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West Indian GenerationRemaking British Culture in London, 1945-1965$
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Amanda Bidnall

Print publication date: 2017

Print ISBN-13: 9781786940032

Published to Liverpool Scholarship Online: January 2018

DOI: 10.5949/liverpool/9781786940032.001.0001

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PRINTED FROM LIVERPOOL SCHOLARSHIP ONLINE (www.liverpool.universitypressscholarship.com). (c) Copyright Liverpool University Press, 2019. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in LSO for personal use.date: 14 October 2019

The Race Relations Narrative in British Film

The Race Relations Narrative in British Film

Chapter:
(p.162) Chapter 5 The Race Relations Narrative in British Film
Source:
West Indian Generation
Author(s):

Amanda Bidnall

Publisher:
Liverpool University Press
DOI:10.5949/liverpool/9781786940032.003.0006

“West Indians and the Race Relations Narrative in British Film” revisits perhaps the three most famous middlebrow British “race relations” films of the 1950s and 60s and their star lead, Bermudan—not West Indian—actor Earl Cameron. Taken together, Pool of London, Sapphire, and Flame in the Streets demonstrate the evolving “race relations narrative” that refracted shifting popular attitudes to Caribbean settlers in the capitol. Equally important but less acknowledged in the cinematic histories is Cameron’s perceptive portrayal of “safe” West Indian characters to a mainstream British audience. This chapter’s second subject is the Jamaican actor, filmmaker, and settler Lloyd Reckord. As major feature films remained preoccupied with the impact of Commonwealth migration on white domestic life, Reckord expanded British film’s experience and knowledge of race through his short films Ten Bob in Winter and Dream A40.

Keywords:   Earl Cameron, Lloyd Reckord, Rank Organisation, Basil Dearden, Pool of London, Sapphire, Flame in the Streets, Johnny Sekka, Gordon Heath, race relations

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