Comedian and history buff Al Murray is joined by historian Dan Snow, writer Natalie Haynes and broadcaster and film expert Matthew Sweet for a fresh look at a subject very close to his heart - the great British war movie. This roundtable discussion looks at both the films themselves, from A Bridge too Far to Zulu, and uses them as a lens on British history, cultural attitudes and our changing views on conflict over the decades.

Retrospective documentary on the British horror anthology classic Dead of Night (1945).

A look at the files of the BBFC, which examines the relationship between the censor and the filmmakers.

从1908年至1927年，是世界无声电影发展并进入全盛的时期，并涌现了一批世界电影名作和着名的电影艺术家。 在欧洲，艺术和商业发展进程较美国更快。在电影历史的最初十年中，最优秀的影片来自法国和英国。 在英国象罗伯特·威廉·席台和伯尔特·阿克利斯这样的发明家仿造并改进了爱迪生的机器。一批具有创新精神的艺术家则使用这批机器来拍摄二十世纪最初十年最富有想象力的影片。往往被人称做布赖顿学派的这些英国电影制作者，如Ｇ·阿尔伯特·史密斯、詹姆士·威廉逊、埃斯美·柯林斯、希赛尔·海普华斯和察尔斯·欧本，他们影片的特点是对活动的摄影机、特写以及剪辑的节奏进行实验。希赛尔·海普华斯的《义犬救主记》（一九０五年），这部情节剧是关于一个婴儿被吉普赛人拐走，然后被一只忠实的牧羊犬救了回来的故事。这部影片大概是电影历史头十五年中剪辑得最为流畅而连贯的影片。英国人还开始发展了作为社会文献的电影（例如《衣衫褴褛》、《贫民窟的孩子》，由柯林斯于一九０五年制作）。布赖顿学派的成员还把梅里埃的影片里电影特技和绝技进行了完善了。

Film noir has rules: they’re rules about plot and character; about femmes fatales and doomed guys in fedora hats; about stark lighting that slices up the image into shards of black and white. The genre was a child of war, a cinema of darkness and suspicion suited a Hollywood working under the blackout conditions and power-rationing imposed after Pearl Harbor. Stranger on the Third Floor (1940) is usually held to be the first example (though it took critics in Paris to give the genre its name). After the war, the genre didn’t seem out of touch with a postwar America of disillusioned ex-servicemen who had returned to find that their wives had managed pretty well without them; and a culture ready to listen to the portentous words of Senator McCarthy. The film critic and journalist Matthew Sweet guides you through the rise of Film Noir, and explains how and why it all came to an end in the 1950s, yet somehow the genre retains a little magic that we can't help but hark back to from time to time.

In impeccable evening dress, Mark Gatiss and Matthew Sweet ponder the Bonds we've seen on screen since Dr. No in 1962. To date, six actors have portrayed British Secret Service agent James Bond. Which 007 is the best? Was Sean Connery impossible to surpass? Was George Lazenby really that bad? Was Live and Let Die really a blaxploitation movie in disguise? Gatiss and Sweet consider these and many other questions, and raise a martini in honour of their premium Bond.