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The British Documentary Film Movement 1926 Film & Culture edited by: DOROTTYA JÁSZAY, ANDREA VELICH Eötvös Loránd University | Faculty of Humanities | School of English and American Studies 2016 Film & Culture Edited by: DOROTTYA JÁSZAY, ANDREA VELICH Layout design by: BENCE LEVENTE BODÓ Proofreader: ANDREA THURMER © AUTHORS 2016, © EDITORS 2016 ISBN 978-963-284-757-3 EÖTVÖS LORÁND TUDOMÁNYEGYETEM Supported by the Higher Education Restructuring Fund | Allocated to ELTE by the Hungarian Government 2016 FILM & CULTURE Marcell Gellért | Shakespeare on Film: Romeo and Table of Juliet Revisioned 75 Márta Hargitai | Hitchcock’s Macbeth 87 Contents Dorottya Holló | Culture(s) Through Films: Learning Opportunities 110 Géza Kállay | Introduction: Being Film 5 János Kenyeres | Multiculturalism, History and Identity in Canadian Film: Atom Egoyan’s Vera Benczik & Natália Pikli | James Bond in the Ararat 124 Classroom 19 Zsolt Komáromy | The Miraculous Life of Henry Zsolt Czigányik | Utopia and Dystopia Purcell: On the Cultural Historical Contexts of on the Screen 30 the Film England, my England 143 Ákos Farkas | Henry James in the Cinema: When Miklós Lojkó | The British Documentary Film the Adapters Turn the Screw 44 Movement from the mid-1920s to the mid-1940s: Its Social, Political, and Aesthetic Context 155 Cecilia Gall | Representation of Australian Aborigines in Australian film 62 Éva Péteri | John Huston’s Adaptation of James Joyce’s “The Dead”: A Literary Approach 186 FILM & CULTURE Eglantina Remport & Janina Vesztergom | Romantic Ireland and the Hollywood Film Industry: The Colleen Bawn (1911), The Quiet Man (1952), Leap Year (2010) 169 Eszter Szép | Sequential Arts: Moments From the Parallel History of Comics and Film 196 Andrea Velich | The English ‘Monarchy Film’ Revisited: From The Private life of Henry VIII (1933) to Elizabeth (1998) and The Queen (2006) 210 Dorottya Jászay | Glossary 227 The British Documentary Film Movement from the mid-1920s to the mid- 1940s: Its Social, Political, and Aesthetic Context MIKLÓS LOJKÓ | Film & Culture ► 155 DOCUMENTARY FILM MOVEMENT... FILM DOCUMENTARY FILM & CULTURE The history of the British film industry and the art of growing circumstantial evidence, substantiated from 1937, British film making is inextricably linked with the early when Mass-Observation began its work, to show that the production of socially sensitive documentary films. This general British public felt alienated from the traditional connection has largely been forgotten in our time. The fol- hierarchies of British power and politics. Therefore, it is BRITISH –LOJKÓ–THE lowing article is intended to revive and underline this link. significant that exponents of the new documentary film During the 1920s, partly as a consequence of the intro- movement, John Grierson, Basil Wright, Edgar Antsey, duction of universal suffrage and the growing government Arthur Elton, Albetro Cavalvanti and others, can be cred- intervention in the lives of everyday people, politicians, ited with introducing a new vocabulary of democracy into in particular those on the right (Swann 2) felt the need to mass communication in Britain. pay much greater attention to public opinion and public In the aftermath of the war, many civil servants re- morale. During the Great War, especially from 1917 when mained impressed by the way wartime propaganda caught David Lloyd George’s ideas of emergency governance had the imagination of the British public. The nation had been started to take shape, in addition to total economic and drawn together in more ways than ever before. Yet, the key financial leverage, the government took control of new impetus came via the United States where similar circum- and wide ranging areas of social policy as well as propa- stances had led to similar developments. In Public Opinion ganda (Buitenhuis). British Pathé Newsreel, relaunched (1921), the noted American public intellectual Walter after the war with a ten-year delay in 1928, focusing on the Lippmann, poignantly quoted Plato’s Republic leaving no lives of celebrities, the royal family and grandiose foreign doubt as to the contemporary western social implications: diplomatic events or wars, was, apart from the glamour, of little real interest to the average cinema goer. The BBC, Behold! human beings living in a sort of underground in its infancy at that time, was also using famously stilted den, / which has a mouth open towards the light and language and very few on-location interviews. There was reaching all across / the den; they have been here 156 DOCUMENTARY FILM MOVEMENT... FILM DOCUMENTARY FILM & CULTURE from their childhood, and have their / legs and necks the United States. Grierson was impressed by the tabloid chained so that they cannot move, and can only / see press and the cinema in the US, both aimed unapologeti- before them. (qtd. in Lippmann vii) cally at a general audience, instead of the intellectual and social elites traditionally targeted in the United Kingdom. BRITISH –LOJKÓ–THE The book became influential in Britain beyond expec- Grierson was essentially a nineteenth century com- tations. It was partly in the lure of this book that John munitarian liberal and believed in the social, communal Grierson, the future anchor and energising spirit of the responsibility of the individual. He was “an elitist with pop- British documentary film movement, together with other ulist inclinations throughout his life,” who, when political ambitious, Scottish-born hopefuls, like John Reith and life in Britain and elsewhere began to polarise in the 1930s, the advertising magnate William Crawford, went to the departed on a journey to the left, stopping short, however, United States in 1924 on a Rockefeller scholarship (Swann of becoming a communist (Swann 5–6). Grierson’s early 3). Significantly, Grierson’s activities in the US showed more convictions, including the Scots Presbyterian background, parallels with Crawford than Reith, soon to be the iconic combined with his formative experience in the United head of the BBC in London. Grierson had read English States, resulted in a peculiar, virtually missionary, vision and Moral Philosophy at Glasgow University and went on for reengaging ordinary men and women with the dem- to study the Psychology of Propaganda at the universities ocratic process for which so many had fought but which of Chicago, Columbia and Wisconsin-Madison, acquir- seemed so remote from the perspective of the post-war ing a propaganda and public relations expertise that he years. Agreeing with Walter Lippmann, he blamed the ero- would later import to the UK. The American advertising sion of democracy at least partly on the fact that the social agencies were among the earliest to utilise modern art complexities of contemporary society made it nearly im- in their craft. Many of the modernist pictorial art move- possible for the public to participate in processes vital to ments were incorporated into commercial advertising in the survival of democratic society. Grierson announced 157 DOCUMENTARY FILM MOVEMENT... FILM DOCUMENTARY FILM & CULTURE this vision in an American film trade magazine as follows: in high places for his ambitions to create a modern link between the political message and the population. Among The modern multitudes … [crave] for participation in the facilitators was Sir Stephen Tallents, a senior British a world where dreams come true, where life is more civil servant, who gave Grierson his first opportunity as the BRITISH –LOJKÓ–THE free, more powerful, more pungent, more obviously EMB’s film officer (Swann 12–13). He directed his first film, dramatic […] In the meanwhile, the old folk worlds, the fifty-minute long Drifters (1929). the worlds of established heroes […] and so dead and The American roots of British mass audience cinema so distant that the multitude have lost touch with have recently been studied with care, but little has been them and the imagination of the average people are said about the Soviet Russian parallels. The glorification [sic] without a sticking point. (Swann 7) of the worker and the heroic-victorious dignity of the work process itself is evident in Grierson’s Drifters. The vibrant, Grierson arrived back in the UK in 1927, imbued with dramatic music underlies the theme that these fishermen the conviction that a certain new type of film could and (herring drifters with floating nets attached to their boats) should be mobilized to deal with the perennial problems of are at the forefront of creation, the vanguard of the bat- economic hardship shared by most throughout the twen- tle for a better future. At the beginning of the film we see ties and into the Great Depression and to build national the calm undulating fields of a small village, men going morale and consensus. He joined the Empire Marketing to work early in the morning. The pace is quickening, en- Board, a government department founded as an offspring ergy is mounting as the sturdy axles, shafts and pistons of the Department of Overseas Trade in 1926 by Colonial propel the boat to the open sea, and reaches its crescendo Secretary Leo Amery, on a close analogy to the Federation when the rich catch of fish is hauled in. The final cap- of British Industries (FBI), to promote trade relations within tion tells us “[s]o to the ends of the earth goes the harvest the British Empire. Grierson acquired powerful supporters of the sea.” Drifters was first shown in a private film club 158 DOCUMENTARY FILM MOVEMENT... FILM DOCUMENTARY FILM & CULTURE in London in late 1929 on a double-bill with Eisenstein’s to this type of documentary film from Alberto Cavalcanti, The Battleship Potemkin (which was not granted general a Brazilian-born film maker who was played a pivotal role licence in the UK until 1954), and received high praise in the British documentary film movement between 1933 from both its sponsors and the press (Grierson, 1929). and the mid-1940s. Previously Cavalcanti had worked BRITISH –LOJKÓ–THE The parallels with contemporary Soviet film are with avant-garde French film makers such as Jean Renoir not superficial.
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