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.
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