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Pdf/ Mow/Nomination Forms United Kingdom Battle of the Somme (Accessed 18.04.2014) Notes Introduction: Critical and Historical Perspectives on British Documentary 1. Forsyth Hardy, ‘The British Documentary Film’, in Michael Balcon, Ernest Lindgren, Forsyth Hardy and Roger Manvell, Twenty Years of British Film 1925–1945 (London, 1947), p.45. 2. Arts Enquiry, The Factual Film: A Survey sponsored by the Dartington Hall Trustees (London, 1947), p.11. 3. Paul Rotha, Documentary Film (London, 4th edn 1968 [1936]), p.97. 4. Roger Manvell, Film (Harmondsworth, rev. edn 1946 [1944]), p.133. 5. Paul Rotha, with Richard Griffith, The Film Till Now: A Survey of World Cinema (London, rev. edn 1967 [1930; 1949]), pp.555–6. 6. Michael Balcon, Michael Balcon presents ...A Lifetime of Films (London, 1969), p.130. 7. André Bazin, What Is Cinema? Volume II, trans. Hugh Gray (Berkeley, 1971), pp.48–9. 8. Ephraim Katz, The Macmillan International Film Encyclopedia (London, 1994), p.374. 9. Kristin Thompson and David Bordwell, Film History: An Introduction (New York, 1994), p.352. 10. John Grierson, ‘First Principles of Documentary’, in Forsyth Hardy (ed.), Grierson on Documentary (London, 1946), pp.79–80. 11. Ibid., p.78. 12. Ibid., p.79. 13. This phrase – sometimes quoted as ‘the creative interpretation of actual- ity’ – is universally credited to Grierson but the source has proved elusive. It is sometimes misquoted with ‘reality’ substituted for ‘actuality’. In the early 1940s, for example, the journal Documentary News Letter, published by Film Centre, which Grierson founded, carried the banner ‘the creative interpretation of reality’. 14. Rudolf Arnheim, Film as Art, trans. L. M. Sieveking and Ian F. D. Morrow (London, 1958 [1932]), p.55. 15. See, for example, David Tucker (ed.), British Social Realism in the Arts Since 1940 (Basingstoke, 2011). On British realist cinema, see especially John Hill, Sex, Class and Realism: British Cinema 1956–1963 (London, 1986). For tele- vision drama, see John Caughie, Television Drama: Realism, Modernism and British Culture (Oxford, 2000). 16. Andrew Higson, ‘ “Britain’s Outstanding Contribution to the Film”: The Documentary-Realist Tradition’, in Charles Barr (ed.), All Our Yesterdays: 90 Years of British Cinema (London, 1986), pp.72–97. 17. John Grierson, ‘The Documentary Idea: 1942’, Grierson on Documentary, p.113. 266 Notes 267 18. John Caughie, ‘Progressive Television and Documentary Drama’, Screen, 21: 3 (1980), p.34. 19. Peter Wollen, Signs and Meaning in the Cinema (London, 1969), p.115. 20. Lindsay Anderson, ‘Alfred Hitchcock’, Sequence, 9 (1949), p.113. 21. Alan Lovell, ‘The British Cinema: The Unknown Cinema’, paper presented to the British Film Institute Education Department Seminar, 13 March 1969, typescript held by the BFI Reuben Library, p.2. A slightly revised version of this paper was published as Alan Lovell, ‘The Unknown Cinema of Britain’, Cinema Journal, 11: 2 (1972), pp.1–9. 22. Paul Rotha, Documentary Diary: An Informal History of the British Documentary Film, 1928–1939 (London, 1973); Forsyth Hardy, John Grierson: A Docu- mentary Biography (London, 1979); Elizabeth Sussex, TheRiseandFallof British Documentary: The Story of the Film Movement Founded by John Grierson (Berkeley, 1975). 23. Harry Watt, Don’t Look at the Camera (London, 1974), p.41. 24. Alan Lovell and Jim Hillier, Studies in Documentary (London, 1972), p.35. 25. Andrew Tudor, Theories of Film (London, 1974), p.75. 26. Lindsay Anderson, ‘Only Connect: Some Aspects of the Work of Humphrey Jennings’, Sight and Sound, 23: 4 (1954), p.181. 27. The critical literature on Jennings includes (but is not limited to): Keith Beattie, Humphrey Jennings (Manchester, 2010); Anthony W. Hodgkinson and Rodney E. Sheratsky, Humphrey Jennings: More Than A Maker of Films (Hanover, 1982); Mary-Lou Jennings (ed.), Humphrey Jennings: Film-Maker, Painter, Poet (London, 1982); Philip C. Logan, Humphrey Jennings and British Documentary Film: A Re-assessment (Farnham, 2011); Lovell and Hillier, Studies in Documentary, pp.62–120. 28. Quoted in Sussex, The Rise and Fall of British Documentary, p.110. 29. Paul Swann, The British Documentary Film Movement, 1926–1946 (Cambridge, 1989), p.177. 30. Ian Aitken, Film and Reform: John Grierson and the Documentary Film Movement (London, 1990), p.14. 31. This point was raised by Andrew Higson in a review of Aitken’s and Swann’s books for Screen: ‘It is almost as if Aitken wants to suggest that Grierson is the documentary movement ...’ Screen, 32: 3 (1991), p.354. 32. Aitken, Film and Reform, p.195. 33. Raymond Durgnat, A Mirror for England: British Movies from Austerity to Affluence (London, 1970), pp.118–9. 34. Stuart Hood, ‘John Grierson and the Documentary Film Movement’, in James Curran and Vincent Porter (eds), British Cinema History (London, 1983), p.102. 35. Robert Colls and Philip Dodd, ‘Representing the Nation: British Documen- tary Film, 1930–45’, Screen, 26: 1 (1985), p.24. 36. Hood, ‘John Grierson and the Documentary Film Movement’, p.102. 37. Roy Armes, A Critical History of British Cinema (London, 1978), p.264. 38. Kathryn Dodd and Philip Dodd, ‘Engendering the Nation: British Documen- tary Film, 1930–1939’, in Andrew Higson (ed.), Dissolving Views: Key Writings on British Cinema (London, 1996), p.47. 268 Notes 39. Jeffrey Richards and Anthony Aldgate, Best of British: Cinema and Society 1930–1970 (Oxford, 1983), pp.3–4. 40. Bert Hogenkamp, Deadly Parallels: Film and the Left in Britain 1929–39 (London, 1986), p.8. 41. Claire Johnston, ‘ “Independence” and the Thirties: Ideologies in History: An Introduction’, in Don MacPherson (ed.), Traditions of Independence: British Cinema in the Thirties (London, 1980), p.9. 42. Brian Winston, Claiming the Real: The Griersonian Documentary and its Legitimations (London, 1995), p.7. 43. Ibid., p.11. 44. Ibid., p.46. 45. Ibid., p.42. 46. Ibid., p.53. 47. One of Winston’s most curious claims is his assertion that ‘almost no atten- tion has been paid to documentary theory’ (Claiming the Real, p.6). Yet this ignores a large body of such work – much of it listed in his own bibliography. 48. Brian Winston, Fires Were Started (London, 1999); Scott Anthony, Night Mail (London, 2007). 49. Scott Anthony and James G. Mansell (eds), The Projection of Britain: A History of the GPO Film Unit (London, 2011). 50. Alan Burton, The British Consumer Co-operative Movement and film, 1980s– 1960s (Manchester, 2005). 51. Timothy Boon, Films of Fact: A History of Science in Documentary Films and Television (London, 2008). 52. Patrick Russell and James Piers Taylor (eds), Shadows of Progress: Documentary Film in Post-War Britain (London, 2010). 53. See the bibliography for specific articles. The journal special issues are Journal of British Cinema and Television, 10: 3 (2012), ‘The Postwar British Docu- mentary Movement – Decline or Transition?’ edited by John Corner and Martin Stollery, and Twentieth Century British History, 23: 1 (2012), ‘The Doc- umentary Film Movement and the Spaces of British Identity’, edited by Scott Anthony and James G. Mansell. 54. Brian Winston, ‘The Griersonian Tradition Postwar: Decline or Transition?’, Journal of British Cinema and Television, 11: 1 (2014), p.112. 55. John Ellis, Visible Fictions: Cinema: Television: Video (London, rev. edn 1992 [1982]), p.112. 56. Caughie, ‘Progressive Television and Documentary Drama’, p.23. 57. Higson, ‘Britain’s Outstanding Contribution to the Film’, pp.94–5. 58. Derek Paget, No Other Way To Tell It: Docudrama on Film and Television (Manchester, 2nd edn 2011 [1998]), pp.151–6. 59. Ellis, Visible Fictions, p.146. 60. Quoted in ‘ “Death of a Princess” film criticised by ministers, peers and MPs’, Daily Telegraph, 25 April 1980. 1 Documentary Before Grierson 1. Charles Urban, A Yank in Britain: The Lost Memoirs of Charles Urban, Film Pioneer, ed. Luke McKernan (Hastings, 1999), p.54. Notes 269 2. See, for example, Kristin Thompson and David Bordwell, Film History: An Introduction (New York, 1994), pp.344–68. A good example of the standard international history of documentary is Erik Barnouw, Documentary: A His- tory of the Non-Fiction Film (New York, 2nd rev. edn 1993 [1976]), which jumps straight from the early actuality films of the Lumières to Robert Flaherty. 3. Stephen Bottomore, ‘Rediscovering Early Non-Fiction Film’, Film History, 13: 2 (2001), pp.160–73. 4. A selection of this revisionist work is collected in Thomas Elsaesser (ed.), Early Cinema: Space, Frame, Narrative (London, 1990). On early British cin- ema history, see Michael Chanan, The Dream That Kicks: The Prehistory and Early Years of Cinema in Britain (London, 2nd edn 1996 [1980]), and Andrew Higson (ed.), Young and Innocent?: The Cinema in Britain 1896–1930 (Exeter, 2000). 5. Tom Gunning, ‘The Cinema of Attractions: Early Film, Its Spectator and the Avant-Garde’, in Elsaesser (ed.), Early Cinema: Space, Frame, Narrative, p.58. 6. Quoted in John Barnes, The Beginnings of the Cinema in England. Volume 1 (New York, 1976), p.64. 7. See Vanessa Toulmin, ‘ “We Take Them and Make Them”: Mitchell and Kenyon and the Travelling Exhibition Showmen’, in Vanessa Toulmin, Patrick Russell and Simon Popple (eds), The Lost World of Mitchell and Kenyon: Edwardian Britain on Film (London, 2004), pp.59–68. 8. See Richard Brown and Barry Anthony, A Victorian Film Enterprise: The History of the British Mutoscope and Biograph Company, 1897–1915 (Trowbridge, 1999). 9. Cecil Hepworth, Came the Dawn: Memories of a Film Pioneer (London, 1951), p.56. 10. Boleslas Matuszewski, ‘A New Source of History’ [25 March 1898], trans. Laura Marks and Diana Koszarski, Film History, 7: 3 (1995), p.322. 11. Rachael Low and Roger Manvell, The History of the British Film 1896–1906 (London, 1948), p.68. 12. Quoted in Luke McKernan, Charles Urban: Pioneering the Non-Fiction Film in Britain and America, 1897–1925 (Exeter, 2013), p.50. 13. Ibid., p.19. 14. Ibid., p.66. 15. Ibid., p.67.
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