Kirjahaku

This book examines the experiences and values which shaped working-class life in Britain in the half-century from 1880. It takes as its focus a region, Lancashire, which was central to the social and political changes of the period. The discussion centres on two towns, Bolton and Wigan, which, while they were geographically close, differed significantly in their industrial fortunes and their electoral development. The formation of class identity is traced through developments in the world of work, from the impact of technological and managerial innovations to the elaboration of collective-bargaining procedures. Beyond work, particular attention is paid to the dynamics of neighbourhood and family life, the latter emerging as an important source of continuity in working-class life. The broader impact of such influences are traced through a close examination of the electoral politics of the period. Dr Griffiths' conclusions fundamentally challenge the notion that the fifty years around the turn of the century witnessed the emergence of a working class more culturally and politically united than at any other time, either before or since. Rather, an alternative narrative of class development is offered, in which broad continuities in working-class life, in particular the survival of religious, ethnic, and occupational points of division, are emphasised. Despite the presence of strong and stable labour institutions, from trade unions to Co-operative and Friendly Societies, the picture emerges of a working class more individualist than collectivist in outlook, more flexible in response to economic change, and less constrained by the broader solidarities of work and neighbourhood than has previously been supposed.

What did our Scottish grandparents and great grandparents see at the cinema? What thrilled them on the silver screen? This is the first scholarly work to document the cinema habits of early twentieth-century Scots, exploring the growth of early cinema-going and integrating the study of cinema into wider debates in social and economic history. The author draws extensively on archival resources concerning the cinema as a business, on documentation kept by cinema managers, and on the diaries and recollections of cinema-goers. He considers patterns of cinema-going and attendance levels, as well as changes in audience preferences for different genres, stars or national origins of films. The thematic chapters broaden out the discussion of cinema-going to consider the wider social and cultural impact of this early form of mass leisure. Trevor Griffiths' book is a major contribution to the growing body of work on the history and significance of British film. Key features: first major study of early Scottish film; new archives and research; fascinating diary entries; early cinema as business; and, important addition to Scottish film studies.

What did our Scottish grandparents and great grandparents see at the cinema? What thrilled them on the silver screen? This is the first scholarly work to document the cinema habits of early twentieth-century Scots, exploring the growth of early cinema-going and integrating the study of cinema into wider debates in social and economic history. The author draws extensively on archival resources concerning the cinema as a business, on documentation kept by cinema managers, and on the diaries and recollections of cinema-goers. He considers patterns of cinema-going and attendance levels, as well as changes in audience preferences for different genres, stars or national origins of films. The thematic chapters broaden out the discussion of cinema-going to consider the wider social and cultural impact of this early form of mass leisure. Trevor Griffiths' book is a major contribution to the growing body of work on the history and significance of British film Key Features: *First major study of early Scottish film *New archives and research *Fascinating diary entries *Examines early cinema as business

A life of Thomas Paine.

Trevor Griffiths was born in Manchester in 1935, of Irish and Welsh descent. He has been a writer for the theatre, television and cinema since the late 1960s. His work has been seen throughout the world and has won numerous awards. This title features nine of his plays.

The commentary at the heart of the book introduces readers to the challenge of reading The Tempest as a text and responding to the play in performance. Other sections discuss early performances and cultural contexts. A wide-ranging sample of critical responses accompanies consideration of key performances and productions on stage and film.

How to make better life-enhancing choices when environments crumble and population shifts disrupt our ways of living? Dr Griffiths takes a deep look at how our brains trick us into seeing the surface of things so that we lose sight of the deep relatedness on which our survival as groups will increasingly depend. Many astonishing insights follow. Body-mind dualism dissolves, as the ecological person moves with others in a renewed group-approach to thriving. Dilemmas in the standard quantum view of matter and spirituality resolve so that groups of people are empowered by the same fusion energy burning in stars to renew their power of creative choice. Human inner heart is restored over mind, to its central place, as personal values reshape the future.

Winner of a Royal Television Society Award, this is the text of the television drama broadcast by the BBC starring Brian Cox and Sinead Cusack. Food for Ravens is a powerful political drama about one of the great politicians of the Twentieth Century, Aneurin (Nye) Bevan.