The territorial sea is the first coastal State maritime zone seawards of the baseline and internal waters. This chapter traces its development as a concept, and then addresses the current legal status of the bed, subsoil and superjacent air space of the territorial sea. The breadth of the territorial sea is explained, with reference to relevant State practice. The chapter provides a detailed analysis of the right of innocent passage, including of warships and ships carrying hazardous cargoes, and of the right to deny and suspend passage. Other rights, as well as the duties, of the coastal State are discussed, including the scope of its legislative and enforcement jurisdiction over foreign vessels.

This chapter examines depictions of the industrial working-class home in British social realist film, focusing specifically on the recurring motif of the tea table. Focusing on Love on the Dole (John Baxter, 1941) and It Always Rains on Sunday (Robert Hamer, 1947), it expands on existing analysis of British realist aesthetics by contextualising the visual spectacle of the working-class home in these two films in relation to an earlier trend for social investigation in the interwar years. In the late 1930s, working-class homes were rigorously mapped – for instance, by Mass-Observation, by George Orwell in The Road to Wigan Pier and in Picture Post magazine, which showcased a new style of candid photography. Such images of domesticity professed a level of social realism, illuminating the realities of everyday life in the working-class home. This chapter examines constructions of ‘tea table politics’ onscreen in the 1940s through a close analysis of this wider offscreen culture of social investigation, focusing on Picture Post. In doing so, it explores how Love on the Dole and It Always Rains on Sunday map everyday domesticity in a middlebrow style that combines realism with more romanticised conceptions of the working-class home, projecting idealised notions of respectability, reform and community.

This afterword considers the significance of medical history in period dramas in the current context of the COVID-19 global pandemic. It considers the popularity of period drama as a source of entertainment and escapism, examining the extent to which such dramas include medical storylines. It then goes on to explore the significance of particular themes in medical history, such as gender, patient/practitioner power relationships, and patient voice, particularly as they relate to the chapters in this collection. In doing so it demonstrates how such analyses bridge the gap between academic histories of medicine and popular public discourse, furthering effective public communication and dissemination of scholarship. The afterword then goes on to examine the particularities of the small screen as a medium for engaging with the history of medicine, considering the advantages and disadvantages in relation to films and written fiction. It explores the limitations of dramatising or fictionalising the past, particularly as it pertains to histories of health and medicine. Locating this debate in the current pandemic context, it argues that medicine and caregiving in period television dramas root escapist fictional narratives in the embodied reality of lived experience.

The final chapter begins by summarising the thesis of the book. To illustrate how ideas about privacy change, and how the privacy discourse framework can help, the chapter looks at the COVID-19 pandemic, and how this fed into the various privacy discourses. At level 1, few new conceptions emerged. Level 2 is implicated by new uses of personal data for research and contact tracing. At level 3, our experience of others and personal space is altering, with a greater sense of threat in proximity. At level 4, attitudes to surveillance have grown more positive. At level 5, norms about working from home are changing, as are those about personal autonomy. At level 6 there are new governmental powers, for lockdowns, travel and vaccination mandates. Level 7 covers the responsibilities of the individual to the community, as well as medical research ethics. COVID has accelerated some long-term privacy trends, related to technological change. These are shifting the emphasis in modernity from choice to recommendation, which is built on a shift from privacy (for reflection on choices available) to personalisation (requiring information about individuals to be available to recommendation systems).

This chapter considers the construction of domestic life onscreen in terms of ideas concerning psychological wellbeing in the home. The interwar development of suburbia saw an increased interest in studies of the psyche: prominent among these was the diagnosis of ‘suburban neurosis’. At this time, melodramatic stories accompanied by dramatic illustrations of domestic life were published in women’s magazines such as Modern Woman, providing a popular way of addressing the psychological significance of home. Charting subjective experiences, these stories destabilised the concept of home as comfortable and constant; instead, they conveyed insecurity, instability and a desire for escape. Bringing together an exploration of women’s magazines in the interwar years with close analysis of two 1940s films, this chapter focuses on the private visions of housewife and mother Laura Jesson (Celia Johnson) in Brief Encounter, (David Lean, 1945) and backroom scientist Sammy Rice (David Farrar) in his London flat in The Small Back Room (Michael Powell and Emeric Pressburger, 1949). It contends that these two films re-imagined a mode of address balancing melodrama and modernism, which was used in the 1930s to interrogate the instabilities of the modern home, thus illuminating a different side to domestic life and its ‘’.

This chapter sets out historical events since hiloni millennials have come of age in the 2000s and 2010s, framed by Karl Mannheim’s critical years hypothesis. It traces continuities and subtle differences in what it feels like to be hiloni between Generation X and millennials. These are not visible at the level of public debate or religious practice but feature within self narratives. These subtle differences intersect with and feed a broader conservative shift in attitudes towards Occupation among Jewish-Israelis generally, including hiloni millennials. It introduces the main argument about hiloni millennial neo-Romanticism and how Pierre Bourdieu’s social theory is used in the book.