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This book presents a history of the struggle that has brought us to
the present crisis. The way housing was organised in mid-twentieth
century Britain did a better job of providing people with decent,
secure and affordable homes than the way it is ordered today. This
was not benevolently bestowed by some caring government but was won
through collective struggle. Council housing, rent controls and
regulated tenancies represented not only an important set of
material gains, but a recognition by the state that it had a
responsibility to house the people. During the 1980s these gains
were eroded and ever since successive governments from both
political camps have sought to remove the state from the provision
and regulation of housing. This transformation was also the result
of political struggle. This book demonstrates that housing was a
key vehicle through which neoliberal ideas were translated into
policy and practice. By every measure this experiment has been a
failure. Through an understanding of the range of strategies
deployed in the struggle for better housing, we can begin to work
out how to continue this fight today.
The War Artists' Advisory Committee (WAAC) were responsible for the
production of some of the most iconic images of the Second World
War. Despite its rich historical value, this collection has been
poorly utilised by historians and hasn't been subjected to the
levels of analysis afforded to other forms of wartime culture. This
innovative study addresses this gap by bringing official war art
into dialogue with the social, economic and military histories of
the Second World War. Rebecca Searle explores the tensions between
the documentarist and propagandistic roles of the WAAC in their
representation of aerial warfare in the battle for production, the
Battle of Britain, the Blitz and the bombing of Germany. Her
analyses demonstrate that whilst there was a strong correlation
between war art and propaganda, the WAAC depicted many aspects of
experience that were absent from wartime propaganda, such as class
divisions within the services, gendered hierarchies within
industries, civilian death and the true nature of the bombing of
Germany. In addition, she shows that propagandistic constructions
were not entirely separate from lived experience, but reflected
experience and shaped the way that individuals made sense of the
war. Accessibly written, highly illustrated and packed with
valuable examples of the use of war art as historical source, this
book will enhance our understanding of the social and cultural
history of Britain during the Second World War.
The War Artists' Advisory Committee (WAAC) were responsible for the
production of some of the most iconic images of the Second World
War. Despite its rich historical value, this collection has been
poorly utilised by historians and hasn't been subjected to the
levels of analysis afforded to other forms of wartime culture. This
innovative study addresses this gap by bringing official war art
into dialogue with the social, economic and military histories of
the Second World War. Rebecca Searle explores the tensions between
the documentarist and propagandistic roles of the WAAC in their
representation of aerial warfare in the battle for production, the
Battle of Britain, the Blitz and the bombing of Germany. Her
analyses demonstrate that whilst there was a strong correlation
between war art and propaganda, the WAAC depicted many aspects of
experience that were absent from wartime propaganda, such as class
divisions within the services, gendered hierarchies within
industries, civilian death and the true nature of the bombing of
Germany. In addition, she shows that propagandistic constructions
were not entirely separate from lived experience, but reflected
experience and shaped the way that individuals made sense of the
war. Accessibly written, highly illustrated and packed with
valuable examples of the use of war art as historical source, this
book will enhance our understanding of the social and cultural
history of Britain during the Second World War.
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