1. The Heart of Britain, 1941. Crown Film Unit, directed by Humphrey Jennings.
2. I have noted in several analyses the indicators that many of these films were made with one eye at least on American audiences. I have also accepted that the images of Britain being presented may well have modified the realities of the class system toward a more "democratic" perception because of the importance given to influencing the population of the United States. I feel it can be taken as read that no such fine sensitivity existed with regard to Commonwealth audiences, whom, it could be assumed by the propagandists, were already supportive of Britain—or at least their governments were. Australia, for one, became less enthusiastic about sending its manpower to the aid of Britain after Japan entered the war and its troops arrived on Australia's doorstep soon after. The propagandists were not especially concerned with the sensitivity of colonial audiences to the British class system as the colonized countries had little or no choice in the matter of supporting Britain, irrespective of what the members of those audiences may think about it.
3. For this terminology as well as the concept of "explicit," "implicit," and "symptomatic" meaning, I am indebted to David Bordwell's Making Meaning: Inference and Rhetoric in the Interpretation of Cinema (Cambridge, Mass.: Harvard University Press, 1989), 8–9.
4. A recent work on documentary by Brian Winston, Claiming the Real: The Griersonian Documentary and Its Legitimations (1995) confirms the surmise I arrive at from a different direction.
5. Although I have adopted the term "Deep England" as a consequence of Calder's use, Patrick Wright implies that he coined the term in his work, On Living in an Old Country (1985). Wright uses it, initially without capitalization, and asserts that "I adapted a phrase from one of François Mitterrand's election posters to describe this idealised southern geography as 'deep England.' It was Dorset I had in mind then" (Wright 1996, xii). There is nothing in Calder (1991) to indicate a source for the term, although he explores the concept and its pertinence to the "Myth of the Blitz," in some detail.
6. The extent to which the cinematic Mitchell is not the real Mitchell is emphasized in a very curious way with the re-release onto video tape of The First of the Few to celebrate its fiftieth anniversary in 1992. he videotape contains an introduc-