chapter 4: J. Arthur Rank, Saturday Morning  Cinema and the Children’s Film Foundation\n	Chapter 5: Happiest Days: British Cinema and  the Family Audience in the Fifties\n	Chapter 6: Disney in Britain\n	Chapter 7: Summers of Love and Winters of  Discontent: The Sixties and Seventies\n	Chapter 8: From Thatcher to Blair:  The Eighties and Nineties\n	Chapter 9: Exporting Englishness\n	Conclusion\nSelect Filmography\nSelect Bibliography\nIndex