{"id":{"repo_id":"east-anglia","oai_identifier":"oai:ueaeprints.uea.ac.uk:56894"},"canonical_url":"https://search.dev.ndltd.org/etd/east-anglia/oai:ueaeprints.uea.ac.uk:56894","repository":{"repo_id":"east-anglia","name":"University of East Anglia","base_url":"https://ueaeprints.uea.ac.uk/cgi/oai2"},"display":{"title":"Realism, Fantasy, and the ‘H’ Certificate: Rethinking Horror Cinema in Britain during the 1940s","abstract":"Existing research on British cinema during the 1940s has often assumed an opposition between realism and fantasy or, as it is also known, 'realism and tinsel'. However, through an analysis of contemporary critical reception and censorship discourses, it becomes apparent how this division was nowhere near as clearly defined as is often argued. Discussions surrounding a supposed ‘ban’ on horror during 1942-45, and the subsequent debates regarding realism in the post-war climate, demonstrate how realism was often associated with fantasy and vice versa. While the ‘quality’ realist film of the 1940s demonstrates a concern with verisimilitude and the reproduction of the surface appearances of reality, when confronting the obscene or the taboo hidden below this surface realism was deemed to be far more closely associated with ‘horrific’ fantasy. This thesis therefore looks beyond common perceptions of British cinema during this period through an analysis of contemporary discussions surrounding the relationship between ‘realism and tinsel’, with a particular emphasis upon the misapprehension that the horror ‘ban’ signified a falling interest in fantasy in favour of the ‘quality’ of realism. By also looking at a number of films not often included within such debates, this approach contributes to the discussion of a period largely unacknowledged in terms of horror in British cinema.","abstract_html":"Existing research on British cinema during the 1940s has often assumed an opposition between realism and fantasy or, as it is also known, 'realism and tinsel'. However, through an analysis of contemporary critical reception and censorship discourses, it becomes apparent how this division was nowhere near as clearly defined as is often argued. Discussions surrounding a supposed ‘ban’ on horror during 1942-45, and the subsequent debates regarding realism in the post-war climate, demonstrate how realism was often associated with fantasy and vice versa. While the ‘quality’ realist film of the 1940s demonstrates a concern with verisimilitude and the reproduction of the surface appearances of reality, when confronting the obscene or the taboo hidden below this surface realism was deemed to be far more closely associated with ‘horrific’ fantasy. This thesis therefore looks beyond common perceptions of British cinema during this period through an analysis of contemporary discussions surrounding the relationship between ‘realism and tinsel’, with a particular emphasis upon the misapprehension that the horror ‘ban’ signified a falling interest in fantasy in favour of the ‘quality’ of realism. By also looking at a number of films not often included within such debates, this approach contributes to the discussion of a period largely unacknowledged in terms of horror in British cinema.","abstract_has_math":false,"creators":["Frith, Paul"],"institution":"University of East Anglia","degree_name":"phd","degree_level":"doctoral","degree_discipline":null,"degree_department":null,"school":null,"contributors":[],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2014,"date_issued":"2014-09","date_published":"2014-09","updated_at":"2026-07-24T02:12:13Z","subjects":[],"languages":["en"],"rights":[],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":null,"outbound_label":null,"outbound_source":null},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:creator","label":"Author","values":["Frith, Paul"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date","label":"Dc Date","values":["2014-09"]},{"key":"dc:date.issued","label":"Date","values":["2014-09"]},{"key":"dc:publisher.department","label":"Dc Publisher Department","values":["School of Film, Television and Media"]},{"key":"dc:publisher.institution","label":"Dc Publisher Institution","values":["University of East Anglia"]},{"key":"dc:relation.isreferencedby","label":"Dc Relation Isreferencedby","values":["https://ueaeprints.uea.ac.uk/id/eprint/56894/"]},{"key":"dc:type","label":"Dc Type","values":["Thesis"]},{"key":"dc:type.qualificationlevel","label":"Dc Type Qualificationlevel","values":["doctoral"]},{"key":"dc:type.qualificationname","label":"Dc Type Qualificationname","values":["phd"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language","label":"Dc Language","values":["en"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier.uri","label":"Identifier URI","values":["https://ueaeprints.uea.ac.uk/id/eprint/56894/1/Paul_Frith_Final_PhD.pdf"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description.abstract","label":"Abstract","values":["Existing research on British cinema during the 1940s has often assumed an opposition between realism and fantasy or, as it is also known, 'realism and tinsel'. However, through an analysis of contemporary critical reception and censorship discourses, it becomes apparent how this division was nowhere near as clearly defined as is often argued. Discussions surrounding a supposed ‘ban’ on horror during 1942-45, and the subsequent debates regarding realism in the post-war climate, demonstrate how realism was often associated with fantasy and vice versa. While the ‘quality’ realist film of the 1940s demonstrates a concern with verisimilitude and the reproduction of the surface appearances of reality, when confronting the obscene or the taboo hidden below this surface realism was deemed to be far more closely associated with ‘horrific’ fantasy. This thesis therefore looks beyond common perceptions of British cinema during this period through an analysis of contemporary discussions surrounding the relationship between ‘realism and tinsel’, with a particular emphasis upon the misapprehension that the horror ‘ban’ signified a falling interest in fantasy in favour of the ‘quality’ of realism. By also looking at a number of films not often included within such debates, this approach contributes to the discussion of a period largely unacknowledged in terms of horror in British cinema."]},{"key":"dc:format","label":"Dc Format","values":["application/pdf"]},{"key":"dc:title","label":"Title","values":["Realism, Fantasy, and the ‘H’ Certificate: Rethinking Horror Cinema in Britain during the 1940s"]}]}],"canonical_facts":{"dc:creator":["Frith, Paul"],"dc:date":["2014-09"],"dc:date.issued":["2014-09"],"dc:description.abstract":["Existing research on British cinema during the 1940s has often assumed an opposition between realism and fantasy or, as it is also known, 'realism and tinsel'. However, through an analysis of contemporary critical reception and censorship discourses, it becomes apparent how this division was nowhere near as clearly defined as is often argued. Discussions surrounding a supposed ‘ban’ on horror during 1942-45, and the subsequent debates regarding realism in the post-war climate, demonstrate how realism was often associated with fantasy and vice versa. While the ‘quality’ realist film of the 1940s demonstrates a concern with verisimilitude and the reproduction of the surface appearances of reality, when confronting the obscene or the taboo hidden below this surface realism was deemed to be far more closely associated with ‘horrific’ fantasy. This thesis therefore looks beyond common perceptions of British cinema during this period through an analysis of contemporary discussions surrounding the relationship between ‘realism and tinsel’, with a particular emphasis upon the misapprehension that the horror ‘ban’ signified a falling interest in fantasy in favour of the ‘quality’ of realism. By also looking at a number of films not often included within such debates, this approach contributes to the discussion of a period largely unacknowledged in terms of horror in British cinema."],"dc:format":["application/pdf"],"dc:identifier.uri":["https://ueaeprints.uea.ac.uk/id/eprint/56894/1/Paul_Frith_Final_PhD.pdf"],"dc:language":["en"],"dc:publisher.department":["School of Film, Television and Media"],"dc:publisher.institution":["University of East Anglia"],"dc:relation.isreferencedby":["https://ueaeprints.uea.ac.uk/id/eprint/56894/"],"dc:title":["Realism, Fantasy, and the ‘H’ Certificate: Rethinking Horror Cinema in Britain during the 1940s"],"dc:type":["Thesis"],"dc:type.qualificationlevel":["doctoral"],"dc:type.qualificationname":["phd"]},"updated_at":"2026-07-24T02:12:13Z"}