British Newspapers and Films in the Interwar Period: a History and a Review

Total Page:16

File Type:pdf, Size:1020Kb

British Newspapers and Films in the Interwar Period: a History and a Review ORBIT-OnlineRepository ofBirkbeckInstitutionalTheses Enabling Open Access to Birkbeck’s Research Degree output The representation of London nights in British popu- lar press and film, 1919-1939 https://eprints.bbk.ac.uk/id/eprint/40490/ Version: Public Version Citation: Arts, Mara (2020) The representation of London nights in British popular press and film, 1919-1939. [Thesis] (Unpublished) c 2020 The Author(s) All material available through ORBIT is protected by intellectual property law, including copy- right law. Any use made of the contents should comply with the relevant law. Deposit Guide Contact: email The Representation of London Nights in British Popular Press and Film, 1919-1939 Candidate name: Mara Arts Submitted for the degree of Doctor of Philosophy Birkbeck, University of London 1 Declaration of original work I hereby confirm that the work presented in this thesis is my own. 2 Abstract This thesis explores the representation of night-time activities in the capital in popular British newspapers and films of the period. It argues that, whilst an increasingly democratised night allowed for more opportunities for previously marginalised groups, popular media of the period largely promoted adherence to the status quo. The thesis draws on extensive primary source material, including eighty British feature films and newspaper samples of the Daily Mail, Daily Express and Daily Mirror to systematically analyse the representation of London’s nightlife in the British interwar period. This period saw the consolidation of the popular daily newspaper industry and, after government intervention, an expansion of the domestic film industry. The interwar period also saw great social change with universal suffrage, technological developments and an economic crisis. London greatly expanded and modernised during these decades, and the city’s nightlife boomed as a result. The first chapter of the thesis offers a historical framework and literature review and explains the methodological foundations of the research. The remainder of the thesis consists of case studies of the representation of five aspects of the capital after dark. The first pair of these case studies are concerned with two aspects of the city’s built environment that expanded rapidly during the interwar period: the suburbs and public transport system. The latter three chapters deal with three groups of London’s inhabitants whose behaviour at night was scrutinised: journalists, police officers and women. Each chapter uses close readings of newspaper and film sources to highlight how popular media during the British interwar period used the night-time both to appeal to audiences and to advocate resistance to cultural change. Together, they provide new insights in the cultural outputs of interwar Britain which shaped how their audiences saw the world around them. 3 Table of Contents Declaration of original work ........................................................................................ 2 Abstract ...................................................................................................................... 3 List of illustrations ....................................................................................................... 7 Acknowledgments ...................................................................................................... 8 Introduction: ‘Dancing goes on until dawn’ ................................................................. 9 Research goal ...................................................................................................... 11 Newspapers and films as common culture ........................................................... 12 The development of London nightlife .................................................................... 16 Interwar Britain – a society in flux ......................................................................... 18 Chapter outline ..................................................................................................... 21 Chapter 1: British newspapers and films in the interwar period: a history and a review ............................................................................................. 24 Section 1: Setting out the parameters of the research .......................................... 25 The night in interwar London ............................................................................. 25 Popular newspapers and cinema in interwar Britain ......................................... 28 Section 2: A review of the literature ...................................................................... 32 Media studies, journalism studies ..................................................................... 32 Film scholarship considering the interwar period .............................................. 36 Considering a ‘common language’ for film and press ........................................ 38 Section 3: Interplays between film, press and the night ........................................ 42 Section 4: Historical context ................................................................................. 45 British film studios in the interwar period ........................................................... 45 The 1927 Cinematograph Films Act .................................................................. 47 History of the popular press in the interwar period ............................................ 52 Section 5: Methodology ........................................................................................ 57 Establishing the corpus of films ......................................................................... 57 Newspaper sampling ......................................................................................... 63 Section 6: Analysis of the data ............................................................................. 67 Occurrences of night-time news in newspapers ................................................ 67 General data from newspaper sampling ........................................................... 72 Newspapers in film ............................................................................................ 75 Cinema in newspapers ...................................................................................... 80 Crime in newspapers ........................................................................................ 82 4 Crime in cinema ................................................................................................ 85 Conclusion ............................................................................................................ 87 Chapter 2: London suburbs at night in interwar British films and newspapers ......... 89 Definition of a suburb ............................................................................................ 91 Class and the suburbs .......................................................................................... 92 Life in the interwar suburb .................................................................................... 93 Suburbs and national popular newspapers ........................................................... 95 Becoming familiar with the suburb: newspaper reports on nocturnal suburbs in 1920 ................................................. 97 Electric adventures: newspaper reporting on nocturnal suburbs in the 1930s .... 103 Suburbs in interwar film ...................................................................................... 109 Conclusion .......................................................................................................... 119 Chapter 3: Newspapers, films, and nocturnal public transport ............................... 121 The development of a unified transport system .................................................. 124 Night-time transport and its intended users ........................................................ 126 The impact of public transport on daily life .......................................................... 130 Trains and stations in film ................................................................................... 132 Vulnerable travellers ........................................................................................... 139 Being private in public: the possibilities of taxis .................................................. 143 Mysterious drivers ............................................................................................... 147 The taxi as a class-specific site .......................................................................... 148 Conclusion .......................................................................................................... 150 Chapter 4: Journalists in interwar Britain ................................................................ 152 Working conditions of journalists in interwar Britain ............................................ 153 Journalists in cinema – a brief literature review .................................................. 156 Journalists in interwar films – research findings ................................................. 157 Types of journalist............................................................................................... 161 Gossip columnists – It’s Love Again ................................................................... 163 Interwar journalists’ memoirs .............................................................................. 167 Female journalists
Recommended publications
  • Women, Old and Aware: Living As a Minority in Extended Care Institutions
    WOMEN, OLD AND AWARE: LIVING AS A MINORITY IN EXTENDED CARE INSTITUTIONS by Linda-Mae Campbell B.A., The University of Alberta, 1982 B.S.W., The University of Victoria, 1990 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF SOCIAL WORK in THE FACULTY OF GRADUATE STUDIES SCHOOL OF SOCIAL WORK We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA April 1998 © Linda-Mae Campbell, 1998 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. 0 Department The University of British Columbia Vancouver, Canada DE-6 (2/88) Abstract Women Old And Aware: Living As A Minority In Extended Care Institutions The purpose of this phenomenological study was to describe the everyday lived experiences of old, cognitively intact women, residing in an integrated extended care facility among an overwhelming majority of confused elderly people. The research question was "From your perspective, what is the impact of living in an environment where the majority of residents, with whom you reside, are cognitively impaired?". A purposive sample of five older women participated in multiple in-depth interviews about their subjective experiences.
    [Show full text]
  • Fleet Street Lawyers' Society
    FLEET STREET LAWYERS’ SOCIETY Please reply to: Times Newspapers Limited, Times House, 1 Pennington Street, London E98 1LG. 13th December 2006 The Rt. Hon. Baroness Ashton, URGENT BY HAND & FAX Parliamentary Under Secretary of State, Department for Constitutional Affairs, Selbourne House, 54-60 Victoria Street, London, SW1E 6QW. Dear Cathy, Following the meeting at the Newspaper Society on Monday, I think it is extremely important that you see what the newspapers and broadcasters, which constitute the Fleet Street Lawyers’ Society, have to say about the current government proposals on Freedom of Information. The letter, which follows, has been circulated amongst all the companies listed below and they have approved its content. I hope therefore it will be taken into account at the crucial meeting you are having tomorrow with the DCA Information Rights User Group. We, the Fleet Street Lawyers, are writing to express our very serious concern at the proposals that the DCA has recently published to limit access to information under the Freedom of Information Act. The initial success of the Freedom of Information Act in promoting greater openness by public authorities has been one of this government’s significant achievements. Authorities increasingly recognise that they must respond to the new legislation with greater transparency. However, instead of encouraging, and taking credit for this process the government’s current proposals suggest it wishes to reverse it. Each of the two proposed changes to the FOI Act’s fees regulations would, in our view, severely restrict the media’s use of the Act. The public would be denied information which they need and which the media, which is traditionally referred to as the “eyes and ears of the public” by the Law Lords, should be in a position to provide them with about public authority decision-making.
    [Show full text]
  • September 6, 2011 (XXIII:2) Anthony Asquith and Leslie Howard, PYGMALION (1938, 96 Min)
    September 6, 2011 (XXIII:2) Anthony Asquith and Leslie Howard, PYGMALION (1938, 96 min) Directed by Anthony Asquith and Leslie Howard Written by George Bernard Shaw (play, scenario & dialogue), W.P. Lipscomb, Cecil Lewis, Ian Dalrymple (uncredited), Anatole de Grunwald (uncredited), Kay Walsh (uncredited) Produced by Gabriel Pascal Original Music by Arthur Honegger Cinematography by Harry Stradling Edited by David Lean Art Direction by John Bryan Costume Design by Ladislaw Czettel (as Professor L. Czettel), Schiaparelli (uncredited), Worth (uncredited) Music composed by William Axt Music conducted by Louis Levy Leslie Howard...Professor Henry Higgins Wendy Hiller...Eliza Doolittle Wilfrid Lawson...Alfred Doolittle Marie Lohr...Mrs. Higgins Scott Sunderland...Colonel George Pickering GEORGE BERNARD SHAW [from Wikipedia](26 July 1856 – 2 Jean Cadell...Mrs. Pearce November 1950) was an Irish playwright and a co-founder of the David Tree...Freddy Eynsford-Hill London School of Economics. Although his first profitable writing Everley Gregg...Mrs. Eynsford-Hill was music and literary criticism, in which capacity he wrote many Leueen MacGrath...Clara Eynsford Hill highly articulate pieces of journalism, his main talent was for Esme Percy...Count Aristid Karpathy drama, and he wrote more than 60 plays. Nearly all his writings address prevailing social problems, but have a vein of comedy Academy Award – 1939 – Best Screenplay which makes their stark themes more palatable. Shaw examined George Bernard Shaw, W.P. Lipscomb, Cecil Lewis, Ian Dalrymple education, marriage, religion, government, health care, and class privilege. ANTHONY ASQUITH (November 9, 1902, London, England, UK – He was most angered by what he perceived as the February 20, 1968, Marylebone, London, England, UK) directed 43 exploitation of the working class.
    [Show full text]
  • Full Year Results 2020/21 Investor & Analyst Presentation
    Full Year Results 2020/21 Investor & Analyst Presentation 3rd June 2021 Agenda 01 02 Introduction Financial review Graham Clemett Dave Benson CEO CFO 03 04 Outlook Supplementary Graham Clemett information CEO 2 Workspace | Full Year Results 2020/21 Introduction Graham Clemett, CEO 3 Workspace | Full Year Results 2020/21 Introduction A resilient performance and encouraging signs for the year ahead • London shut down for much of the year • £20m of rent discounts given • Ensured all business centres are Covid-safe and secure • Lost some 10% of our customers • Occupancy levels now stabilising • Good momentum into the new financial year • Committed to net zero carbon by 2030 • First green public bond completed Well positioned for growth 4 Workspace | Full Year Results 2020/21 Introduction Financial highlights Mar 21 Mar 20 Mar 21 Mar 20 Net rental income £81.5m £122.0m Property valuation £2,324m £2,574m Trading profit after interest £38.7m £81.0m EPRA NTA per share £9.38 £10.88 Total dividend per share 17.75p 36.16p Loan to value 24% 21% Trading Profit after interest NTA per share £90m £12.00 £80m £10.00 £70m £60m £8.00 £50m £6.00 £40m £30m £4.00 £20m £2.00 £10m £0m £- 2012 2013 2014 2015 2016 2017 2018 2019 2020 2021 2012 2013 2014 2015 2016 2017 2018 2019 2020 2021 5 Workspace | Full Year Results 2020/21 Introduction Operating highlights Year ending Mar 21 Mar 20 Mar 21 Mar 20 Enquiries per month 739 1,087 Like-for-like occupancy 81.6% 93.3% Viewings per month 328 675 Like-for-like rent per sq.
    [Show full text]
  • Tape ID Title Language Type System
    Tape ID Title Language Type System 1361 10 English 4 PAL 1089D 10 Things I Hate About You (DVD) English 10 DVD 7326D 100 Women (DVD) English 9 DVD KD019 101 Dalmatians (Walt Disney) English 3 PAL 0361sn 101 Dalmatians - Live Action (NTSC) English 6 NTSC 0362sn 101 Dalmatians II (NTSC) English 6 NTSC KD040 101 Dalmations (Live) English 3 PAL KD041 102 Dalmatians English 3 PAL 0665 12 Angry Men English 4 PAL 0044D 12 Angry Men (DVD) English 10 DVD 6826 12 Monkeys (NTSC) English 3 NTSC i031 120 Days Of Sodom - Salo (Not Subtitled) Italian 4 PAL 6016 13 Conversations About One Thing (NTSC) English 1 NTSC 0189DN 13 Going On 30 (DVD 1) English 9 DVD 7080D 13 Going On 30 (DVD) English 9 DVD 0179DN 13 Moons (DVD 1) English 9 DVD 3050D 13th Warrior (DVD) English 10 DVD 6291 13th Warrior (NTSC) English 3 nTSC 5172D 1492 - Conquest Of Paradise (DVD) English 10 DVD 3165D 15 Minutes (DVD) English 10 DVD 6568 15 Minutes (NTSC) English 3 NTSC 7122D 16 Years Of Alcohol (DVD) English 9 DVD 1078 18 Again English 4 Pal 5163a 1900 - Part I English 4 pAL 5163b 1900 - Part II English 4 pAL 1244 1941 English 4 PAL 0072DN 1Love (DVD 1) English 9 DVD 0141DN 2 Days (DVD 1) English 9 DVD 0172sn 2 Days In The Valley (NTSC) English 6 NTSC 3256D 2 Fast 2 Furious (DVD) English 10 DVD 5276D 2 Gs And A Key (DVD) English 4 DVD f085 2 Ou 3 Choses Que Je Sais D Elle (Subtitled) French 4 PAL X059D 20 30 40 (DVD) English 9 DVD 1304 200 Cigarettes English 4 Pal 6474 200 Cigarettes (NTSC) English 3 NTSC 3172D 2001 - A Space Odyssey (DVD) English 10 DVD 3032D 2010 - The Year
    [Show full text]
  • Corporate Impersonation: the Possibilities of Personhood in American Literature, 1886-1917
    Corporate Impersonation: The Possibilities of Personhood in American Literature, 1886-1917 by Nicolette Isabel Bruner A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (English Language and Literature) in the University of Michigan 2015 Doctoral Committee Professor Gregg D. Crane, Chair Professor Susanna L. Blumenthal, University of Minnesota Professor Jonathan L. Freedman Associate Professor Scott R. Lyons “Everything…that the community chooses to regard as such can become a subject—a potential center—of rights, whether a plant or an animal, a human being or an imagined spirit; and nothing, if the community does not choose to regard it so, will become a subject of rights, whether human being or anything else.” -Alexander Nékám, 1938 © Nicolette Isabel Bruner Olson 2015 For my family – past, present, and future. ii Acknowledgements This dissertation could not have been completed without the support of my committee: Gregg Crane, Jonathan Freedman, Scott Lyons, and Susanna Blumenthal. Gregg Crane has been a constant source of advice and encouragement whose intimate knowledge of law and literature scholarship has been invaluable to my own development as a scholar. Jonathan Freedman’s class on “Fictions of Finance” inspired much of the work in this dissertation, as did Susanna Blumenthal’s seminar on “The Concept of the Person” during my time at the University of Michigan Law School. Jonathan’s good humor, grace, and sympathetic yet critical eye have profoundly shaped my work. As I have expanded my research into animal studies, Scott Lyons guided me to new intellectual domains. Finally, ever since I began working with her during my first year of law school, Susanna has been a source of wisdom, encouragement, and generosity.
    [Show full text]
  • The Finance and Production of Independent Film and Television in the UK: a Critical Introduction
    The Finance and Production of Independent Film and Television in the UK: A Critical Introduction Vital Statistics General Population: 64.1m Size: 241.9 km sq GDP: £1.9tr (€2.1tr) Film1 Market share of UK independent films in 2015: 10.5% Number of feature films produced: 201 Average visits to cinema per person per year: 2.7 Production spend per year: £1.4m (€1.6) TV2 Audience share of the main publicly-funded PSB (BBC): 72% Production spend by PSBs: £2.5bn (€3.2bn) Production spend by commercial channels (excluding sport): £350m (€387m) Time spent watching television per day: 193 minutes (3hrs 13 minutes) Introduction This chapter provides an overview of independent film and television production in the UK. Despite the unprecedented levels of convergence that characterise the digital era, the UK film and television industries remain distinct for several reasons. The film industry is small and fragmented, divided across the two opposing sources of support on which it depends: large but uncontrollable levels of ‘inward-investment’ – money invested in the UK from overseas – mainly from the US, and low levels of public subsidy. By comparison, the television industry is large and diverse, its relative stability underpinned by a long-standing infrastructure of 1 Sources: BFI 2016: 10; ‘The Box Office 2015’ [market share of UK indie films] ; BFI 2016: 6; ‘Exhibition’ [cinema visits per per person]; BFI 2016: 6; ‘Exhibition’ [average visits per person]; BFI 2016: 3; ‘Screen Sector Production’ [production spend per year]. 2 Sources: Oliver & Ohlbaum 2016: 68 [PSB audience share]; Ofcom 2015a: 3 [PSB production spend]; Ofcom 2015a: 8.
    [Show full text]
  • University of Huddersfield Repository
    University of Huddersfield Repository Billam, Alistair It Always Rains on Sunday: Early Social Realism in Post-War British Cinema Original Citation Billam, Alistair (2018) It Always Rains on Sunday: Early Social Realism in Post-War British Cinema. Masters thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/id/eprint/34583/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ Submission in fulfilment of Masters by Research University of Huddersfield 2016 It Always Rains on Sunday: Early Social Realism in Post-War British Cinema Alistair Billam Contents Introduction ............................................................................................................................................ 3 Chapter 1: Ealing and post-war British cinema. ................................................................................... 12 Chapter 2: The community and social realism in It Always Rains on Sunday ...................................... 25 Chapter 3: Robert Hamer and It Always Rains on Sunday – the wider context.
    [Show full text]
  • Board Membership
    Board Membership Film London wishes to appoint two new members to the Board of Film London chaired by Daniel Battsek. As the terms of two of our Trustees are coming to a close in September 2021, Film London is keen to attract three to four candidates to replace the skills and expertise these board members are bringing to our Board. We are therefore looking for outstanding candidates who have a substantial knowledge and experience at a very senior level in one or more of the following areas: Cinema Exhibition Film and TV Content Distribution / Streaming In addition, candidates should bring a strong commercial background in the creative industries across film, TV, animation and games. We strongly encourage applications from under-represented groups, including black, Asian and minority ethnic groups, and those with disabilities. About Film London Film London is the capital’s screen industries agency. We connect ideas, talent and finance to develop a pioneering creative culture in the city that delivers success in film, television, animation, games and beyond. We work to sustain, promote and develop London as a global content production hub, support the development of the city’s new and emerging filmmaking talent and invest in a diverse and rich film culture. Film London is funded by the Mayor of London, the National Lottery through the BFI, and receives significant support from Arts Council England and DIT. Film London also has a national division, the British Film Commission and co-owns Games London with Ukie. Film London is a registered charity, No. 1163968. Based at Film London, the British Film Commission is the government backed national body responsible for globally promoting the UK as the best place to produce feature films.
    [Show full text]
  • The North of England in British Wartime Film, 1941 to 1946. Alan
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by CLoK The North of England in British Wartime Film, 1941 to 1946. Alan Hughes, University of Central Lancashire The North of England is a place-myth as much as a material reality. Conceptually it exists as the location where the economic, political, sociological, as well as climatological and geomorphological, phenomena particular to the region are reified into a set of socio-cultural qualities that serve to define it as different to conceptualisations of England and ‘Englishness’. Whilst the abstract nature of such a construction means that the geographical boundaries of the North are implicitly ill-defined, for ease of reference, and to maintain objectivity in defining individual texts as Northern films, this paper will adhere to the notion of a ‘seven county North’ (i.e. the pre-1974 counties of Cumberland, Westmorland, Northumberland, County Durham, Lancashire, Yorkshire, and Cheshire) that is increasingly being used as the geographical template for the North of England within social and cultural history.1 The British film industry in 1941 As 1940 drew to a close in Britain any memories of the phoney war of the spring of that year were likely to seem but distant recollections of a bygone age long dispersed by the brutal realities of the conflict. Outside of the immediate theatres of conflict the domestic industries that had catered for the demands of an increasingly affluent and consuming population were orientated towards the needs of a war economy as plant, machinery, and labour shifted into war production.
    [Show full text]
  • Sound: Eine Arbeitsbibliographie 2003
    Repositorium für die Medienwissenschaft Hans Jürgen Wulff Sound: Eine Arbeitsbibliographie 2003 https://doi.org/10.25969/mediarep/12795 Veröffentlichungsversion / published version Buch / book Empfohlene Zitierung / Suggested Citation: Wulff, Hans Jürgen: Sound: Eine Arbeitsbibliographie. Hamburg: Universität Hamburg, Institut für Germanistik 2003 (Medienwissenschaft: Berichte und Papiere 17). DOI: https://doi.org/10.25969/mediarep/12795. Erstmalig hier erschienen / Initial publication here: http://berichte.derwulff.de/0017_03.pdf Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell - Keine Bearbeitungen 4.0/ Attribution - Non Commercial - No Derivatives 4.0/ License. For Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz more information see: finden Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0/ https://creativecommons.org/licenses/by-nc-nd/4.0/ Medienwissenschaft / Kiel: Berichte und Papiere 17, 1999: Sound. ISSN 1615-7060. Redaktion und Copyright dieser Ausgabe: Hans J. Wulff. Letzte Änderung: 21.9.2008. URL der Hamburger Ausgabe: .http://www1.uni-hamburg.de/Medien/berichte/arbeiten/0017_03.pdf Sound: Eine Arbeitsbibliographie Hans J. Wulff Stille und Schweigen. Themenheft der: Navigatio- Akemann, Walter (1931) Tontechnik und Anwen- nen: Siegener Beiträge zur Medien- und Kulturwis- dung des Tonkoffergerätes. In: Kinotechnik v. 5.12. senschaft 3,2, 2003. 1931, pp. 444ff. Film- & TV-Kameramann 57,9, Sept. 2008, pp. 60- Aldred, John (1978) Manual of sound recording. 85: „Originalton“. 3rd ed. :Fountain Press/Argus Books 1978, 372 pp. Aldred, John (1981) Fifty years of sound. American Cinematographer, Sept. 1981, pp. 888-889, 892- Abbott, George (1929) The big noise: An unfanati- 897.
    [Show full text]
  • MARJORIE BEEBE—Ian
    #10 silent comedy, slapstick, music hall. CONTENTS 3 DVD news 4Lost STAN LAUREL footage resurfaces 5 Comedy classes with Britain’s greatest screen co- median, WILL HAY 15 Sennett’s comedienne MARJORIE BEEBE—Ian 19 Did STAN LAUREL & LUPINO LANE almost form a team? 20 Revelations and rarities : LAUREL & HARDY, RAYMOND GRIFFITH, WALTER FORDE & more make appearances at Kennington Bioscope’s SILENT LAUGHTER SATURDAY 25The final part of our examination of CHARLEY CHASE’s career with a look at his films from 1934-40 31 SCREENING NOTES/DVD reviews: Exploring British Comedies of the 1930s . MORE ‘ACCIDENTALLY CRITERION PRESERVED’ GEMS COLLECTION MAKES UK DEBUT Ben Model’s Undercrank productions continues to be a wonderful source of rare silent comedies. Ben has two new DVDs, one out now and another due WITH HAROLD for Autumn release. ‘FOUND AT MOSTLY LOST’, presents a selection of pre- LLOYD viously lost films identified at the ‘Mostly Lost’ event at the Library of Con- gress. Amongst the most interesting are Snub Pollard’s ‘15 MINUTES’ , The celebrated Criterion Collec- George Ovey in ‘JERRY’S PERFECT DAY’, Jimmie Adams in ‘GRIEF’, Monty tion BluRays have begun being Banks in ‘IN AND OUT’ and Hank Mann in ‘THE NICKEL SNATCHER’/ ‘FOUND released in the UK, starting AT MOSTLY LOST is available now; more information is at with Harold Lloyd’s ‘SPEEDY’. www.undercrankproductions.com Extra features include a com- mentary, plus documentaries The 4th volume of the ‘ACCIDENTALLY PRESERVED’ series, showcasing on Lloyd’s making of the film ‘orphaned’ films, many of which only survive in a single print, is due soon.
    [Show full text]