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Mass Observation Humphrey Spender Nigel Henderson the Metropolitan Police Card Inspection Processing
Humphrey Spender Funeral Cortege Davenport St. Bolton 1938. Mass Observation Humphrey Spender Nigel Henderson The Metropolitan Police Card Inspection Processing A No 11 Half Moon Photography Workshop 40p/$1.50 Mass Observation was probably the largest investigation These photographs however, together with the detailed into popular culture to be carried out in Britain this century. written observations, do provide a valuable insight into the It took place between 1936 and 1947. late 1930s and show how Mass Observation influenced the Mass Observation was established by a small group of development of documentary realism. upper-middle class intellectuals and artists, but grew to In this issue we look at the origins of Mass Observation, its involve around 1,500 observers from all social classes and aims, its methods of working, its contribution to the docu from all over the country. They amassed a wealth of infor mentary tradition, its shortcomings and its significance to mation on the minutiae of everyday life of the period. During contemporary culture. In the section below we reproduce World War II the Government took over M.O.’s fact parts of the first publication of M.O., the pamphlet ‘Mass collecting organisation for propaganda purposes and to keep Observation’ by Tom Harrisson and Charles Madge. This in touch with public morale. After the War M.O. became a pamphlet, published in 1937, sets out what they were trying limited company and turned to consumer research. to do and gives a clear picture of the ideas which influenced Mass Observation described its observers as ‘the cameras their thinking. -
Winter Series Art Films and Events January February Filmmarch Film
Film Program Winter 2008 National Gallery of Art, Washington Winter Series film From the Archives: 16 at 12 England’s New Wave, 1958 – 1964 István Szabó’s 20th Century Alexander Sokurov In Glorious Technicolor Art Films and Events This Sporting Life (Photofest) 19 Sat II March Edward 2:00 England’s New Wave, 1958 – 1964: A Kind of Loving 1 Sat J. M.W. Turner and Film 4:30 England’s New Wave, 1958 – 1964: 2:00 István Szabó’s 20th Century: Mephisto (two-part program) This Sporting Life 4:30 István Szabó’s 20th Century: Colonel Redl 2 Sun The Gates 20 Sun 4:30 England’s New Wave, 1958 – 1964: 4:30 István Szabó’s 20th Century: Hanussen International Festival of Films Saturday Night and Sunday Morning; 4 Tues The Angry Silence on Art 12:00 From the Archives: 16 at 12: The City 22 Tues of Washington Henri Storck’s Legacy: 12:00 From the Archives: 16 at 12: Dorothea 8 Sat Lange: Under the Trees; Eugène Atget (1856 – 1927) Belgian Films on Art 3:00 Event: Max Linder Ciné-Concert 26 Sat 9 Sun 2:00 Event: International Festival of Films on Art England’s Finest Hour: 4:30 Alexander Sokurov: The Sun (Solntse) Films by Humphrey Jennings 27 Sun 11 Tues 4:00 Event: International Festival of Films on Art Balázs Béla Stúdió: 1961 – 1970 12:00 From the Archives: 16 at 12: Washington, 29 Tues City with a Plan Max Linder Ciné-Concert 12:00 From the Archives: 16 at 12: Dorothea 15 Sat Lange: Under the Trees; Eugène Atget (1856 – 1927) 2:30 Alexander Sokurov: Elegy of Life: Silvestre Revueltas: Music for Film Rostropovich Vishnevskaya February 4:30 Alexander -
1 the Communicating Village: Humphrey Jennings And
THE COMMUNICATING VILLAGE: HUMPHREY JENNINGS AND SURREALISM NEIL GEORGE COOMBS A thesis submitted in partial fulfilment of the requirements of Liverpool John Moores University for the degree of Doctor of Philosophy January 2014 1 Acknowledgments. With thanks to my supervisors Dr David Sorfa and Dr Lydia Papadimitriou for their support during the process of writing this thesis. 2 Abstract This thesis examines the films of Humphrey Jennings, exploring his work in relation to surrealism. This examination provides an overview of how surrealism’s set of ideas is manifest in Jennings’s documentary film work. The thesis does not assert that his films are surrealist texts or that there is such a thing as a surrealist film; rather it explores how his films, produced in Britain in the period from 1936 to 1950, have a dialectical relationship with surrealism. The thesis first considers Jennings’s work in relation to documentary theory, outlining how and why he is considered a significant filmmaker in the documentary field. It then goes on to consider Jennings’s engagement with surrealism in Britain in the years prior to World War Two. The thesis identifies three paradoxes relating to surrealism in Britain, using these to explore surrealism as an aura that can be read in the films of Jennings. The thesis explores three active phases of Jennings’s film work, each phase culminating in a key film. It acknowledges that Spare Time (1939) and Listen to Britain (1942) are key films in Jennings’s oeuvre, examining these two films and then emphasising the importance of a third, previously generally overlooked, film, The Silent Village (1943). -
Department of English & Writing Studies Film Studies Program
Department of English & Writing Studies Film Studies Program Documentary Film Film 2275G (001) Winter 2018 Instructor: Professor Chris Gittings Course Date/Time: Monday 12:30pm-3:30pm Course Location: 3B04 Arts & Humanities Screenings: Tuesday 3:30pm-5:30pm Building Prerequisites: At least 60% in Film Studies 1020E or Film Studies 1022 or permission of the Department. Course Description “Non-fiction contains any number of ‘fictive’ elements, moments at which a presumably objective representation of the world encounters the necessity of creative intervention.” Michael Renov in Theorizing Documentary: 2 Historically, the dominant perception of documentary or non-fiction cinemas is that they teach us about the ‘real’ world by documenting truth transparently. However, this course will consider documentary as a form of representation and as such, trouble its relationship to the ‘objective reality’ it seeks to represent. What is at stake in representing the ‘historical real’? What issues of selection and mediation intrude between the reality unfolding in front of the lens and the projection of that reality on a screen? As theorists such as Michael Renov and Bill Nichols argue, although a documentary film references the historical world and actual people, it also constructs an audience’s understanding of this world and its inhabitants through point of view and the post-production process. Early practitioners and theorists of documentary were well aware of this contradiction; John Grierson, the so-called ‘father’ of documentary film and one of its first theorists describes documentary as “the creative treatment of actuality,” but audiences were frequently unaware of this creative element, often reading documentary film as ‘true’. -
Mass Illuminations: Jennings, Madge, Rimbaud and the 'Popular' Prose
1 Mass Illuminations: Jennings, Madge, Rimbaud and the ‘Popular’ Prose Poem Jeremy Noel-Tod CONTACT DETAILS: School of Literature, Drama and Creative Writing Faculty of Arts and Humanities University of East Anglia Norwich, NR4 7TJ 01603 592294 [email protected] BIOGRAPHICAL NOTE: Jeremy Noel-Tod is a lecturer in Literature and Creative Writing at the University of East Anglia. His revised edition of The Oxford Companion to Modern Poetry appeared in 2013 and he is the editor of R.F. Langley’s Complete Poems (2015). ABSTRACT: The importance of the Mass-Observation social research project to post-war British literature can be traced to the founding involvement of two poets, Humphrey Jennings and Charles Madge. Their experimentation with the possibility of a prose-based poetry in the mid-Thirties has already been linked to the example of Surrealism. Here, it is argued that they were also strongly influenced by Rimbaud’s Une Saison en Enfer (1873) and Illuminations (1872-74). Madge’s prose poem ‘Bourgeois News’ uses textual collage to create a Rimbaldian vision of the ‘parade sauvage’ of late imperial Britain, which strikingly anticipates the work of more recent British prose poets such as Rod Mengham and Tony Lopez. In conclusion, archival evidence is used to support the hypothesis that Madge composed an anoymous news article, influenced by his reading of Rimbaud, as an illustration of his belief that newspapers contained the potential for a revolutionary new form of ‘popular poetry’. 2 In a recent review of Peter Riley’s The Ascent of Kinder Scout (2014), a prose poem concerning the mass protest against land enclosure in the Peak District in 1932, the poet and critic Billy Mills suggested that Riley’s eschewal of the ‘overly poetic’ to document ‘the surreal nature of reality’ could be illuminated by Charles Madge’s 1937 article ‘Poetic Description and Mass-Observation’. -
Len Lye's When the Pie Was Opened
CHAPTER 10 219 A ‘Symphony of Britain at War’ or the ‘Rhythm of Workaday Britain’? Len Lye’s When the Pie Was Opened (1941) and the musicalisation of warfare. Anita Jorge 220 SOUNDINGS Introduction ‘Do you think that modern war has no music? That mechanisation has banished harmony, and that because her life is for the moment so grim Britain no longer thinks of singing? What an error’ (Jennings, 1942, p. 1). These words, taken from Humphrey Jennings’s treatment of his ‘sonic documentary’ Listen to Britain, made in 1942 and sponsored by the British Ministry of Information, are emblematic of the wartime offcial discourse that postulated the intrinsic musicality of the sounds of warfare. Offcial discourses on sound were not new: they had started to develop in the inter-war period in reaction to the emergence of new kinds of noise that came to be associated with the advent of ‘modern civilisation’. As extensively shown by James Mansell (2016), during the war, the debate broadened out to become a matter of national well-being, and above all, social cohesion. Positing that a discrete collection of sounds possessed an intrinsic musicality was part and parcel of the offcial propaganda discourse aimed at rationalizing the unknown and controlling the fears of civilians. It implied that something as chaotic and unfathomable as the sounds of warfare was actually driven by a sense of purpose and harmony, and that Britons were ‘pulling together’ in the war effort to the sound of a ‘national symphony’ across social and geographical divides. It was also a way of reassuring the people by maintaining the illusion that there existed an organised and systematic retaliation to enemy attacks. -
Listen to Britain: and Other Films by Humphrey Jennings by Dean W
Listen To Britain: And Other Films By Humphrey Jennings By Dean W. Duncan The breadth and the depth of Jennings’ films owe much to the rather roundabout course by which he became a filmmaker. He was born in 1907, in a village on England’s eastern coast. His mother and father were guild socialists, sharing that movement’s reverence for the past, its love for things communal, and its deep suspicion of industrialization and the machine age. Their son, who would come to know much of both arts and crafts, and who would eventually be uniquely successful in melding tradition and modernity, was well-educated and well-read, and his interests ranged very widely indeed. He received a scholarship to Cambridge University, where he studied English literature and where all of his youthful enthusiasms coalesced into a remarkable flurry of activity and accomplishment. Jennings excelled in his chosen field, effecting an extraordinary immersion in the major movements, the signal works and authors, the main periods and issues in English literature. He also founded and wrote for a literary magazine. He oversaw an edition (from the quarto) of Shakespeare’s Venus and Adonis, and his doctoral work – unfinished, as it turned out – on the 18th century poet Thomas Gray had, by all accounts, great merit and promise. The fact that he didn’t finish his dissertation had something to do with all the other fields in which he also chose to work. All through his studies Jennings was, heavily, and eventually professionally, involved in theatrical production. He was an actor, and a designer of real ambition and genius. -
Listen to Nice
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Huddersfield Repository University of Huddersfield Repository Cox, Geoffrey Listen to Nice Original Citation Cox, Geoffrey (2013) Listen to Nice. The New Soundtrack, 3 (2). pp. 89-105. ISSN 2042-8855 This version is available at http://eprints.hud.ac.uk/18000/ 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/ GEOFFREY COX Listen to Nice ABSTRACT KEYWORDS In describing Humphrey Jennings’ wartime documentary propaganda film, documentary Listen to Britain (1942), a film with an overtly poetic sensibility and dom- Jean Vigo inantly musical soundtrack, John Corner asserts that ‘through listening to Humphrey Jennings Britain, we are enabled to properly look at it’ (2002: 306). This idea of sound Lindsay Anderson musique concre`te leading our attention to the images has underpinned much of the collaborative sound work between composer and sound designer, Geoffrey Cox, and documentary music filmmaker, Keith Marley. -
Humphrey Jennings the Man Behind the Documentaries by Carol Harris
The 1940s Society For Everyone Interested in Wartime Britain Issue 59 January / February 2010 £2.50 Humphrey Jennings The man behind the documentaries by Carol Harris Watch Out - In The Blackout by Jon Mills PLUS Events, reviews and much more! The 1940’s Society, 90 Lennard Road, Dunton Green, Sevenoaks, Kent TN13 2UX Tel: 01732 452505 Web: www.1940.co.uk Email: [email protected] 1 Still from ‘Britain Can Take it’ directed by Humphrey Jennings A Warm Welcome to 2010 The 1940s Society A warm welcome but it’s certainly a cold start to the year. I look For Everyone Interested in Wartime Britain out to a view of 6 inches of snow in the garden and icicles nearly a foot long hanging down outside my window. I’m tucked- Regular meetings at Otford Memorial Hall near Sevenoaks up cosily inside with my central heating working overtime but Friday 29th January 2010 - 8pm can’t help thinking of the wartime years when central heating was rare and saving precious coal was far more important for the war effort. I think they were a hardy bunch back then and we’ve gone a little soft in these modern times. An Evening with Thank you for all the good wishes over the Christmas period and the positive comments regarding the magazine. Yes, its Humphrey Jennings more time consuming and expensive to produce but it seems to Presented by Carol Harris be appreciated and enjoyed. If you haven’t done so already please send in your application and subscription renewal for Humphrey Jennings produced 2010. -
BFI FILM SALES Selective Catalogue Autumn 2018 ‘A REAL GEM’ ‘POIGNANT & BEAUTIFULLY ACTED’ the FINANCIAL TIMES the OBSERVER
BFI FILM SALES Selective Catalogue Autumn 2018 ‘A REAL GEM’ ‘POIGNANT & BEAUTIFULLY ACTED’ THE FINANCIAL TIMES THE OBSERVER SYNOPSIS Luke (Steven Brandon), a young man with Down’s syndrome who prizes his independence, is forced into a care home after the death of his mother. There he rails against the restrictions imposed on him, but his frustrations are allayed by his budding friendships with his care-worker Eve (Shana Swash) and a ‘Richly mysterious feral girl (Pixie Le Knot). rewarding... Debut director Jane Gull has crafted a sensitive, poignant and creditably naturalistic drama that lingers in the memory; anchored around Brandon’s seek it out’ superb lead performance. Mark Kermode, BBC Radio 5 BFI, 21 Stephen Street, LONDON W1T 1LN, United Kingdom | [email protected] MY FERAL HEART My Feral Heart is the multi-award winning, BIFA-nominated, NFA and IARA-winning 2017 debut from Jane Gull. It’s been dubbed ‘the small British indie with a mighty heart UK that everyone is talking about’ after it garnered terrific critical notices and became 83 mins a cinema-on-demand sensations. Its UK theatrical release graced 125 screens BBFC 12A/12 before its run ended on 21 March 2017 (World Down Syndrome Day) and grossed £52k. Colour 5.1 & Stereo Mixes available The film was released on DVD and EST in the UK on 27 November, ahead of its Director Jane Gull UK PayTV premiere on Sky Cinema on World Down Syndrome Day 2018. In its Writer week of release the film was #1 in both the DVD and Digital Download ‘Amazon Duncan Paveling UK Movers and Shakers Charts’. -
Downloaded from Manchesterhive.Com at 09/28/2021 07:00:21AM Via Free Access 40
39 2 Classical antiquity as humanitarian narrative: The Marshall Plan films about Greece Katerina Loukopoulou A growing number of studies have argued for a historical and historicised understanding of global humanitarianism and humanitarian intervention.1 However, the history of the interdependence of humanitarianism with media campaigns and the wider visual culture of each period remains an underexplored field, as the few studies in this area highlight.2 The Marshall Plan films stand for a landmark moment in the long history of this relationship; they were part of one of the first post- Second World War audio- visual campaigns to promote a humanitarian cause at a transnational level. The Marshall Plan (MP) is the widely used term to describe the European Recovery Program (ERP), that is the material aid that the United States sent to the devastated economies of Western Europe to help them with the reconstruction process after the Second World War.3 Overseen by the US State Department and the Department of Commerce, it was executed by a newly established agency, the Economic Cooperation Administration (ECA), which had offices in Washington and in each of the eighteen Western European countries that received the aid. It became known as the ‘Marshall Plan’ after Secretary of State General George Marshall, who spearheaded its concep- tion, implementation and publicity campaigns from 1947 onwards. Having persuaded President Harry Truman of the need for the United States to boost European economies with immediate material aid, on 5 June 1947 General Marshall made the initial announcement with a speech that was imbued with the rhetoric of impartial humanitarianism: ‘our policy is not directed against any country or doctrine but against hunger, poverty, desperation, and chaos’. -
UNIVERSITY of CALIFORNIA, IRVINE Surrealism: a Marxist Enterprise in 1930S London
UNIVERSITY OF CALIFORNIA, IRVINE Surrealism: a Marxist Enterprise in 1930s LonDon DISSERTATION submitteD in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in Visual Studies by Susan King Obarski Dissertation Committee: Professor James D. Herbert, Chair Professor Cécile Whiting Associate Professor Catherine L. Benamou 2014 © 2014 Susan King Obarski DEDICATION To my parents Joan anD Jim King, and my Daughter Katie Obarski, for their love and unconditional support. ii TABLE OF CONTENTS Page LIST OF FIGURES v ACKNOWLEDGMENTS xi CURRICULUM VITAE xii ABSTRACT OF THE DISSERTATION xiv INTRODUCTION 1 CHAPTER 1: Establishing the Revolutionary Aims of British Surrealism 11 Extending Unit One 15 Aligning with Breton and Local British Traditions 18 Part of a Growing British Left 21 The International Surrealist Exhibition 31 Postmortem anD Response to the Press 46 Standing with anD Against English Culture 48 Conclusions 56 CHAPTER 2: Eileen Agar anD the Compromises of Pursuing A Free Revolutionary Art 65 Surrealism ConceiveD Upmarket 72 Autobiography of an Embryo 76 Angel of Anarchy 93 Agar as ProDucer 97 Cultural Production as a Political Cause 106 Conclusions 113 CHAPTER 3: Speaking to the Masses with Surrealist Film 125 Contributions to the British Surrealist Group 136 Presenting the Social by Experimental Means 144 Evolving Labor and Technology in The Birth of the Robot 154 MoDern Workers in Spare Time 161 Conclusions 174 CHAPTER 4: Exhibiting Picasso’s Guernica: Melding Marxist ideology and Capitalist Enterprise