Now available in paperback, this study is a major appraisal of the contributions of German-speaking emigres to British cinema from the late 1920s to the end of World War II. Through a series of film analyses and case studies, it challenges notions of a self-sufficient British national cinema by advancing the assumption that filmmakers from Berlin, Munich and Vienna had a major influence on aesthetics, themes and narratives, technical innovation, the organisation of work and the introduction of apprenticeship schemes. Whether they came voluntarily or as refugees, their contributions and expertise helped to consolidate the studio system and ultimately made possible the establishment of a viable British film industry. Hochscherf talks about such figures as Ewald Andre Dupont, Alfred Junge, Oscar Werndorff, Mutz Greenbaum and Werner Brandes, and such companies as Korda's London Film Productions, Powell and Pressburger's The Archers and Michael Balcon's Gaumont-British. -- .

The Allied agreement after the Second World War did not only partition Germany, it divided the nation along the fault-lines of a new bipolar world order. This inner border made Germany a unique place to experience the Cold War, and the "German question" in this post-1945 variant remained inextricably entwined with the vicissitudes of the Cold War until its end. This volume explores how social and cultural practices in both German states between 1949 and 1989 were shaped by the existence of this inner border, putting them on opposing sides of the ideological divide between the Western and Eastern blocs, as well as stabilizing relations between them. This volume's interdisciplinary approach addresses important intersections between history, politics, and culture, offering an important new appraisal of the German experiences of the Cold War.

This study is a major appraisal of the contributions of German-speaking emigres to British cinema from the late 1920s to the end of World War II. Through a series of film analyses and case studies, it challenges notions of a self-sufficient British national cinema by advancing the assumption that filmmakers from Berlin, Munich and Vienna had a major influence on aesthetics, themes and narratives, technical innovation, the organisation of work and the introduction of apprenticeship schemes. Whether they came voluntarily or as refugees, their contributions and expertise helped to consolidate the studio system and ultimately made possible the establishment of a viable British film industry. Hochscherf talks about such figures as Ewald Andre Dupont, Alfred Junge, Oscar Werndorff, Mutz Greenbaum and Werner Brandes, and such companies as Korda's London Film Productions, Powell and Pressburger's The Archers and Michael Balcon's Gaumont-British. -- .

" A] timely and important contribution to the current scholarship on the Cold War and the critical reassessment of Cold War history within an interdisciplinary, comparative, and transnational framework...The editors are to be commended for promoting a comparative perspective in the individual essays themselves and through the thoughtful selection of topics from East and West German perspectives." . Sabine Hake, University of Texas, Austin

The Allied agreement after the Second World War did not only partition Germany, it divided the nation along the fault-lines of a new bipolar world order. This inner border made Germany a unique place to experience the Cold War, and the "German question" in this post-1945 variant remained inextricably entwined with the vicissitudes of the Cold War until its end. This volume explores how social and cultural practices in both German states between 1949 and 1989 were shaped by the existence of this inner border, putting them on opposing sides of the ideological divide between the Western and Eastern blocs, as well as stabilizing relations between them. This volume's interdisciplinary approach addresses important intersections between history, politics, and culture, offering an important new appraisal of the German experiences of the Cold War.

Tobias Hochscherf is Professor of Audio-Visual Media at the University of Applied Sciences at Kiel, Germany. His research interests focus on European film and television cultures. He has published widely in academic journals and edited collections.

Christoph Laucht is Lecturer in History at the University of Liverpool. His research interests include the cultural history of the nuclear age, the transnational history of the Cold War and film and history. He is currently completing a book manuscript on the impact of German emigre scientists on British nuclear culture.

Andrew Plowman is Senior Lecturer in German at the University of Liverpool. He is the author of a study on German autobiography and of numerous articles on contemporary German literature. His current research focuses on the cultural representation of the Bundeswehr.

Drawing worldwide acclaim from critics and audiences alike, programmes like The Killing, Borgen, The Bridge and The Legacy demonstrate widespread fascination with Danish style, aesthetics and culture as seen through television narratives. This book uses familiar, alongside lesser known, case studies of drama series to demonstrate how the particular features of Danish production - from work cultures, to storytelling techniques and trans-national cooperation - have enhanced contemporary Danish drama's appeal both at home and abroad. The era of globalisation has blurred national and international television cultures and promoted regular cross-fertilisation between film and television industries. Important questions have emerged from this context surrounding, for example, the 'Americanisation' of foreign television formats, the meaning and practice behind the term 'quality television', and the purpose and efficacy of public service broadcasting. Beyond the Bridge tackles these issues in relation to Danish television, by examining the so-called 'scaffolded production processes' behind the making of quality serials and their thought-provoking content. Drawing on popular motifs from these celebrated dramas such as foreign politics, organised crime, global warming, and the impact of multinational corporations, this timely book provides crucial insight into the Danish dramas at the forefront of sophisticated, forward-thinking, fictional television.

Drawing worldwide acclaim from critics and audiences alike, programmes like The Killing, Borgen, The Bridge and The Legacy demonstrate widespread fascination with Danish style, aesthetics and culture as seen through television narratives. This book uses familiar, alongside lesser known, case studies of drama series to demonstrate how the particular features of Danish production - from work cultures, to storytelling techniques and trans-national cooperation - have enhanced contemporary Danish drama's appeal both at home and abroad. The era of globalisation has blurred national and international television cultures and promoted regular cross-fertilisation between film and television industries. Important questions have emerged from this context surrounding, for example, the 'Americanisation' of foreign television formats, the meaning and practice behind the term 'quality television', and the purpose and efficacy of public service broadcasting. Beyond the Bridge tackles these issues in relation to Danish television, by examining the so-called 'scaffolded production processes' behind the making of quality serials and their thought-provoking content. Drawing on popular motifs from these celebrated dramas such as foreign politics, organised crime, global warming, and the impact of multinational corporations, this timely book provides crucial insight into the Danish dramas at the forefront of sophisticated, forward-thinking, fictional television.

Written by international experts from a range of disciplines, these essays examine the uniquely British contribution to science fiction film and television. Viewing British SF as a cultural phenomenon that challenges straightforward definitions of genre, nationhood, authorship and media, the editors provide a conceptual introduction placing the essays within their critical context. Essay topics include the Hammer horrors of the 1950s, the various incarnations of Doctor Who, Stanley Kubrick's A Clockwork Orange, and such 21st-century productions as 28 Days Later and Torchwood.