scholarly journals Unpublished Post-War Writing and Emergent Gay Cultures

2018 ◽  
Author(s):  
Chris Brickell
Keyword(s):  
Same Sex ◽  
The Third ◽  
The Social ◽  
Social Opportunities ◽  
The 1950S ◽  
Post War ◽  
The 1960S ◽  
Short Essays

The 1950s and ’60s were pivotal decades in the emergence of modern gay life. New Zealand’s cities expanded rapidly after the end of the war, and the size of homosexual networks grew quickly. There were profound contradictions too. While many men partied, others were imprisoned for same-sex activity. A homemade queer literature accompanied these changes, and four examples illustrate the tensions of the time. The first, an essay called “De Profundis for Today,” was the work of Dunedin businessman Ernie Webber, who wrote it in Mt Eden Prison in 1957. The second piece, an early 1960s novel titled “The Rock Orchid,” is by Bert Pimley, a fellow inmate of Webber at Mt Eden. The third and fourth pieces, short essays by Auckland man Don Goodsell, are very different in their context and tone. The evocatively titled “Did You Ever See a Dream Limping?” and “The Night is Young and We’re So Beautiful” tell not of imprisonment but of the social opportunities of New Zealand’s cities during the 1960s

The Politics of Banking and Social Democracy

2017 ◽  
Author(s):  
Aled Davies
Keyword(s):  
Banking System ◽  
Social Democracy ◽  
The Political ◽  
Social Democratic ◽  
Industrial Economy ◽  
The Social ◽  
1960S And 1970S ◽  
Post War ◽  
The 1960S ◽  
Political Demand

This chapter concerns the politics of managing the domestic banking system in post-war Britain. It examines the pressures brought to bear on the post-war settlement in banking during the 1960s and 1970s—in particular, the growth of new credit creating institutions and the political demand for more competition between banks. This undermined the social democratic model for managing credit established since the war. The chapter focuses in particular on how the Labour Party attempted in the 1970s to produce a banking system that was competitive, efficient, and able to channel credit to the struggling industrial economy.

scholarly journals Zofia Dwornik: Becoming a Female Film Editor

Panoptikum ◽  
2020 ◽  
pp. 63-76
Author(s):  
Paulina Kwiatkowska
Keyword(s):  
Professional Life ◽  
Creative Activity ◽  
First Choice ◽  
The 1950S ◽  
Post War ◽  
The 1960S

In this article the author intends to recall the figure of Zofia Dwornik, one of the most appreciated and nowadays rather forgotten female film editors of post-war communist Poland. For the twenty-five years of her creative activity, Dwornik cooperated in the production of more than thirty films with the most important directors of the Polish cinema in the 1950s, 60s and 70s. In the Polish post-war cinema, the profession of film editor was strongly feminised. In the case of Dwornik, her decision to choose this particular profession was, however, based on additional objective considerations, closely related to the context of the Stalinist period in Poland, and was not her first choice of career – she had wanted to become a film director. In this article the author takes a closer look not so much at the achievements of Dwornik in the 1960s and 70s, but at the complex circumstances that influenced her later career. Therefore, the author tries to reconstruct the most important moments in Dwornik’s student and professional life in the first years after WWII and analyse one of the film études she made at the Film School in Łódź, in order to examine the reasons for her decision to become a film editor. This allows also to formulate some hypotheses how her career might have developed, had she been given the chance to graduate and try her hand at directing.

Irish Girls in Liverpool (2)

2018 ◽  
pp. 162-182
Author(s):  
Samantha Caslin
Keyword(s):  
Young Women ◽  
Second World War ◽  
World War ◽  
Irish Immigration ◽  
Irish Women ◽  
The 1950S ◽  
Post War ◽  
The 1960S ◽  
Second World

This chapter focuses on the LVA’s efforts to engage with Irish women in Liverpool during the Second World War and post-war years. Despite a reduction in Irish immigration during the war, which saw the LVA’s staff reduced, the organisation was quick to raise concerns about the moral wellbeing of Irish young women once peace was resumed. As such, the LVA continued, throughout the 1950s and into the 1960s, to provoke concerns about the supposed moral vulnerability of Irish young women in Liverpool in a bid to generate support for their patrols.

The Cul-de-Sac of Social Democracy

2018 ◽  
Author(s):  
Alan M. Wald
Keyword(s):  
New York ◽  
Social Democracy ◽  
Left Wing ◽  
Social Democratic ◽  
New York Intellectuals ◽  
The Social ◽  
History Of ◽  
Irving Howe ◽  
The 1950S ◽  
The 1960S

A history of Irving Howe and Dissent magazine is used to examine the strengths and weaknesses of the social democratic alternative that became the Left wing of the New York intellectuals during the 1950s. This is followed by an examination of the life and work of Harvey Swados, which also express the ambiguities that would render this tradition problematic during the era of new radicalization in the 1960s.

scholarly journals Ageing, corporeality and social divisions in later life

2016 ◽  
Vol 37 (8) ◽  
pp. 1681-1702 ◽  
Author(s):  
CHRIS GILLEARD ◽  
PAUL HIGGS
Keyword(s):  
Later Life ◽  
Demographic Ageing ◽  
Social Division ◽  
Third Age ◽  
The Third ◽  
Social Divisions ◽  
The Social ◽  
Post War ◽  
Social Divide ◽  
The 19Th Century

ABSTRACTThis paper concerns the social divisions of later life. Although research in this field has focused on class, gender and, more recently, sexuality as sources of division in later life, the division between the fit and the frail has tended to be ignored or viewed as an outcome of these other divisions. This paper challenges this assumption, arguing that corporeality constitutes a major social division in later life. This in many ways prefigures a return to the 19th-century categorisation of those ‘impotent through age’, whose position was among the most abject in society. Their ‘impotence’ was framed by an inability to engage in paid labour. Improved living standards during and after working life saw age's impotence fade in significance and in the immediate post-war era, social concern turned towards the relative poverty of pensioners. Subsequent demographic ageing and the expanding cultures of the third age have undermined the homogeneity of retirement. Frailty has become a major source of social division, separating those who are merely older from those who are too old. This division excludes the ‘unsuccessfully’ aged from utilising the widening range of material and social goods that characterise the third age. It is this social divide rather than those of past occupation or income that is becoming a more salient line of fracture in later life.

scholarly journals The (Post-) Soviet Built Environment: Soviet–Western Relat ions in the In dustrialised Mass Housing and its Reflections in Soviet Lithuania

2010 ◽  
Vol 15 (1) ◽  
pp. 11-26 ◽  
Author(s):  
Marija Drėmaitė
Keyword(s):  
Urban Planning ◽  
Urban Design ◽  
Housing Production ◽  
Policy And Practice ◽  
Mass Housing ◽  
Nikita Khrushchev ◽  
The Social ◽  
Post War ◽  
The 1960S ◽  
Housing Programme

This paper discusses the social, political and especially the technological aspect of the post-war Soviet industrialisation of housing, focusing on the relation to Western planning and technology. The chronological scope of the paper covers the thaw in Soviet architecture and construction that began in 1954 after the well-known meeting of Soviet architects and builders initiated by Nikita Khrushchev. This study presents Soviet architects’ study trips to the West, which became crucial in changing the entire urban planning and mass housing production system in the USSR. The text examines how pan-Union mass housing industrialisation policy and practice were carried out in the 1960s in the Western periphery of the USSR, namely Soviet Lithuania, which became the leader in mass housing urban design because of the Western-oriented ambitions of Baltic architects. Thus, in the paper the modern Soviet mass housing programme is researched from the perspective of (mutations in) modernist urban planning.

WHERE TO? FILMING EMIGRATION ANXIETY IN PREWAR LEBANESE CINEMA

2019 ◽  
Vol 51 (2) ◽  
pp. 183-201
Author(s):  
Ghenwa Hayek
Keyword(s):  
Cultural History ◽  
Cultural Narratives ◽  
The Social ◽  
History Of ◽  
The 1950S ◽  
The 1960S ◽  
New Research ◽  
Research Avenue

AbstractI propose that careful reading of films and film coverage provides a new research avenue for scholars interested in the social and cultural history of the 1950s and the 1960s in Lebanon. Looking specifically at the manner in which George Nasser's 1957 filmIla Ayn?(Where To?) embraces and modifies the generic conventions of neorealist melodrama to articulate anxieties over the effects of emigration on Lebanon, this article explores the manner in which contemporaneous cultural critics used the film to, in turn, express their dismay at migration from Lebanon. Reading the film closely for the affects it contains and for those it produced in its readers, I argue that this technique, attendant to both sides of this dynamic, affords us new insights into the manner in which cinema produced during Lebanon's golden period interacted with and complicated the dominant cultural narratives of that era.

Scouting for scripts: Mizuki Yōko and social issue film in post-war Japan

2020 ◽  
Vol 11 (3) ◽  
pp. 265-285
Author(s):  
Lauri Kitsnik
Keyword(s):  
Social Issue ◽  
Social Fabric ◽  
The Social ◽  
Narrative Cinema ◽  
Studio System ◽  
The 1950S ◽  
Post War

During the heyday of the studio system in Japan in the 1950s, Mizuki Yōko (1910–2003) was one of Japan’s most prominent and celebrated screenwriters. Despite screenwriting being a markedly homosocial profession, Mizuki forged a remarkable career as a freelance writer, working both for major studios and independent productions. Her collaboration with directors such as Naruse Mikio and, above all, Imai Tadashi resulted in a string of critically acclaimed films. While Imai’s films were lauded by contemporary critics, his approach to directing has subsequently been regarded, especially by western scholars, as somewhat impersonal and his sympathies too leftist. Conversely, these social issue (shakaiha) films, often based on original screenplays by Mizuki, scrupulously displayed the anxieties and ambiguities of the post-war era when the social fabric of Japan was radically reconfigured as its people embraced the newly imported values of democracy and consumerism. In this article, I examine the contributions of Mizuki to the oft-neglected oeuvre of Imai and social issue film in particular. I argue that besides pointing at the capacity and bounds of narrative cinema to engage with timely and sensitive social topics, Mizuki’s working methods underline a screenwriter’s awareness of her own agency in filmmaking.

scholarly journals TEN RILLINGTON PLACE AND THE CHANGING POLITICS OF ABORTION IN MODERN BRITAIN

2014 ◽  
Vol 57 (4) ◽  
pp. 1085-1109 ◽  
Author(s):  
EMMA L. JONES ◽  
NEIL PEMBERTON
Keyword(s):  
Central Element ◽  
Blind Spot ◽  
Public Acceptance ◽  
The Social ◽  
Modern Britain ◽  
History Of ◽  
To Come ◽  
Working Class Women ◽  
Post War ◽  
The 1960S

ABSTRACTThis article addresses the social, cultural, and political history of backstreet abortion in post-war Britain, focusing on the murders of Beryl Evans and her daughter Geraldine, at Ten Rillington Place in 1949. It shows how the commonplace connection of John Christie to abortion and Beryl Evan's death was not a given in the wider public, legal, political, and forensic imagination of the time, reflecting the multi-layered and shifting meanings of abortion from the date of the original trials in the late 1940s and 1950s, through the subsequent judicial and literary reinvestigations of the case in the 1960s, to its cinematic interpretation in the 1970s. Exploring the language of abortion used in these different contexts, the article reveals changes in the gendering of abortionists, the increasing power and presence of abortion activists and other social reformers, the changing representation of working-class women and men, and the increasing critique of the practice of backstreet abortion. The case is also made for a kind of societal blind spot on abortion at the time of both the Evans and Christie trials; in particular, a reluctance to come to terms with the concept of the male abortionist, which distorted the criminal investigations and the trials themselves. Only when public acceptance for legalizing abortion grew in the more liberal climate of the 1960s and beyond did a revisionist understanding of the murder of Beryl Evans, in which abortion came to be positioned as a central element, gain a sustained hearing.

Art and Pluralism

2012 ◽  
Author(s):  
Nigel Whiteley
Keyword(s):  
New York ◽  
Vietnam War ◽  
Freedom Of Expression ◽  
Clement Greenberg ◽  
The 1950S ◽  
Post War ◽  
Art And Society ◽  
The 1960S ◽  
The Right ◽  
World Centre

Lawrence Alloway (1926–1990) was one of the most influential and widely respected (as well as prolific) art writers of the post-war years. His many books, catalogue essays, and reviews manifest the changing paradigms of art away from the formal values of modernism towards the inclusiveness of the visual culture model in the 1950s, through the diversity and excesses of the 1960s, to the politicisation in the wake of 1968 and the Vietnam War, on to postmodern concerns in the 1970s. Alloway was in the right places at the right times. From his central involvement with the Independent Group and the Institute of Contemporary Arts (ICA) in London in the 1950s, he moved to New York, the new world centre of art, at the beginning of the 1960s. In the early 1970s Alloway became deeply involved with the realist revival and the early feminist movement in art — Sylvia Sleigh, the painter, was his wife — and went on to write extensively about the gallery and art market as a system, examining the critic's role within this system. Positioning himself against the formalism and exclusivism associated with Clement Greenberg, Alloway was wholeheartedly committed to pluralism and diversity in both art and society. For him, art and criticism were always to be understood within a wider set of cultural, social and political concerns, with the emphasis on democracy, social inclusiveness and freedom of expression. This book provides a close critical reading of Alloway's writings.

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