Peter Newman, and Ian Smith, "Cultural production, place and politics on the South Bank of the Thames." International Journal of Urban and Regional Research 24.1 (2000): 9-24. The architecture and display of the South Bank Exhibition were planned by the Festival Office's Exhibition Presentation Panel, whose members were: [8] a b c d "Sarah Easen, Film and the Festival of Britain 1951, British Universities and Video Council". Bufvc.ac.uk . Retrieved 13 December 2011.

Much of London lay in ruins, and models of redevelopment were needed. The Festival was an attempt to give Britons a feeling of recovery and progress and to promote better-quality design in the rebuilding of British towns and cities. [11] The Festival of Britain described itself as "one united act of national reassessment, and one corporate reaffirmation of faith in the nation's future." [8] Gerald Barry, the Festival Director, described it as "a tonic to the nation". [11] Hoon, Will. The 1951 Festival of Britain: A Living Legacy (Department of History of Art and Design, Manchester Metropolitan University, 1996). The Festival was a national celebration that reached millions of visitors across the UK and had several exhibitions located throughout the region, including the South Bank display in London all the way to the York Art Festival.a b Powers, Alan (29 June 2011). "Powers, A., "Sixty years on from the Festival of Britain", Architectural Review, 22 June 2011". Architectural-review.com . Retrieved 13 December 2011. Henrietta Goodden, The Lion and the Unicorn: symbolic architecture for the Festival of Britain 1951 (Norwich, Unicorn Press, 2011). Associated with the Festival of Britain Office were the Arts Council of Great Britain, the Council of Industrial Design, the British Film Institute and the National Book League. [8] In addition, a Council for Architecture and a Council for Science and Technology were specially created to advise the Festival Organisation and a Committee of Christian Churches was set up to advise on religion. [8] Government grants were made to the Arts Council, the Council of Industrial Design, the British Film Institute and the National Museum of Wales for work undertaken as part of the Festival. [9]

Rennie, Paul, Festival of Britain 1951 (London: Antique Collectors Club, Ltd., 2007). ISBN 978-1-85149-533-7 ISBN 1851495339 Yalcinkaya, Gunseli (3 October 2018). "Richard Littler creates satirical poster for UK's proposed "Festival of Brexit Britain" ". Dezeen. An amusement park which would outlast the other entertainments. It included the Big Dipper and became the Battersea Fun Fair, staying open until the mid-1970s

Scottish Committee of the Arts Council of Great Britain (1952), New Scots Poetry, Serif Books, Edinburgh The Exhibition comprised the Upstream Circuit: "The Land", the Dome of Discovery, the Downstream Circuit: "The People", and other displays. [8] Upstream Circuit: "The Land" [ edit ] Power and Production pavilion interior Harry Hopkins, The New Look: A social history of the Forties and Fifties in Britain (1963) pp 271-72. Allen, Cecil J (1974). Titled Trains of the Western. Shepperton: Ian Allan. pp.21–23. ISBN 07110-0513-3.