Nationalising Femininity

Christine Gledhill is Professor of Media Studies in the Faculty of Arts, Design and Media at the University of Sunderland. Gillian Swanson is Readerof Cultural History at the University of the West of England

• 1. Prologue: mobile femininityPART ONEMobile women: change and regulation2. 'The girl that makes the thing . . . ': discourses of women and work in the Second World War3. 'Bombs don't discriminate!' Women's political activism in the Second World War4. 'So much money and so little to spend it on': morale, consumption and sexuality5. Good wives and moral lives: marriage and divorce 1937-51PART TWOFashioning the national self: cultural practices and representations6. 'Pulling our weight in the call-up of women': class and gender in British radio in the Second World War7. Putting the black women in the frame: Una Marson and the West Indian challenge to British national identity8. Women's magazines: times of war and management of the self in Woman's Own9. The Family Firm restored: newsreel coverage of the British monarchy 1936-4510. Fashioning the feminine: dress, appearance and femininity in wartime BritainPART THREENationialising femininity: the case of British cinema11. Cinema Culture and femininity in the 1930s12. The years of total war: propaganda and entertainment13. 'An abundance of understatement': documentary, melodrama and romance14. Disguises and betrayals: negotiating nationality and femininity in three wartime films15. The female audience: mobile women and married ladies16. Stepping out or out of step? Austerity, affluence and femininity in two post-war films17. Two weddings and two funerals: the problem of the post-war woman