Annette Kuhn
The last blog, 鈥淭errible waste of a brain鈥�, looked at Cinema Culture in 1930s Britain (CCINTB) interviewees鈥� memories of their schooldays. Although interviewees were not expressly asked about their schooling, the issue sometimes came up when they talked about their early cinemagoing. It also arose on occasion when they were asked 听how old they were when their full-time education came to an end鈥攁bout their terminal education age, to use the jargon. Along with a few mentions of school trips to the cinema, there are memories of playground gossip with schoolfriends about films they had seen and of swapping film star photos with friends.
More conspicuous in references to schooling, however, is a thread of memory talk that hints at education having been thwarted or curtailed鈥攎entions of missing out on schooling or being prevented by their circumstances (poverty, a father鈥檚 absence or joblessness, say) from taking up educational opportunities. In these instances there is usually an underlying class and/or gender dimension. Very often it is the requirement of a school uniform that is recalled as the principal bar to getting into a 鈥済ood school鈥�, even where a free place was on offer.
Emerging from some of these accounts, though, is a sense of making the best of what was available to them by way of basic schooling. Also noticeable is a theme, apparent in some female participants鈥� memories, concerning the channelling of their talents and aspirations into other areas of life. What one participant calls the 鈥渃lothing aspect鈥� is prominent in these stories.
The clothing aspect is, of course, already present in the school uniform topos. In 鈥淭errible Waste of a Brain鈥�, Glasgow interviewee Nancie Miller鈥檚 repeated allusions 听to schooling and education are touched on. It seems that, although Mrs Miller left school at the earliest possible opportunity, she had not only received some post-elementary education (鈥淚 went up to my big school鈥�), but had also, with her mother鈥檚 assistance, managed to surmount the challenge posed by the school uniform rule:
I had to get a trench coat.听 I had to get a gym tunic, I had to get a white blouse, I had to get a school tie, I had to get a badge, sewn on to the tunic. And we couldn鈥檛 afford any of these things. And my mother, I think it would鈥檝e been her own, navy blue set of skirt, opened it up all up, washed it, turned it and made me a tunic, a very nice tunic. So much so, that the teacher asked me where my mother had bought it. She was very clever with her hands. [鈥. Very clever. It was a lovely tunic and for ages I used it as a skirt. The blouse wasn鈥檛 just white, it was kind of creamy and I didn鈥檛 like to tell her. The tie should鈥檝e been a silk tie, but the colours were right, but it was a kind of… you鈥檝e maybe seen them in the men鈥檚 ties, kind of knitted, silk knitted. [鈥. Erm I had a velour hat, which we鈥檇 to wear, so you see they were so particular, really so particular.[1]
Another kind of uniform-related challenge is remembered by an interviewee who had worked as an usherette and cashier in cinemas in Glasgow during the 1930s, when it was commonplace for public-facing staff to wear uniform. Sheila McWhinnie recalls that although a uniform was a requirement of the job, she had to meet most of its cost out of her wages:
At seventeen and听sixpence was what you got for a wage, you’d to buy your own black dress, and听what they supplied for a听uniform听was collars out of Woolworths, and say for six听or seven usherettes, [the cinema manager] would send someone for seven collars let’s say, and you’d听put them on your black dress and that was it!听[2]
It is clear from Mrs McWhinnie鈥檚 account鈥攕he mentions several times in the course of her interview that she was obliged to foot the bill for most of her uniform鈥攖hat, like the school uniform rule, this was experienced as an imposition.
This feeling surrounding school and workplace uniforms–as an obstacle or an unwarranted expense–stands in the starkest contrast to the ways in which the 鈥渃lothing aspect鈥� figures in memories of what was to be seen on the cinema screen.
Gracie Fields (centre) in Queen of Hearts (1936)
Quoted in 鈥淭errible waste of a brain鈥� is Manchester interviewee听 Ellen Casey鈥檚 memory of being impressed by the 鈥渕arvellous dresses鈥� worn by local celebrity Gracie Fields in Queen of Hearts, a film Mrs Casey remembers seeing on a school trip. When talking about her subsequent cinemagoing, she evokes something of the intensity of feeling that films inspired in her:
That’s when I felt on top of the world because I’d see them beautiful听dresses and听smart clothes! And I used to be, I really, I was absolutely听obsessed with it. [鈥 Even them days, the actresses you know.听And you see eh Betty Grable and eh, you know, all that were going them days. And听the beautiful, they had [shoulder] pads, they had their pads then you know, they had their听padding on. They were tight, you know. And erm Bette Davis, and all these听beautiful– Aw that was, to me, it was something to see you know. And eh a听really erm tch, oh, how can I say? I was, I was really obsessed with it.[3]
The obsession this participant evokes is, in a way, its own pleasure. She knew she could enjoy such loveliness at any time–albeit vicariously–simply by going to the pictures. This听 feeling clearly goes beyond 鈥渂eautiful dresses and smart clothes鈥�, though. Such things, as Mrs Casey tells it, clearly stand in for all things 鈥渓ovely鈥�. She notes that she 鈥渨ould often wonder if, you know, will I be like that, will things get better you know. And you always had visions of being like [people in the films]. You know, seeing them. It was just lovely.鈥� As she speaks, decades on, it is clear that this feeling remains very much alive for her.
I lie in bed听now sometimes of a night thinking how thrilled I used to be. And how envious,听 when I seen all these lovely things and all that. And I thought, I wonder if I听ever, you know. I wonder if I ever will get better and sorted out.[4]
These statements are expressions of a longing that is deeper and wider than films or cinema or clothes: a wish that all things 鈥渨ill get better鈥�. The 听emotional force of these memories听 of gazing at the 鈥渂eautiful dresses and smart clothes鈥� in films carries a yearning, and perhaps听 a hope, for life鈥檚 imperfections and troubles to be soothed away
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For other participants, admiration for the beautiful dresses and smart outfits in films could be parlayed into a practical kind of 鈥渕aking do鈥�. Making do is an essentially creative activity, which Michel de Certeau defines as a form of counter-hegemonic production, an art of 鈥渦sing鈥� by “poaching” from the 鈥渞ationalised, expansionist, centralised, spectacular and clamorous production鈥� with which people are faced.[5]
Glasgow interviewee Mary McCusker recalls a specific act of film-inspired 鈥渕aking do鈥�, citing her mother鈥檚 role in bringing a sartorial dream to life. Recollecting The Dolly Sisters, a 1945 Technicolor film starring June Haver and Betty Grable, she exclaims:
Oh! The clothes in it were oh, lovely. And听being young, you know, you’re saying, “Oh!” So, I was growing out of this coat.听And eh, my mother thought she’d be very practical. And they [Haver and Grable] had come out in this听picture with beautiful pale-blue coats with fur. Grey fur muffs, grey fur hats听and a big band of grey fur on the bottom of their coat. So here I had this听wine-coloured coat and it had black fur on the collar, black fur on the cuffs.听And my mother thought, practically, to get another month or two out of the coat,听she would buy black fur and put it on the bottom. And I felt like, whoa! [claps听and laughs] Whole cheese, right enough! 听Felt good! [6]
The Dolly Sisters (1945)
Mickie Rivers of Needham Market in Suffolk is among the CCINTB interviewees who say they were unable to continue their education because of the cost of a school uniform. Talking about her cinemagoing as a young woman, she echoes Ellen Casey鈥檚 and Mary McCusker鈥檚 sentiments about 鈥渢he clothing aspect鈥� and shares their eye for details of dress and fashion. Leafing through a 1930s film annual, Mrs Rivers exclaims, 鈥淥h but look at the gowns they wore. Wonderful full skirts. Aw!鈥� [7]
She contrasts the plenty (鈥渇ull skirts鈥�) of the fashions she saw in films with what was available to her as one of five children. 鈥淲e had so little”, she says. 鈥淎nd like I said before, I had to be taken away from grammar school because my mum couldn’t afford a replacement uniform.鈥� Watching films, she adds, she would 鈥渄rool and dream鈥�.
. . . But听 then she would turn daydream into action:
I wonder if I could do that to my old dress? I could do that. You’d see them with a dark dress and a different coloured sash. And you’d got about half a yard of taffeta. And spend all night making a sash. And, do a little bit of trimming somewhere else on the dress, to pick it up. You know. That was all inspirational, weren’t it?
Her mother helped, too:
My mum used to go to jumble sales and come home with a dress, outsize dress, and fit me out of it. Had to. Hadn’t got the money. I used to earn, when I first went to work, I earned seven and sixpence. I had to pay my mother seven shillings a week and buy my stockings out of the sixpence. The cheapest stockings you could buy were ninepence a pair. And they were lisle stockings with an artificial silk covering. And of course you got to want a pair of silk stockings. You went up to one and nine, one and elevenpence [for those].
[…] And then when I got a rise and I went up to ten shillings a week, I had to give my mother eight and buy all my clothes. The fact that my mother had seven shillings a week off me meant she’d go to a jumble sale as I say and buy something. I’d bring it home, unpick it, wash it, turn it, if it was turnable, and remake it. Had to, to have anything to wear.
She recalls that later on,
I got about a dozen sets of underwear, ready, for when I听got married. But they’d all been made with bits that I’d cadged ’cause I’d听worked in the factory of the… I worked in the office of the factory in听Ipswich. And I was friends with Bob the storeman. And he used to give me oddments. [鈥.听And I had to do a panel on a pair of French knickers. Or perhaps I’d go to a听sale and there’d be a half a yard of what we called Sparva material. And that听would make one half of a pair of pants. And you’d go and buy the other half yard听at full price and you’d got, you know, things for next to nothing.[8]
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Ellen Casey鈥檚, Mary McCusker鈥檚 and Mickie Rivers鈥檚 memory talk embodies a train of thought prompted by, and leading back to, the idea (or rather the feeling-memory) of earnestly desiring something that is beyond your reach.[9]
In Mrs Rivers’s account, especially, cinema comes across as rather more accommodating than the education system as far as 鈥渢he clothing aspect鈥� (and, in this topos, aspiration) was concerned. Her memory talk–the precise recollection of her wage rises, the careful recording of the pre-decimal cost of different sorts of stockings, the specificity in the naming of fabrics鈥攁ll suggest that aspirations, longings, inspired by films could succumb to a certain amount of ‘making do’; that, drawing on her own skills and creativity, a young woman could create something stylish and desirable by, and for, herself using whatever materials came to hand–jumble sale castoffs, factory remnants, a scrap of taffeta.
The vividly remembered details are extraordinarily telling in terms of the emotional investment in, the craving to grasp, something more perfect, something over and above the mundane, something that transcends the ordinary, the everyday. They are revealing, too, of pleasure and pride in remembering the resourcefulness of channelling one鈥檚 skills and creativity into surmounting obstacles: here by fashioning, through ingeniously upcycling what was available, a stylish outfit out of not very much.
Women like Ellen Casey, Mary McCusker and Mickie Rivers would surely concur with Linda Grant鈥檚 dictum that 鈥渢he only thing worse than being skint is looking as if you鈥檙e skint.鈥�[10] 鈥淚 could do that鈥�, they declare; claiming, perhaps, that this, unlike getting a decent education, was one thing that a smart girl[11] could manage for herself.
The interviews quoted from can be accessed via links on the CMDA website. All Cinema Memory Archive (CMA) items referred to may also be consulted in both physical and digital form in the CMA at 快播视频, by appointment with Special Collections.听
If you wish to cite and/or re-use any of CMA materials, please consult听 the听CMDA website听for information on听copyright听and听using the materials听from the collection and for a听citation referencing guide.
[1] Nancie Miller, Glasgow, 17 February 1995. NM-92-014AT001. Cinema Memory Archive.
[2] Sheila McWhinnie, Glasgow, 21 November 1994. SM-92-004AT001. Cinema Memory Archive.
[3] Ellen Casey, Manchester, 31 May 1995. EC-95-182AT001. Cinema Memory Archive.
[4] Ellen Casey, Manchester, 31 May 1995. EC-95-182AT001. Cinema Memory Archive.
[5] Michel de Certeau (1984). The Practice of Everyday Life, trans Stephen Rendall (Berkeley, CA: University of California Press): 31; cited in Annette Kuhn (2002). An Everyday Magic: Cinema and Cultural Memory (London: I.B. Tauris): 123.
[6] Mary McCusker, Glasgow, 22 November 1994. MM-92-008AT001. Cinema Memory Archive.
[7] Mickie Rivers, Suffolk, 8 November 1995. MR-95-210AT002. Cinema Memory Archive.
[8] Mickie Rivers, Suffolk, 8 November 1995. MR-95-210AT002. Cinema Memory Archive.
[9] On feeling-memory, see Annette Kuhn (2023). Exploring Cinema Memory (Edinburgh: Argyll Publishing): 101-104.
[10] Linda Grant (2009). The Thoughtful Dresser (London: Virago Press).
[11] Annette Kuhn (2000). 鈥楽mart girls: growing up with cinema in the 1930s鈥�. In Ib Bondebjerg (ed.), Moving Images, Culture and the Mind. Luton: University of Luton Press): 31-42.