Sarah Street is Professor of Film at the University of Bristol. She is the joint author of Cinema and State (with Margaret Dickinson, 1985) and Film Architecture and the Transnational Imagination: Set Design in 1930s European Cinema (with Tim Bergfelder and Sue Harris, 2007), author of British Cinema in Documents (2000), Costume and Cinema (2001), Transatlantic Crossings: British Feature Films in the USA (2002) and Black Narcissus (2005). She is co-editor of Moving Performance: British Stage and Screen (with Linda Fitzsimmons, 2001), European Cinema (with Jill Forbes, 2001), The Titanic in Myth and Memory (with Tim Bergfelder, 2004) and The Queer Screen Reader (with Jackie Stacey, 2007).

• Introduction: British national cinema, 1 The fiscal politics of film, 2 Studios, directors and genres, 3 Genres from austerity to affluence, 4 Genres in transition: 1970s to 1990s, 5 Contemporary British cinema, 6 Acting and stars, 7 Borderlines I: Modernism and British cinema, 8 Borderlines II: Counter-cinema and independence, Conclusion, Notes, Bibliography, Subject index, Name index, Index of films and television programmes

Sarah Street is Professor of Film at the University of Bristol. She is the joint author of Cinema and State (with Margaret Dickinson, 1985) and Film Architecture and the Transnational Imagination: Set Design in 1930s European Cinema (with Tim Bergfelder and Sue Harris, 2007), author of British Cinema in Documents (2000), Costume and Cinema (2001), Transatlantic Crossings: British Feature Films in the USA (2002) and Black Narcissus (2005). She is co-editor of Moving Performance: British Stage and Screen (with Linda Fitzsimmons, 2001), European Cinema (with Jill Forbes, 2001), The Titanic in Myth and Memory (with Tim Bergfelder, 2004) and The Queer Screen Reader (with Jackie Stacey, 2007).

• Introduction: British national cinema, 1 The fiscal politics of film, 2 Studios, directors and genres, 3 Genres from austerity to affluence, 4 Genres in transition: 1970s to 1990s, 5 Contemporary British cinema, 6 Acting and stars, 7 Borderlines I: Modernism and British cinema, 8 Borderlines II: Counter-cinema and independence, Conclusion, Notes, Bibliography, Subject index, Name index, Index of films and television programmes

Sarah Street is Professor of Film at the University of Bristol. She is the joint author of Cinema and State (with Margaret Dickinson, 1985) and Film Architecture and the Transnational Imagination: Set Design in 1930s European Cinema (with Tim Bergfelder and Sue Harris, 2007), author of British Cinema in Documents (2000), Costume and Cinema (2001), Transatlantic Crossings: British Feature Films in the USA (2002) and Black Narcissus (2005). She is co-editor of Moving Performance: British Stage and Screen (with Linda Fitzsimmons, 2001), European Cinema (with Jill Forbes, 2001), The Titanic in Myth and Memory (with Tim Bergfelder, 2004) and The Queer Screen Reader (with Jackie Stacey, 2007).

• Introduction: British national cinema, 1 The fiscal politics of film, 2 Studios, directors and genres, 3 Genres from austerity to affluence, 4 Genres in transition: 1970s to 1990s, 5 Contemporary British cinema, 6 Acting and stars, 7 Borderlines I: Modernism and British cinema, 8 Borderlines II: Counter-cinema and independence, Conclusion, Notes, Bibliography, Subject index, Name index, Index of films and television programmes