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professional opportunities to women. Some films suggest that continuity in married and
domestic life might be the anchor of change in public life. They leave the door open to slow
changes in women’s choices and alternatives, a fittingly ambiguous response to a society in
transition between the old and the new, facing inevitable class leveling and gender role
redefinition.
1
Noël Burch and Geneviève Sellier, The Battle of the Sexes in French Cinema, 1930–1956
(Durham and London: Duke University Press, 2014), 2.
2
James Hinton, Nine Wartime Lives (Oxford and New York: Oxford University Press, 2010).
3
Sonya O. Rose uses the wartime term “class feeling,” maintaining that the British were one
people divided by social and economic inequality. There was abundant popular unrest against the
self-interested behavior of the wealthy. Rose states that “[w]ith nearly every major demand for
additional contribution to the war effort, the rhetoric of equality of sacrifice let to the expression
of class antagonism.” See: Sonya O. Rose, Which People’s War? National Identity and
Citizenship in Wartime Britain 1939-1945 (Oxford and New York: Oxford University Press,
2003), 36. Neil Rattigan claims that patriarchal hegemony and class hegemony deemed it
unlikely that women and the working class shared interests with men or the ruling class, unless
propaganda films stressed their necessity for the People’s War: “Women need to be told it is
‘their’ war in the same way the lower-classes had to be told it was their war.” See Neil Rattigan,
This Is England: British Film and the People’s War, 1939-1945 (Cranbury, NJ, London, and
Mississauga, ON: Associated University Press, 2001), 187.
4
Antonia Lant, Blackout: Reinventing Women for Wartime British Cinema (Princeton, NJ:
Princeton University Press, 1991), 41.
5
James Chapman, “British Cinema and ‘The People’s War,’” in ‘Millions Like Us’?: British
Culture in the Second World War, ed. Nick Hayes and Jeff Hill (Liverpool: Liverpool University
Press, 1999), 41.
6
Lant, Blackout, 7; Jeffery Richards and Dorothy Sheridan, ed., Mass Observation at the Movies
(London and New York: Routledge, 1987), 1-16; Anthony Aldgate and Jeffery Richards, Britain
Can Take It: British Cinema in the Second World, 2nd ed. (New York: I.B. Tauris, 2007), 3-4.
7
Jackie Stacey, Star Gazing: Hollywood cinema and Female Spectatorship (New York:
Routledge, 1994), 84-85; Lant, Blackout, 63.
8
Chapman, “British Cinema and ‘The People’s War,” 33-34; Lant, Blackout, 13.