FarfromFreedom:Women’sIdentityCrisisinBriefEncounterandOtherTwofilms

InherOnFemaleIdentityandWritingbyWomen,JudithKeganGardinerobserves:“theword‘identityisparadoxicalinitself,meaningbothsamenessanddistinctiveness,anditscontradictionsproliferatewhenitisappliedtowomen”(Gardiner347).Inthepost-warera,itwasobviousthat,moredistinctivenesswasaddedtowomen’sidentity.AccordingtoArthurMarwick,“Ingeneralthewarmeantaneweconomicandsocialfreedomforwomen,theexperienceofwhichcouldneverbeentirelylost”(Marwick160).ThewarhadanenduringeffectofliberationforwomeninBritain,whichmanifesteditselfinvariousaspectsoftheirlives.Inherenlighteningbook,OnlyHalfWaytoParadise:WomeninPost-warBritain:1945-1968,ElizabethWilsonprobesintotheconditionofpost-warwomenfromdifferentangles.Althoughsheiscriticalthatwomenstillfaceddiscrimination,oppressionandinequityinpost-warBritain,shemakesitclearthattheyhadbecomeincreasinglyliberal,sincetheyhadmoreopportunitiestowork,moresexualfreedom,higherlevelsofeducationandsoon,andthiswasduetoacombinationofmanysocialfactors.Liberationwasundoubtedlygreatforwomenbecauseitmeantlessrepressionandoppression,equalityandmorepossibilitiesinlife.However,itmayalsohaveexacerbatedwomen’sidentitycrisisbyaddingmore“distinctiveness”.AccordingtoErikH.Erikson,identitycrisisiscausedbythelossof“asenseofpersonalsamenessandhistoricalcontinuity”(Erikson17).Intermsofindividualsinthegroupofwomen,althoughtheliberationtheyenjoyedinthepost-warerabroughtthemmorepossibilitiesinlife,italsomeantthattheyfacedvariouskindsofpredicamentinwhichtheiroriginalroleswerechallenged,andthisledtouncertaintyabouttheiridentity.BriefEncounter,ATasteofHoneyandTheKillingofSisterGeorgearethreepost-warfilmswhichdelineatedwomen’sidentitycrisis.Althoughtheprotagonistsinthesefilmshavesomeparticularity,theirencountersstillrepresentsomeofthepossibleaggravationofinnerturmoilwomen’sliberationmayhavebroughttoindividuals.Thisessayaimstoexploretheparticularityoftheplightsofidentitycrisisfacedbytheprotagonistsinthethreefilmsunderthebackgroundofthecommunalchangestowomen’slivesinthepost-warera.BriefEncounter,directedbyDavidLynn,isbasedonCowardNoelsone-actplay,StillLife.ItdepictstheunenduringaffairbetweenLauraJesson,aquot;happily-marriedquot;middle-classhousewifeandmotherandAlecHarvey,amarrieddoctor.Theextremelywell-receivedfilmwasreleasedintheimmediatepost-waryear,1945.Duringthe1940s,Britishwomenexperiencedaseriesoftransformationsundertheinfluenceofthewar.Thelabourshortagebroughtaboutincreasingopportunitiesofpaidworkforwomen,whichledtoaconflictwithmotherhood.Sincemanywomenwereawayfromhometowork,thegovernmentbegantoprovidenurseries,“therebyrelievingmothersofaburdencentraltoidealmotherhood”(Lant154).Meanwhile,sexualitybecamemoreopen.TheSecondWorldWarwas“averyromanticwar”,andpartofthereasonforthiswasthatcinemas(wherethetwomaincharactersusedtodate)anddancehalls“providedtheidealterritoryforromanticencounters”(Bruley114).Thetotalbirthratewasfalling,whileillegitimacywasontheincrease,anddivorcerateroserapidly.Marriedwomenwerenolonger“iconsof‘decencyandstability’”(Lant155).ThisisthehistorybackgroundofBriefEncounter.Itbelongstoanagethattheimage“idealmotherhood”wasshaken;thereforeLaura’splightisalsoencounteredbythefemaleaudiencesatthattime.Theincreasinglyliberatesocialmodeenabledthemtoquestiontheirtraditionalroleofmotherandwifeinmarriageandseethepossibilityoffreethemselvesfromit,butmanyofthemcouldnottakethestepforreasonslikethelackofincomeordarenottobreakthemoralcode.Lauraiscastasarepresentationofthewomenatthattime.Heridentitycrisisisledbytheconflictbetweenherawakingself-awarenessandthesocialroleofwifeandmotherwhichshehasalwaysbeenplaying.InherinteriorconfessiontoherhusbandFred,Laurastates:“Yousee,weareahappilymarriedcoupleandmustneverforgetthat.Thisismyhome.Youaremyhusbandandmychildrenareupstairsinbed.I’mahappilymarriedwoman;orratherIwasuntilafewweeksago.Thisismywholeworld,oritwasuntilafewweeksago.”Thismonologuesuggeststhat,beforeherencounterwithAlec,Laurahadidentifiedherselfasawifeandamother,whichwasnotexcitingbutdefinitelysecure.Addressingthestateof“happilymarried”whichshe“mustneverforget”,sheisactuallydefendingtheidentityunderthreat,andthisreflectsherdissatisfactionwiththemarriageinwhichherindividualityisgraduallybeingobliterated.Beingahousewife,Lauraregardsherfamilyasbeingher“wholeworld”.Asaresult,shehastospendmostofhertimeinahousewhichseemstobesocrampedthateventhemusicfromtheradiocanbe“deafening”.Thisrestricteddomesticspacehasledtotheinsufficiencyofindividualspace,whichreinforceshersocialroleofmotherandwife,butconsistentlyhindersherfrombeingherself.Laura’smonotonousdailylifeasahousewifeisalsotedious.WhenAlecasksherifshecomestotowneveryweek,sheexplainsthatherregularThursdayschedulewhichbringsabouttheaffairis“notaveryexcitingroutine,butitmakesachange.”Moreover,thereissomedistanceexistsbetweenLauraandherhusband.Havingnoincome,sheissustainedbyherhusbandwhoisdescribedas“kindly,unemotionalandnotdelicateatall”and“notmusicalatall”.Inthefilmwedon’tseehehasanyleisureactivitiesotherthanplayingcrosswordpuzzles.However,Lauraiscastconverselyassensitiveandromantic.ShegoestocinemaeveryThursday,borrowsKateO’Brien’snovelfromBoots,listenstoclassicalmusicandisreferredtoFredasa“poetryaddict”whoisquitefamiliarwithKeats’poems.Thecoupleseemstolackcommoninterest.Consequently,althoughFredseemstobeaconsiderateandunderstandinghusband,hecanneverfulfilLaura’sdemandforromanticismandpassion.Theiraffectionisverymuchbasedonkinship.Thesefactsillustratethat,althoughmarriageprovidesLaurawithmaterialthingsandafeelingofsafety,itsimultaneouslyrepressesherdesireforindividuality,andthishasbeenthemostsignificantcontributortoLaura’sidentitycrisis.Theinevitabilityoftheaffairisimpliedintheirfirstencounter.LaurathanksAlecforgettingthegritoutofhereyes,sayingthat:“Luckyformeyouwerehere.”Alecanswered:“Anybodycouldhavedoneit.”TheconversationingeniouslysuggeststhattheaffairisineluctableforLaurabecauseofthecontradictionbetweenherfamilyroleanddesire,andthisexplainswhyeventhemainmalecharacter,Alec,isambiguouslyconstructed---hecanbe“anybody”.ThereasonforAlectohavecaptivatedLauraispredominatelythattheirrelationshipisbeyondmarriage,whichenableshimtocatertoLaura’sneedtobedesired,notasawifeandamother,butasawoman.WhenLauraandAlecbaretheirsoulstoeachotherforthefirsttimeintheboathouse,AlecsayshelovesLauraforher“wideeyes”,thewayshesmiles,her“shyness”,andthewayshelaughsathisjokes.HiswordsindicatethatitisLaura’sfemininitythatheadores.Somefeministshavemadeobservationsaboutthecontradictionbetweensexualityandmotherhood,thatthestereotypeofmotherstendstobeunsexy,andeveninitsaestheticform,itishard“toimagineamotheras‘somethingelsebesidesamother’”(Lant157).Therefore,therelationshipoutsidemarriagewithAlecenablesLauratobrieflyescapefromtheroleofmotherandbelovedforherherself,forbeinganindividualratherthanbecauseherofhusband’sobligationtolovehersimplybecausetheyaremarried.Theextra-maritalaffairwithAlecisledbyLaura’sidentitycrisis,andinverselyaggravatesthecrisissinceshefindsthatherfamilialidentity,whichprovidesherwithsecurity,isunderthreat.LaurarealisestheperilwhenitoccurstoherthatAlecwillnottellhiswifeabouttheirdate:“Thenthefirstawfulfeelingofdangersweptoverme.”Theaffairhasbroughtaboutambiguityandconfusionintermsofherfamilyrole.AftersheliestoFred,shereferstoherselfas“astrangerinthehouse”.Moreover,althoughmotherhoodcanrestrictLaura,theaffair,whichcouldpossiblyhavecausedhertoabandonherchildren,stillrunsagainsthermaternalinstinctandbringsaboutasenseofguilt.Whenherson,Bobbie,isknockeddownbyacarafterherfirstdatewithAlec,sheregardsitasbeingher“fault”,“asortofpunishment”and“anawful,sinisterwarning”.Also,shethinksthataboyshemetinthebotanicalparkwholookslikeBobbieshouldhavegivenher“apangofconsciousness”.Thirdly,asamiddle-classwhitewoman,shefearsthatbreakingthemoralcodecouldbeasourceofmarginalisation,becauseherself-identificationisalsoformedfromother’sjudgment.Sheissoafraidoftheimmoralaffairbeingknownthat,attheendofthedatewithAlec,shelooksaroundaftergettingonthetraintoseeifpeoplearelookingather“asiftheycouldreadmy[her]secretthoughts.”WhentheaffairisdiscoveredbyAlec’sfriend,shesupposesshehasbeenlaughedatandthinksofherselfasbeing“cheapandlow”.Afterthisincident,LauraendsherrelationshipwithAlecandgoesbacktoherhusband.Neverthelessherconfusionaboutheridentitygrowsdeeper.SimilartoBriefEncounter,ATasteofHoneyisafemale-centredfilmadaptedfromaplayofthesamenamewrittenbyShelaghDelaney.Theplaywasfirstproducedonthe27thMay1958,whilethefilmwasreleasedin1961,whichsuggeststhatthefilmreflectsthelandscapeofpost-warBritainfromthe1950stothebeginningofthe1960s.Duringthatperiod,thetrendofwomen’semploymentdidnotdecline,althoughwomen’sworkingliveswereintertwinedwithchild-rearing.Part-timejobsweremorepopular,especiallywithmarriedwomen(Bruley123),andimportancebegantobeattachedtoeducation.Althoughbeingtreatedinequitablywithboys,moregirls,includingthosefromworking-classfamilies,hadabetterchanceofbeingeducated.AccordingtoSueBruley,thiswasalsoaperiodwhen“slowly,signsofaliberalisationofattitudesregardingsexwereappearing.”TheKinseyReporthelpedto“createaclimateinwhichsexualactivitywasdemystifiedandwomen’senjoymentofsexmoreopenlyrecognised”Asurveyconductedin1956revealedthat“two-fifthsoffirstsexualintercoursewasoccurringbeforemarriage”Meanwhile,youngpeoplebecame“moreself-awareandself-centred”asdisciplineswerelessstrictlyforcedbytheirparents”(Bruley135).Thisalsoconstitutedareasonforteenagerstobecomemoresexuallyactive,whichledtoahigherrateofteenagepregnancy.AccordingtoErickson,adolescenceisaperiodofidentitycrisisbecause,duringtheprogressionfromchildhoodtoadulthood,itisquitecommonthatthephysicalandpsychologicaltransformationcausesalossofthe“senseofpersonalsameness”and“historicalcontinuity”.Teenagepregnancy,whichwasfacedbyanincreasingnumberofyoungfemalesinthatera,undoubtedlyaddedsomecomplexitytothissituation.ThepredicamentconfrontedbyJo,theprotagonistinATasteofHoney,isfairlyrepresentative;attheageof16,sheismadepregnantbyherblacksailorboyfriend.Apartfromthecombinedreasonsfortheteenageidentitycrisis,thereissomeparticularityinJo’scase,whichistheconflictbetweenherwishtobeindependentandherdesireformaternalsolicitude,whichhascontinuedfromherchildhood.Thereisanobviousreversalbetweentherolesofthemother,Helen,andherdaughter.Jois“themoreresponsibleofthetwo”(Wandor40).Beingasinglemotherherself,HelenimmersesherselfinsexualrelationshipswithmenandconstantlyneglectsJo’sinterests,sinceshebelieves,“Inanycase,bearingachilddoesnotputyouunderanobligationtoit.”AlthoughJohasexpressedherwilltobeindependentbywantingaroomofherown,herdesireformaternalaffection,aswellasherchildishpossessiveinstincts,preventherfromtrulydetachingherselffromHelen.Consequently,sheishostiletowardhermother’slover,Peter,blaminghimfor“planningtorunoffwithmy[her]oldwomen”,andfeelsabandonedwhenHelenfinallymarriesPeter.Whatismore,althoughshemovesoutinthehopeofbeingindependent,itcanbeperceivedthatJoislookingforsimilarmaternalcareratherthantheindependenceofadulthoodinherrelationshipwiththetwomalecharacters,JimmieandGeoff.Jimmie,thesailorwhohassexwithJoandmakesherpregnant,is“asmother-surrogateasmuchaslover”(Lovell371).JimmiehelpsJotocarrythebigcases,whichshouldhavebeencarriedbyHelen,offthebuswhentheymovetoanewflat,andappliesabandagetoJo’sinjuredknee.Ratherthanthepursuitofadulthood,theirsexualbehaviourismoreofacompensationforHelen’sabandonmentofJo,sinceithappensafterHelensendsJohomealonefromBlackpoolafterherbitterwranglewithPeter.Beinghomosexual,Geoff’sfemininecharacteristicsmakehimequallyproficientatdomestictasks.AccordingtoLovell,likeJimmie,heprovidesJowith“the‘mothering’whichHelenrefuses”(Lovell372).Asaresult,theunattainedmaternallovepreventsJofromgrowingup,andthusdeepensheridentitycrisis.Moreover,Jo’scrisisisfurtherexacerbatedbyheradolescencepregnancy.AsTerryLovellobserves,attheageof16,sheis“poisedbetweenchildhoodandwomanhood,precipitatedintoadulthoodbyheraffairwithJimmieandherpregnancy”(Lovell374).Itisunquestionablethatshecannotbeartheresponsibilityofbeingamother,havingnotcompletelygotridofchildhoodherself,andthereforeshedetestsandfearsthesuddenshiftofroles.Whentalkingaboutbreast-feeding,shesays:“I’mnothavingalittleanimalnibblingatme.It’scannibalistic.”Thenshestates,“Ihatemotherhood.”Also,havingseena“filthy”boyandadeadbabymouse,hersenseofrefusingtotakeresponsibilityforsexualityandmotherhoodisevoked:“…Thinkoftheharmshedoeshavingchildren…Abitofloveandabitoflustandthere’yare.Wedon’taskforlife;wehaveitthrustuponus.”Herreflectionagainindicatesthatshewasnotpreparedformotherhoodandregardsitasbeingsomething“thrustupon”her.Inaddition,becauseJimmie’sfather’sisblack,thepossibilityofthechildhavingadarkskincolourconstitutesanotherfactorwhichleadstotheinstabilityofJo’sidentity.WhensheseesthedollGeoffbringsfromaclinicforherto“practiceafewholds”whichismodelledonthemainstream,white,shebecomesangryandburstsintotearsbecause“thecolouriswrong”.Thenshepoundsthedollfuriouslyandshouts.“I’llbashitsbrainout!I’llkillit!”Herextremebehaviourrevealsherfearofbeingmarginalisedbyhavingablackbaby,andfurthermore,thefearofmotherhooditself.Subsequently,shedesperatelyadmits,“Idon’twantthischild!Idon’twanttobeamother!”AfterHelenisthrownoutbyPeter,JoultimatelyabandonsherrelationshipwithGeoffreyandcomesbacktohermother.Thisagainatteststoheridentitycrisis;beingamother,Joisnotabletocutherselfofffromchildhood.Apartfromthesamenessofbeingplay-adaptedandwomen-centred,bydirectlydepictinglesbianism,TheKillingofSisterGeorgeexpressesamuchmoreradicalattitudetowardwomen’ssexualitythanBriefEncounterandATasteofHoney.Italsotouchesonthefemaleprofessionallife,whichwasnotmentionedinthelasttwofilms.Thefilmwasreleasedin1968,thusitisplacedunderthehistoricalbackgroundofthe1960s,thelastdecadebeforethewomen’sliberationmovement.Therewasanincreaseinthenumberofprofessionalwomenduringthe1960s,althoughtheywerestilldiscriminatedagainst.People’sattitudetowardsexualitybecamemoreliberalthaninthe1950s,whichwassuggestedbytherisingillegitimacy,thewideusageofcontraceptivepills,andtheavailabilityoflegalabortionstowomen(Bruley137-139).Moreover,inthe1960sthemaleandfemaleyouthwere“farmorevisuallyalike”,althoughthegenderbehaviourhadnotmarkedlychanged(136).Lesbianism,whichiscentralisedinTheKillingofSisterGeorge,stillremainedlargelyinvisible.Therefore,theattitudetowardwomen’shomosexualityexpressedinthefilmisactuallymoreradicalthanthesocialreality.Nevertheless,asthefirstcommerciallesbianfilm,itstillbetrayedthegrowingtendencyforhomosexualwomentofaceuptotheirroleandbegintobegraduallyacceptedbysociety,asthewomen’sliberationmovement,inwhichlesbiansbegantoclaimtheirrights,begantowarmupin1969(149),thefollowingyearafterthereleaseofthisfilm.DifferentfromLauraandJo,theprotagonist,JuneBuckridge,isaprofessionalwoman,anactressinasoapoperaofBBC,andalsoalesbian.Itseemsthatshebenefitsfromtheincreasinglyliberalsociety.Havingadecentjob,sheisabletobeeconomicallyindependentofmen,andshehasalsoassertedherhomosexualitybycohabitingwithhermuchyoungergirlfriend,Alice.However,theseelementsalsoconstitutethefactorsofheridentitycrisis.June’sprofessionasanactresshasledtoheridentitycrisis,becauseoftheblurringoftheboundarybetweentherolesheplaysandherownidentity.Inthefilm,JunehasplayedtheroleofSisterGeorge,adistrictnurseinaTVsoapnamedApplehurst,forfouryears.ItspopularityhasmeantthatJune’sownidentityhasbeenreplacedbyherpart,sinceallthepeopleinthefilmcallherGeorgeratherthanusingherownname.Also,accordingtoMercyCroft,June’ssuperiorattheBBC,she“isSisterGeorgeandfarmoresothanJuneBuckridge”.Therefore,Junelosesherownidentitytoherpublicrole.Inaddition,Junealsounconsciouslyblurstheboundarybetweenherpartandherselfbecauseoftheirsharpcontrast.SisterGeorgeisamuchrespectedcharacterinthesoapopera.SherepresentsthemainstreamvaluesofBritishsociety,whileinreality,Juneisanoutsider,analcoholic,abusiveandaggressivemiddle-agedlesbian.Ratherthanfacinguptoherselfandresolvingherproblems,Junechoosestomaketheboundarybetweenherroleandherselfvague,thusevadingthesenseofmarginalisationinherownidentity.WhenshetellsAlicethatSisterGeorgeistobekilledinthesoapopera,sheuses“me”torefertoherpart,saying,“Theyaregoingtomurderme”.Thislineshowsherconfusionbetweenherroleandherself,atteststotheblurringoftheboundary,andindicatesheranxietyaboutlosingherpart.Forher,thekillingofSisterGeorgeistheobliterationofherownidentityinadisguisedform,becausethetwohavebeenmuddledupwithoneanotherforsolong.Asaresult,shefeelsthelossofcontinuityandsamenessinherownidentity.Therefore,herprofessionevokesheridentitycrisiswhilebringinghereconomicindependence.June’shomosexualityalsoworsensheridentitycrisis.Inthefilm,thereisnoobviousdiscriminationinpeople’sattitudetowardJune’slesbianism.Thus,thetensionbetweenthecoupleisproducedbytheirinnerturmoilratherthanexternalpressure.InherconversationwithBetty,aprostitute,Juneexpressesherdesirefor“loveandaffection”.However,shehasneverbeenabletohavethisinherrelationshipwithAlice.InherFemaleMasculinity,JudithHalberstamreferstoJuneas“anaggressivebully,aloudmouthdykeandanabusivelover”,andthenpointsoutthatsheisactuallyvulnerableanddignified(Halberstam182).Asamatteroffact,forJune,controllingAlicephysicallyandpsychologicallybyabusingheristogetasortofcertaintyabouttheirrelationshipandherself.AsWandorobserves,June’sdomesticgenderismale(Wandor62).Shehasestablishedsomethingsimilartomasculineauthorityintheirlesbianrelationship.However,herlossofjobleadstothedisintegrationofsuchauthority,andconsequentlydeepensheruncertaintyaboutheridentity.Atthebeginningofthefilm,therelationshipbetweenJuneandAliceisdominatedbytheformer.ThesceneinwhichJuneforcesAlicetoeathercigarbuttrevealsherinitialdomination,butalsobecomesamarkoftheturningpointintheirpowerrelationship.Whilechewingthecigarbutt,Alice’sfacialexpressionchangesfromdisgusttoenjoyment,andinthisway,shemakesthepunishmentapleasure.HerbehavioursignifiesthelossofefficiencyofJune’sauthority,asshestatesdesperately,“Onceyouspoilsomething,youcannevermakeitworkagain.”Significantly,thishappensthefirsttimeJuneexpressheranxietyaboutlosingherjob,whichrevealstheimpactofJune’sjoblossontheirlesbianrelationship.Thechangeintheirpowerrelationshipispartlycausedbyeconomicreasons.WhenAliceblamesJuneforherfrivolousbehaviourinassaultingsomenunsinataxi,Junesays:“Kindlykeepyourfoul-mouthedrecollectionstoyourselfandrememberwhopaystherent.”ThisdenotesthatJune’sauthorityisbasedonhereconomicsuperioritytosomedegree,andisthreatenedbythepossibilityoflosingherjob.Aliceanswers:‘Notformuchlonger,perhaps.”Moreimportantly,theirrelationshipchangesbecauseofJune’ssenseofinferiorityafterlosingherpartasSisterGeorge.Infact,inherrelationshipwithAlice,Junehasalwaysusedferocityandbrutalitytodisguiseherinnervulnerability,andthetraumacausedbythelossofherjobactuallymakeshermoredependentonAlice,andthus,June’sauthoritybeginstocollapse.WhenAlicefinallyleaveswithMrs.Croft,thissignifiestheendofJune’sdomesticroleinthelesbianrelationship.Interestingly,thishappensafterthecrew’sfarewellpartyforher,whichindicatestheendofherprofessionalrole.Havinglostherprofessionalanddomesticroles,thecontinuityandsamenessinheridentityisdestroyed.Inthefinalscene,JunewalksintotheTVstudio,onlytofindthat“eventhebloodycoffinisafake”.SittinginherruinedTVworld,shedesperatelyletouta“mooo!”likeacow.June’sreductionofherselftoanon-humanisevidencethatshehastotallysunkintoanidentitycrisis.Itcanbeconcludedfromtheaboveanalysisthatliberationdoesnotnecessarilymeansfreedomforwomen.Ifwomendon’tlookuptothemselvesandreallyquestiontheirrole,liberationcanposethreatentothecompletenessoftheiridentity.Fromthe1940stothe1960s,althoughthesocialmodebecameincreasinglyliberaltowardwomen,thethreeprotagonistsexperiencedthesameplightofanidentitycrisis,causedbytheirinnerturmoilratherthansocialcircumstancesindifferentforms.Therefore,togainrealfreedom,apartfromassertingtheirrights,itisequallyimportantforwomentogobacktothemselves,andquestionwhotheyreallyareandwhattheyreallywant.WorksCitedBruley,Sue.WomeninBritainsince1900,London:MacmillanPress,1999.Print.Erikson,Erik.Identity:YouthandCrisis,NewYorkCity:W.W.NortonCompany,1994.Print.Gardiner,JudithKegan.“OnFemaleIdentityandWritingbyWomen”CriticalInquiry,8.2(1981):347-361.Web.24Apr.2011.Halberstam,Judith.FemaleMasculinity,Durham:DukeUniversityPress,1998.Print.Lant,Antonia.Blackout:ReinventingWomenforWartimeBritishCinema,NewJersey:PrincetonUniversityPress,1992.Print.Lovell,Terry.“LandscapesandStoriesin1960sBritishRealism”Screen,31:4(1990):357-376.Web2May.2011.Marwick,Elizabeth.OnlyHalfWaytoParadise:WomeninPost-warBritain:1945-1968,London:Routledge,1980.Print.Wandor,Michelene.Post-warBritishDrama:LookingBackinGender,London:Routledge,2001.Print.