Rebecca Searle – författare

The War Artists' Advisory Committee (WAAC) were responsible for the production of some of the most iconic images of the Second World War. Despite its rich historical value, this collection has been poorly utilised by historians and hasn't been subjected to the levels of analysis afforded to other forms of wartime culture. This innovative study addresses this gap by bringing official war art into dialogue with the social, economic and military histories of the Second World War.Rebecca Searle explores the tensions between the documentarist and propagandistic roles of the WAAC in their representation of aerial warfare in the battle for production, the Battle of Britain, the Blitz and the bombing of Germany. Her analyses demonstrate that whilst there was a strong correlation between war art and propaganda, the WAAC depicted many aspects of experience that were absent from wartime propaganda, such as class divisions within the services, gendered hierarchies within industries, civilian death and the true nature of the bombing of Germany. In addition, she shows that propagandistic constructions were not entirely separate from lived experience, but reflected experience and shaped the way that individuals made sense of the war.Accessibly written, highly illustrated and packed with valuable examples of the use of war art as historical source, this book will enhance our understanding of the social and cultural history of Britain during the Second World War.

The War Artists'' Advisory Committee (WAAC) were responsible for the production of some of the most iconic images of the Second World War. Despite its rich historical value, this collection has been poorly utilised by historians and hasn''t been subjected to the levels of analysis afforded to other forms of wartime culture. This innovative study addresses this gap by bringing official war art into dialogue with the social, economic and military histories of the Second World War. Rebecca Searle explores the tensions between the documentarist and propagandistic roles of the WAAC in their representation of aerial warfare in the battle for production, the Battle of Britain, the Blitz and the bombing of Germany. Her analyses demonstrate that whilst there was a strong correlation between war art and propaganda, the WAAC depicted many aspects of experience that were absent from wartime propaganda, such as class divisions within the services, gendered hierarchies within industries, civilian death and the true nature of the bombing of Germany. In addition, she shows that propagandistic constructions were not entirely separate from lived experience, but reflected experience and shaped the way that individuals made sense of the war. Accessibly written, highly illustrated and packed with valuable examples of the use of war art as historical source, this book will enhance our understanding of the social and cultural history of Britain during the Second World War.

The War Artists'' Advisory Committee (WAAC) were responsible for the production of some of the most iconic images of the Second World War. Despite its rich historical value, this collection has been poorly utilised by historians and hasn''t been subjected to the levels of analysis afforded to other forms of wartime culture. This innovative study addresses this gap by bringing official war art into dialogue with the social, economic and military histories of the Second World War. Rebecca Searle explores the tensions between the documentarist and propagandistic roles of the WAAC in their representation of aerial warfare in the battle for production, the Battle of Britain, the Blitz and the bombing of Germany. Her analyses demonstrate that whilst there was a strong correlation between war art and propaganda, the WAAC depicted many aspects of experience that were absent from wartime propaganda, such as class divisions within the services, gendered hierarchies within industries, civilian death and the true nature of the bombing of Germany. In addition, she shows that propagandistic constructions were not entirely separate from lived experience, but reflected experience and shaped the way that individuals made sense of the war. Accessibly written, highly illustrated and packed with valuable examples of the use of war art as historical source, this book will enhance our understanding of the social and cultural history of Britain during the Second World War.

The War Artists' Advisory Committee (WAAC) were responsible for the production of some of the most iconic images of the Second World War. Despite its rich historical value, this collection has been poorly utilised by historians and hasn't been subjected to the levels of analysis afforded to other forms of wartime culture. This innovative study addresses this gap by bringing official war art into dialogue with the social, economic and military histories of the Second World War.Rebecca Searle explores the tensions between the documentarist and propagandistic roles of the WAAC in their representation of aerial warfare in the battle for production, the Battle of Britain, the Blitz and the bombing of Germany. Her analyses demonstrate that whilst there was a strong correlation between war art and propaganda, the WAAC depicted many aspects of experience that were absent from wartime propaganda, such as class divisions within the services, gendered hierarchies within industries, civilian death and the true nature of the bombing of Germany. In addition, she shows that propagandistic constructions were not entirely separate from lived experience, but reflected experience and shaped the way that individuals made sense of the war.Accessibly written, highly illustrated and packed with valuable examples of the use of war art as historical source, this book will enhance our understanding of the social and cultural history of Britain during the Second World War.

In History of the Housing Crisis, Rebecca Searle offers a unique insight into the long history of the housing crisis, telling three stories that are central to understanding the contemporary crisis. The first explores the growth of owner occupation and how this was fostered by generations of parliamentarians as they wrested to contain the disruptive potential of democratization. The rise and fall of council housing is traced in the second story, which documents how a rent strike organized by Glasgow women forced the introduction of rent controls and council house building. Finally, the third story details the surprising legacy of the strikes, which was the boost they gave to the housing finance industry. Searle charts how successive property booms were fueled by lenders using financial mechanisms to displace risk to extend loans to lower-earning households. Rising interest rates placed strain on overextended borrowers and as boom turned to bust, wider economic turbulence ensued. Today we sit upon the largest housing bubble yet seen. As interest rates creep up, this book offers a timely intervention on how housing policy could better house the people.