During this period the state's interest in the film industry took several different forms. The area of films policy explored in this thesis is the economic protection of the commercial film industry against the high percentage of American films screened in Britain and the Empire. I begin in 1925 because it was not until then that active steps were taken by the government, in response to agitation from producers and those who saw film as a bond of Empire and advertisement for British goods and 'way of life', leading to the Cinematograph Films Act, 1927. This proposed, for political, cultural, moral and economic reasons, that renters and exhibitors should acquire and show a percentage of British films. There was no subsidy for producers or a heavy duty levied on American film imports. The origins, impact and character of official film policy are explored in the thesis with particular attention to financial and political aspects. An attempt is made to explain why policy was limited to film quotas together with an assessment of their impact on the industry's economic development. Details are also given on how the film industry's affairs became caught up in wider debates on tariff policy in the 1920s and in Anglo-American relations ten years later. The first three chapters deal with the evolution, promulgation and initial impact of the Cinematograph Films Act, 1927. Chapter 4 examines the deliberations of the Moyne Committee, established in 1936 to review the film industry's progress. The last three chapters analyse the three major influences on policy during the making of the 1938 Films Act: the campaigns of British film trade interests; the state of Anglo-American relations and film finance. In the final assessment the major influences that shaped policy are outlined together with conclusions on the industry's position and problems on the eve of the Second World War.

What is at stake for female fans and followers of horror cinema? This study explores the pleasures in horror film viewing for female members of the audience. The findings presented here confirm that female viewers of horror do not refuse to look but actively enjoy horror films and read such films in feminine ways. Part 1 of this thesis suggests that questions about the female viewer and her consumption of the horror film cannot be answered solely by a consideration of the text-reader relationship or by theoretical models of spectatorship and identification. A profile of female horror film fans and followers can therefore be developed only through an audience study. Part 2 presents a profile of female horror fans and followers. The participants in the study were largely drawn from the memberships of horror fan groups and from the readerships of a cross-section of professional and fan horror magazines. Qualitative data were collected through focus groups, interviews, open-ended questions included in the questionnaire and through the communication of opinions and experiences in letters and other written material. Part 3 sheds light on the modes of interpretation and attempts to position the female viewers as active consumers of horror films. This study concludes with a model of the female horror film viewer which points towards areas of female horror film spectatorship which require further analysis. The value of investigating the invisible experiences of women with popular culture is demonstrated by the very large proportion of respondents who expressed their delight and thanks in having an opportunity to speak about their experiences. This study of female horror film viewers allows the voice of an otherwise marginalised and invisible audience to be heard, their experiences recorded, the possibilities for resistance explored, and the potentially feminine pleasures of the horror film identified.

Thesis (Ph. D.)--University of Texas at Austin, 2007. / Vita. Includes bibliographical references.

Thesis (Ph. D.)--University of Texas at Austin, 2006. / Vita. Includes bibliographical references.

Thesis (M.A. Screen and Media Studies)--University of Waikato, 2007. / Title from PDF cover (viewed April 7, 2008)

Thesis (M.F.A.)--York University, 2007. Graduate Programme in Film (Screenwriting). / Typescript. Includes bibliographical references (leaves 147-149). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR29622

Thesis (M.A.)--University of Tasmania, 2003. / Not available for loan or copying unless written permission is given by the author. Includes bibliographical references (leaves 116-127).

Thesis (Ph.D.) -- University of Adelaide, School of Humanities, Discipline of French Studies, 2006. / "November 2006" Bibliography: leaves 246-274. Also available in a print form.

Thesis (M.A.B.S.)--International School of Theology, 1988. / Includes bibliographical references (leaves 100-106).

Thesis (Ph. D.)--University of Texas at Austin, 2008. / Vita. Includes bibliographical references.