¹ Weight, Richard, Patriots: National Identity in Britain, 1940–2000 (Basingstoke, 2002), 101Google Scholar; Ash, Timothy Garton, “Why Britain Is in Europe,” Twentieth Century British History 17, no. 4 (2006): 455Google Scholar.

² Morgan, Kenneth, “The Second World War and British Culture,” in From Reconstruction to Integration: Britain and Europe since 1945, ed. Brivarti, Brian and Jones, Harriet (London, 1993), 42–43Google Scholar.

³ Smith, Malcolm, Britain and 1940: History, Myth and Popular Memory (London, 2000), 40Google Scholar.

⁴ European Intelligence Papers, Series 2, no. 2, 8 October 1941, BBC Written Archives Centre (BBC WAC), Caversham, E2/188/1.

⁵ ibid.

⁶ Stenton, Michael, Radio London and Resistance in Occupied Europe: British Political Warfare, 1939–1943 (Oxford, 2000), viiCrossRefGoogle Scholar.

⁷ See, e.g., “Writing on the Wall,” Evening Standard, 14 July 1941; “The New Army of Occupation,” Daily Express, 21 July 1941; cartoon with no caption, Daily Mail, 22 July 1941.

⁸ “The Secret Hope,” Punch, 13 August 1941.

⁹ The Day Will Dawn (Harold French, 1942).

¹⁰ The Times, 10 September 1942.

¹¹ Review of Undercover, Monthly Film Bulletin 10, no. 115 (31 July 1943): 74; my emphasis.

¹² Judt, Tony, “‘The Past Is Another Country’: Myths and Memory in Post-war Europe,” in Memory and Power in Post-war Europe: Studies in the Presence of the Past, ed. Muller, Jan-Werner (Cambridge, 2002), 163Google Scholar.

¹³ One of Our Aircraft Is Missing (Michael Powell and Emeric Pressburger, 1942).

¹⁴ Aventure Malgache (Alfred Hitchcock, 1944); Bon Voyage (Alfred Hitchcock, 1944). Bret Wood, “Foreign Correspondence: The Rediscovered War Films of Alfred Hitchcock,” Film Comment 29 (July 1993): 54–58. Michael Stenton observes that “by 1944 MOI documentaries were being shown by the Danish resistance in Copenhagen cinemas, and to audiences of Yugoslav partisans” (Stenton, Radio London, 3).

¹⁵ See, e.g., Rousso, Henri, The Vichy Syndrome [Le syndrome de Vichy: De 1944 a nos jours] (Paris, 1987; repr., Cambridge, MA: 1991); Pieter Lagrou, The Legacy of Nazi Occupation: Patriotic Memory and National Recovery in Western Europe, 1945–1965 (Cambridge, 2000); Judt, “The Past Is Another Country.”Google Scholar

¹⁶ Lagrou, The Legacy of Nazi Occupation, 262.

¹⁷ Chapman, James, The British at War: Cinema, State and Propaganda, 1939–1945 (London, 1998), chap. 10Google Scholar; Murphy, Robert, British Cinema and the Second World War (London, 2000), chap. 4Google Scholar.

¹⁸ For the “people's empire,” see Webster, Wendy, Englishness and Empire, 1939–1965 (Oxford, 2005), chaps. 2 and 3Google Scholar.

¹⁹ The resistance narrative was taken up by television from the 1950s. Late twentieth-century examples include Secret Army, a forty-eight-episode series shown on BBC1 from 1977–79, which was parodied as ’Allo ’Allo—an eighty-three-episode series shown on BBC1 from 1984–87; and Wish Me Luck—a twenty-three-episode series made by London Weekend Television and broadcast from 1988–90.

²⁰ “The Miracle,” Daily Express, 26 June 1940.

²¹ See Colpi, Terri, “The Impact of the Second World War on the British Italian Community,” in The Internment of Aliens in Twentieth Century Britain, ed. Cesarini, David and Kushner, Tony (London, 1993), 172–73Google Scholar.

²² Quoted in Rose, Sonya, Which People's War? National Identity and Citizenship in Wartime Britain, 1939–1945 (Oxford, 2003), 94Google Scholar.

²³ The Lady Vanishes (Alfred Hitchcock, 1938).

²⁴ The British Board of Film Censors (BBFC) did not take exception to a 1938 proposal for The Exiles, which featured people driven from their homes “providing the producers carry out their intention of not making the country identifiable in any way.” They worried about a 1938 proposal for In His Steps, even though “the names of countries are entirely fictitious,” but rejected a 1939 proposal to make Pastor Hall because “even with the nationality disguised, it must be evident that the story is anti-Nazi propaganda.” BFI Special Collections, BBFC Scenario Notes, 16 December 1938; 14 July 1939; 14 July 1939, British Film Institute (BFI), London.

²⁵ Night Train to Munich (Carol Reed, 1940); Crook's Tour (John Baxter, 1941). Crook's Tour was broadcast on BBC radio between 16 August 1941 and 20 September 1941.

²⁶ See, e.g., “Two Royal Families,” Daily Mail, 28 and 29 June 1940.

²⁷ Neville Chamberlain, broadcast to nation and empire, 27 September 1938.

²⁸ Pimpernel Smith (Leslie Howard, 1941).

²⁹ Antonia Lant, Blackout: Reinventing Women for Wartime British Cinema (Princeton, NJ: 1991), 111.

³⁰ Rose, Which People's War? chap. 5.

³¹ Pastor Hall (Roy Boulting, 1940); Freedom Radio (Anthony Asquith, 1941). For a discussion of Pastor Hall, see Chapman, James, “Why We Fight: Pastor Hall and Thunder Rock,” in The Family Way: The Boulting Brothers and British Film Culture, ed. Burton, Alan, O'Shea, Tim, and Wells, Paul (Trowbridge, 2000), 81–96Google Scholar.

³² BBFC, Scenario Notes, 14 July 1939, BFI.

³³ BBFC, Scenario Notes, 6 October 1939, BFI.

³⁴ There is little work on European exiles’ contribution to the British industry by comparison with Hollywood. But see Gough-Yates, Kevin, “The British Feature Film as a European Concern: Britain and the Emigré Film Maker, 1933–45,” in Theatre and Film in Exile: German Artists in Britain, 1933–1945, ed. Berghaus, Günter (London, 1989), 135–66Google Scholar, and “Exiles and British Cinema,” in The British Cinema Book, ed. Robert Murphy (London, 1997), 104–13.

³⁵ “Good Germans” continued to feature in films directed by Michael Powell and Emeric Pressburger—The 49th Parallel (1941) and The Life and Death of Colonel Blimp (1943).

³⁶ Jiri Weiss, “An Allied Film Unit,” Documentary Newsletter 2, no. 1 (December 1941): 233.

³⁷ Douglas Ritchie, “Report on Broadcasting as a Weapon of War,” 4 May 1941, The National Archives (TNA): Public Record Office (PRO), FO 371/8396.

³⁸ They Shall Rise Again was broadcast on BBC Radio Home Service in 1942 with episodes on Warsaw, 13 August; Louvain, 20 August; Prague, 27 August; Belgrade, 10 September; Athens, 17 September; Rotterdam, 24 September; Paris, 1 October.

³⁹ “Midnight Edition,” episode 2 of The Silent Battle, BBC Radio Home Service, 24 February 1944.

⁴⁰ “Secret Radio,” episode 6 of The Silent Battle, BBC Radio Home Service, 22 March 1944.

⁴¹ ibid.

⁴² Uncensored (Anthony Asquith, 1942); Secret Mission (Harold French, 1942); Tomorrow We Live (George King, 1942).

⁴³ See, e.g., the officers portrayed in The Day Will Dawn and Uncensored.

⁴⁴ European Intelligence Papers, Series 2, no. 2, 8 October 1941, BBC WAC, E2/188/1.

⁴⁵ The Salute To series was broadcast on BBC Radio Home Service in 1942–43: salute to Greece, 22 March 1942; to Poland, 3 May 1942; to Holland, 10 May 1942; to Luxembourg, 7 June 1942; to the People of France, 12 July 1942; to Belgium, 19 July 1942; to Czechoslovakia, 1 November 1942.

⁴⁶ See, e.g., “Here Is News Laval Can’t Suppress,” Daily Express, 22 April 1942; “Army of Shadows,” episode 4 of The Silent Battle, BBC Radio Home Service, 15 March 1944; Uncensored.

⁴⁷ The Flemish Farm (Jeffrey Dell, 1943).

⁴⁸ For propaganda about the Soviet Union, see McLaine, Ian, Ministry of Morale: Home Front Morale and the Ministry of Information in World War II (London, 1979), 197–208Google Scholar.

⁴⁹ Undercover (Sergei Nolbandov, 1943).

⁵⁰ “Pardon, M’sieur—a Match Please,” Daily Mail, 14 May 1942.

⁵¹ “They Saw Him Die,” episode 1 of The Silent Battle, BBC Radio Home Service, 16 February 1944.

⁵² Webster, Englishness and Empire, 33.

⁵³ Memorandum from G. R. Barnes, 29 September 1942, BBC WAC, R34/686.

⁵⁴ The Silent Village (Humphrey Jennings, 1943).

⁵⁵ Anthony Eden's speech was widely reported in the media on 17 and 18 December 1942.

⁵⁶ Home Intelligence Weekly Report, 7 January 1943, BBC WAC, R34/277.

⁵⁷ For the intervention of the British Board of Jewish Deputies, see record of interview between Sir Richard Maconachie and Commander Oliver Locker-Lampson, 7 June 1943; letter from Sir Richard Maconachie to Lady Violet Bonham-Carter, 27 October 1943, BBC WAC, R 34/277.

⁵⁸ Memorandum from Sir Richard Maconachie, 27 April 1943, BBC WAC, R34/277.

⁵⁹ Went the Day Well? (Alberto Cavalcanti, 1942).

⁶⁰ European Intelligence Papers, Series 2, no. 2, 8 October 1941, BBC WAC, E2/188/1.

⁶¹ Douglas Ritchie, “Report on Broadcasting as a Weapon of War,” 4 May 1941, TNA: PRO, FO 371/8396.

⁶² European Intelligence Papers, Series 2, no. 2, 8 October 1941, BBC WAC, E2/188/1.

⁶³ For a listing of these films, see Frances Thorpe and Nicholas Pronay with Coultass, Clive, British Official Films in the Second World War: A Descriptive Catalogue (Oxford, 1980)Google Scholar.

⁶⁴ Adventures of Tartu (Harold Bucquet, 1943).

⁶⁵ European Intelligence Papers, Series 2, no. 10, 6 October 1942, BBC WAC, E2/188/2.

⁶⁶ Salute to Greece, BBC Radio Home Service, 22 March 1942.

⁶⁷ See, e.g., Pastor Hall and The Day Will Dawn, where it is a collaborator who forces his attention on a female resister, but his collaboration is explained by the fact that he is of mixed parentage—Norwegian and German.

⁶⁸ See, e.g., The Day Will Dawn, Secret Mission, Adventures of Tartu.

⁶⁹ Review of Undercover, 74.

⁷⁰ The New Lot (Carol Reed, 1943).

⁷¹ Diary of a Polish Airman (Concanen Films, 1942).

⁷² Documentary Newsletter 3, no. 4 (April 1942): 54.

⁷³ Home Intelligence Special Report no. 28, 22 August 1942, TNA: PRO, INF 1/293.

⁷⁴ Fox, Jo, “Millions like Us? Accented Language and the ‘Ordinary’ in British Films of the Second World War,” Journal of British Studies 45, no. 4 (October 2006): 819–45CrossRefGoogle Scholar.

⁷⁵ Gough-Yates, “Britain and the Émigré Film Maker,” 152–58.

⁷⁶ In director Michael Powell's postwar film Honeymoon (1959), a great deal of Spanish is spoken.

⁷⁷ Quoted in Murphy, British Cinema, 143.

⁷⁸ German actors cast in resistance films included Carl Jaffé, Albert Lieven, and Martin Miller.

⁷⁹ Minute from the Prime Minister to the Foreign Secretary, 1 November 1954, TNA: PRO, FO 371/190343.

⁸⁰ Minute from Prime Minister's Office, 1 November 1954, TNA: PRO, FO 371/109733.

⁸¹ Lord Russell of Liverpool, The Scourge of the Swastika (London, 1954), viiiGoogle Scholar.

⁸² Minute, 12 August 1954, TNA: PRO, FO 371/109733; Memorandum, 30 July 1954, TNA: PRO, LCO 4/273.

⁸³ “Monstrous Act of Censorship,” Daily Express, 11 August 1954.

⁸⁴ Christopher Murphy, “The Origins of SOE in France,” Historical Journal 46, no. 4 (December 2003): 935–52.

⁸⁵ Memorandum from Jack Beddington to Mr. Gates, 25 March 1943, TNA: PRO, INF 1/128.

⁸⁶ “Catalogue of Films for Liberated European Territories,” 1 September 1945, TNA: PRO, INF 1/636.

⁸⁷ Jail Breakers (New Realm, 1945); Presence au Combat (Ministry of Information, 1945).

⁸⁸ Memorandum from Miss Mason to Mrs. Hackford, 8 February 1949, TNA: PRO, INF 6/759.

⁸⁹ La liberation de Paris (Comite de Liberation du Cinema Français, 1944). Langlois, Suzanne, “Images That Matter: The French Resistance in Film, 1944–1946,” French History 11, no. 4 (1997): 465CrossRefGoogle Scholar. An edited version of La liberation de Paris, retitled Le journal de la Resistance, was screened in Britain with a commentary by Noel Coward.

⁹⁰ Rousso, The Vichy Syndrome, 16.

⁹¹ Suzanne Langlois, “Would the Allies Arrive in Time? The Liberation of Paris on ABC,” Journal of Popular Film and Television 26, no. 1 (Spring 1998): 3.

⁹² Sorlin, Pierre, European Cinemas, European Societies (London, 1991), 54Google Scholar.

⁹³ Objective Burma (Raoul Walsh, 1945); Stephen Guy, “After Victory: Projections of the Second World War and Its Aftermath in British Feature Films” (PhD diss., University of London, 2002), 21.

⁹⁴ The first episode of Victory at Sea was screened on BBC television on 27 October 1952. The first episode of War in the Air, a fifteen-part BBC documentary series, was screened on 8 November 1954.

⁹⁵ Reynolds News, 31 October 1954. See also Daily Sketch, 28 October 1954; Evening Standard, 30 October 1954.

⁹⁶ >A Matter of Life and Death (Michael Powell and Emeric Pressburger, 1946).

⁹⁷ Wartime films celebrating the Soviet Union included The Demi-Paradise (Anthony Asquith, 1943); Tawny Pipit (Charles Saunders, 1944).

⁹⁸ Webster, Englishness and Empire, 88.

⁹⁹ 1950s BBC television dramas about the resistance included The Liberators, 24 May 1955; Madeleine, 14 June 1955.

¹⁰⁰ Now It Can Be Told (RAF Film Production Unit, 1946). The film was retitled School for Danger for theatrical release.

¹⁰¹ Against the Wind(Charles Crichton, 1947).

¹⁰² Odette (Herbert Wilcox, 1950).

¹⁰³ London Gazette, 16 August 1946, quoted in Neagle, Anna, Anna Neagle Says “There's Always Tomorrow”: An Autobiography (London, 1974), 161Google Scholar.

¹⁰⁴ The People, 11 June 1950.

¹⁰⁵ Reynolds News, 11 June 1950.

¹⁰⁶ Sunday Graphic, 11 June 1950.

¹⁰⁷ Madeleine, BBC television, 14 June 1955; Carve Her Name with Pride (Lewis Gilbert, 1958).

¹⁰⁸ For the gendering of French resistance films of the late 1940s, see Burch, Noel and Sellier, Genevieve, La drole de guerre des sexes du cinema Francais, 1930–1956 [in French] (Paris, 1996), chap. 5Google Scholar.

¹⁰⁹ Webster, Wendy, “;Reconstructing Boundaries: Gender, War and Empire in British Cinema, 1945–1950,” Historical Journal of Film, Radio and Television 23, no. 1 (March 2003): 43–57CrossRefGoogle Scholar.

¹¹⁰ Geraghty, Christine, British Cinema in the Fifties: Gender, Genre and the “New Look” (London, 2000), chap. 6Google Scholar.

¹¹¹ Odette's heroism might also have been less readily claimed for the nation had Ingrid Bergman or Michele Morgan accepted the part—it was only after they turned it down that Neagle was cast in the role. See Neagle, Anna Neagle, 162.

¹¹² Carve Her Name with Pride; Portrait from Life (Terence Fisher, 1948); The Lost People (Bernard Knowles, 1949).

¹¹³ Judt, “The Past Is Another Country,” 160.