Transatlantic crossings : British feature films in the United States / Sarah Street.

"First published 2002 by Continuum.

Includes bibliographical references and index.

Online resource; title from PDF title page (EBSCO, viewed August 31, 2016).

Cover; Half-title; Title; Copyright; Dedication; Contents; List of Tables; Acknowledgements; Hollywood Jabberwocky; Introduction; Notes; 1. The 1920s: British Silent Films in the United States; Stoll Films in America; Protection and Reciprocity; Michael Balcon's International Trajectory; Herbert Wilcox, Nell Gwyn and Dorothy Gish; British Cinema, Hollywood and the Art-Film Market; British Stars: The Case of Ivor Novello; British Film Exports at the End of the Silent Period; Notes; 2. The 1930s: Exportable Texts and Stars -- Alexander Korda and United Artists; The Impact of the 'Talkies'

The Private Life of Henry VIII in the United StatesUnited Artists and Korda after Henry VIII; Notes; 3. The 1930s: Exportable Texts and Stars -- Herbert Wilcox, Michael Balcon and Reciprocity; Herbert Wilcox and the American Market; Michael Balcon, Gaumont-British and Internationalism; Marketing an International Star: Jessie Matthews; The Economics of Exportability: Basil Dean, Simon Rowson and Reciprocity; British Film Exports at the End of the 1930s; Notes; 4. The 1940s: Prestige, History and Shakespeare; The Second World War; Rank, United Artists and Henry V; Rank, Universal and Hamlet

Rank, Eagle-Lion and The Red ShoesBritish Film Exports at the End of the 1940s; Notes; 5. Questions of Censorship and Ideology; Mr Breen Regrets; 'Condemned!': The Forbidden Spectacle of Black Narcissus; 'Fair Representation': Oliver Twist and the Censors; Britain and the Decline of the Code: Kind Hearts and Coronets and The Captain's Paradise; Notes; 6. The 1950s: British Films as Art and Entertainment; The Accent Issue; Promoting British Films: Universal and Rank in the Early 1950s; Ealing and Alec Guinness in America; Hammer Horror in America

Conclusion: British Films as Art and EntertainmentNotes; 7. The 1960s: New Money, New Identities; The British 'New Wave' in America; United Artists and Tom Jones; A Hard Day's Night; The Midas Touch: James Bond in America; Hollywood and Bust: The Withdrawl of American Finance; Notes; 8. The 1970s to 2000: British Films and the 'New' Hollywood; The Heritage Question; Goldcrest and Film Finance in the 1980s; British Films at the American Box-office in the 1990s; Trainspotting in America; British Comedies: The Full Monty, Secrets and Lies, Bean and Notting Hill

A Bigger Splash? Crossing the Pond, 2001Notes; Conclusion; A. Films Imported into the United States, 1927-1968; B. British Feature Films Imported by the United States, 1927-1967: Film Daily Year Book Listings; Archival Sources and Bibliography; Index

This is a major study of the distribution and exhibition of British films in the USA. Charting the cross-cultural reception of many British films, it draws on a wide range of sources including studio records, film posters, press books, and statistics.

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