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dc.contributor.authorHOCKENHULL, STELLA
dc.date.accessioned2018-06-27T15:47:13Z
dc.date.available2018-06-27T15:47:13Z
dc.date.issued2018-05-21
dc.identifier.citationStella Hockenhull (2018) All Work, No Play…: Representations of Child Labour in Films of the First World War, Historical Journal of Film, Radio and Television, DOI: 10.1080/01439685.2018.1472834
dc.identifier.issn0143-9685
dc.identifier.doi10.1080/01439685.2018.1472834
dc.identifier.urihttp://hdl.handle.net/2436/621359
dc.description.abstractThis article analyses the representation of children in short documentary films of the First World War. It suggests that, rather than adopting sentiment which might evoke emotion and mobilise public protest, the films were more pragmatic, aimed at conscripting children for the war effort. Indeed, they deployed a non sentimental approach, instead favouring military order which chimed with the predominating ‘structure of feeling’ of that period. Examining the campaign to encourage children to form part of the workforce and support the patriotic cause, this essay analyses a number of newsreel documentaries within the context of contemporaneous visual culture.
dc.formatapplication/PDF
dc.language.isoen
dc.publisherTaylor & Francis
dc.subjectFirst World War
dc.subjectFilm
dc.subjectChildren
dc.subjectVorticism
dc.subjectDig for Victory
dc.titleAll Work, No Play…: Representations of Child Labour in Films of the First World War
dc.typeJournal article
dc.identifier.journalHistorical Journal of Film, Radio and Television
dc.date.accepted2018-05-21
rioxxterms.funderinternal
rioxxterms.identifier.projectUOW270618SH
rioxxterms.versionAM
rioxxterms.licenseref.urihttps://creativecommons.org/licenses/by-nc-nd/4.0/
rioxxterms.licenseref.startdate2019-11-21
dc.source.volume39
dc.source.issue1
dc.source.beginpage1
dc.source.endpage17
refterms.dateFCD2018-08-01T15:20:05Z
refterms.versionFCDAM
html.description.abstractThis article analyses the representation of children in short documentary films of the First World War. It suggests that, rather than adopting sentiment which might evoke emotion and mobilise public protest, the films were more pragmatic, aimed at conscripting children for the war effort. Indeed, they deployed a non sentimental approach, instead favouring military order which chimed with the predominating ‘structure of feeling’ of that period. Examining the campaign to encourage children to form part of the workforce and support the patriotic cause, this essay analyses a number of newsreel documentaries within the context of contemporaneous visual culture.


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