London as Screen Gateway

Elizabeth Evans is Professor of Screen Cultures at the University of Nottingham. Her research examines the intersection of screen audiences, screen industries and technology studies. She is the author of Transmedia Television: Audiences, New Media and Daily Life (2011) and Understanding Engagement in Transmedia Culture (2020) and co-editor of Participations: The Online Journal of Audience and Reception Studies. Malini Guha is Associate Professor of Film Studies at Carleton University. As a contributing editor for the online journal Mediapolis, she writes a regular column, ‘Screening Canada’, where she explores an aspect of Canada’s mediated place-making in relation to recent issues concerning its global role and domestic negotiation of racial and ethnic difference.

List of Figures

List of Contributors

Introduction

Part I

London as Archive

1. ‘The BFI: London's gateway to Cinema and Media studies for all’: Interview with Sarah Currant, Melanie Hoyes, and Emma Smart

2. Millennium Mills: London’s last post-industrial ruin and its media history and industry

3. Sherlock Holmes, Archive London: Phantasms of Authenticity at the Festival of Britain, 1951

4. Watching the Detectives: Poe, Luther, and the Surveilled City

5. Adaptations and Intertexts: How Disney Imagines London in ‘Mary Poppins’ and Saving Mr. Banks

6. The Rough and the Smooth: Touching and the Tactile in British London Films of the 1920s

Part II

London Locations

7. London Film-Location Walking Tours: Labouring at the intersection of text, location and place

8. ‘Rivers Can Be Very Sinister Places’: Alfred Hitchcock Takes a Satirical, Sinister London Crime Cruise in Frenzy

9. Is London Real? The Actual/Virtual/Fantastic City from Blow-Up to Bandersnatch

10. London and the carnivalesque in Catastrophe (Channel 4, 2015-2019), and Fleabag (BBC, 2016 – 2019)

Part III

London and Beyond

11. Leaving London: The BBC, Channel 4 and The Symbolic Diversity of Location

12. Invisible London: Unveiling the Immigrant Landscape in The Receptionist

13. Piccadilly Lights as Pandemic Portal? The Case of Circa Art’s Public Projection Series

Afterword: Peak London: the spectacular and the banal in the ABC decade