Shafer's study challenges the conventional historical assumption
that British feature films during the Thirties were mostly oriented
to the middle-class. Instead, he makes the critical distinction
between films intended for West End and international circulation
and those intended primarily for domestic, working-class audiences.
Far from being alientated by a 'middle-class institution', working
men and women flocked to see pictures featuring such music-hall
luminaries as Gracie Fields and George Formby.
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