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The Representation of Reality and Fantasy in the Films of Powell and Pressburger: 1939-1946
The Representation of Reality and Fantasy In the Films of Powell and Pressburger 1939-1946 Valerie Wilson University College London PhD May 2001 ProQuest Number: U642581 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest. ProQuest U642581 Published by ProQuest LLC(2015). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. Microform Edition © ProQuest LLC. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 The Representation of Reality and Fantasy In the Films of Powell and Pressburger: 1939-1946 This thesis will examine the films planned or made by Powell and Pressburger in this period, with these aims: to demonstrate the way the contemporary realities of wartime Britain (political, social, cultural, economic) are represented in these films, and how the realities of British history (together with information supplied by the Ministry of Information and other government ministries) form the basis of much of their propaganda. to chart the changes in the stylistic combination of realism, naturalism, expressionism and surrealism, to show that all of these films are neither purely realist nor seamless products of artifice but carefully constructed narratives which use fantasy genres (spy stories, rural myths, futuristic utopias, dreams and hallucinations) to convey their message. -
29 Nov 2015 Projection Series #1 Len Lye's
25 Jul – 29 Nov 2015 Projection Series #1 Projection Series 1: Len Lye’s Colour Box 25 July – 29 November 2015 Daily,Projection 1pm Series 1: Len Lye’s Colour Box Len Lye’s Colour Box Running25 July –time: 29 November 51 minutes 2015 Daily,Projection 1pm Series 1: Len Lye’s Colour Box RunningLen25 July Lye Curator:–time: 29 November 51 minutesPaul 2015Brobbel AssistantDaily, 1pm Len Lye Curator: Sarah Wall RunningLen Lye Curator:time: 51 minutesPaul Brobbel AssistantImages: Unless Len Lye otherwise Curator: stated Sarah allWall material courtesyLen Lye Curator: of the Len Paul Lye Brobbel Foundation and the Govett-BrewsterAssistantImages: Unless Len Lye otherwise Art Curator: Gallery, stated Sarah from allWall material material madecourtesy and preservedof the Len by Lye The Foundation New Zealand and the ArchiveGovett-BrewsterImages: ofUnless Film, otherwise ArtTelevision Gallery, stated and from Soundall material material Ngā Taongamadecourtesy and Whitiāhua preservedof the Len Me by LyeNgā The FoundationTaonga New Zealand Kōrero. and the ArchiveGovett-Brewster of Film, ArtTelevision Gallery, and from Sound material Ngā TaongaPrinter:made and Whitiāhua preserved Me by Ngā The Taonga New Zealand Kōrero. Paperstock:Archive of Film, Television and Sound Ngā Typeface:TaongaPrinter: Whitiāhua Me Ngā Taonga Kōrero. ISBN:Paperstock: 978-0-908848-80-5 Typeface:Printer: Color Cry All Souls Carnival ISBN:PublishedPaperstock: 978-0-908848-80-5 in association with the Projection SeriesTypeface: Len Lye’s Colour Box, 2015. 1952-3Color Cry 1957All Souls Carnival ISBN:Published 978-0-908848-80-5 in association with the Projection Series© 2015 Govett-BrewsterLen Lye’s Colour ArtBox, Gallery, 2015. 1952-33Color min, 16mm Cry Kodachrome, sound 195716min,All Souls 16mm colour, Carnival sound thePublished artist, in writers association and contributors. -
Newsletter 32
The W. H. Auden Society Newsletter Number 32 ● July 2009 Memberships and Subscriptions Annual memberships include a subscription to the Newsletter: Contents Individual members £9 $15 Katherine Bucknell: Edward Upward (1903-2009) 5 Students £5 $8 Nicholas Jenkins: Institutions and paper copies £18 $30 Lost and Found . and Offered for Sale 14 Hugh Wright: W. H. Auden and the Grasshopper of 1955 16 New members of the Society and members wishing to renew should David Collard: either ( a) pay online with any currency by following the link at A New DVD in the G.P.O. Film Collection 18 http://audensociety.org/membership.html Recent and Forthcoming Books and Events 24 or ( b) use postal mail to send sterling (not dollar!) cheques payable to “The W. H. Auden Society” to Katherine Bucknell, Memberships and Subscriptions 26 78 Clarendon Road, London W11 2HW, Receipts available on request. A Note to Members The W. H. Auden Society is registered with the Charity Commission for England and Wales as Charity No. 1104496. The Society’s membership fees no longer cover the costs of printing and mailing the Newsletter . The Newsletter will continue to appear, but The Newsletter is edited by Farnoosh Fathi. Submissions this number will be the last to be distributed on paper to all members. may be made by post to: The W. H. Auden Society, Future issues of the Newsletter will be posted in electronic form on the 78 Clarendon Road, London W11 2HW; or by Society’s web site, and a password that gives access to the Newsletter e-mail to: [email protected] will be made available to members. -
The Emergence of Digital Documentary Filmmaking in the United States
Academic Forum 30 2012-13 Conclusion These studies are the second installment of a series which I hope to continue. Baseball is unique among sports in the way that statistics play such a central role in the game and the fans' enjoyment thereof. The importance of baseball statistics is evidenced by the existence of the Society for American Baseball Research, a scholarly society dedicated to studying baseball. References and Acknowledgements This work is made much easier by Lee Sinins' Complete Baseball Encyclopedia, a wonderful software package, and www.baseball-reference.com. It would have been impossible without the wonderful web sites www.retrosheet.org and www.sabr.org which give daily results and information for most major league games since the beginning of major league baseball. Biography Fred Worth received his B.S. in Mathematics from Evangel College in Springfield, Missouri in 1982. He received his M.S. in Applied Mathematics in 1987 and his Ph.D. in Mathematics in 1991 from the University of Missouri-Rolla where his son is currently attending school. He has been teaching at Henderson State University since August 1991. He is a member of the Society for American Baseball Research, the Mathematical Association of America and the Association of Christians in the Mathematical Sciences. He hates the Yankees. The Emergence of Digital Documentary Filmmaking in the United States Paul Glover, M.F.A. Associate Professor of Communication Abstract This essay discusses documentary filmmaking in the United States and Great Britain throughout the 20 th century and into the 21 st century. Technological advancements have consistently improved filmmaking techniques, but they have also degraded the craft as the saturation of filmmakers influence quality control and the preservation of “cinema verite” or “truth in film.” This essay’s intention is not to decide which documentaries are truthful and good (there are too many to research) but rather discuss certain documentarians and the techniques they used in their storytelling methods. -
Documentary Movement Outline
“Land of Promise”: Society and Politics in British Documentary films, 1930-1960 During this tumultuous period in British history, the Documentary Movement of filmmakers associated with producer-directors John Grierson, Basil Wright and a generation of their colleagues sent the celluloid film into battle for social understanding and change. They set out to help shape a new citizen for a new era of educated democracy and advancing technology. During the same period, the General Post Office Film Unit occupied an important position in British film history and the documentary cinema in particular. The Unit attracted cinematic and artistic talent such as Humphrey Jennings, Charlotte Reiniger, Benjamin Britten and W.H. Auden. In an age of increasing social concern and sensitivities, the governments of the day themselves were sponsoring and guiding experiments in new cinematic genres: The Central Office of Information (established in 1946) produced and distributed thousands of short films in Britain, the Commonwealth and the world. It is arguable that Britain’s post-colonial identity was shaped in significant ways by these films. Though never reaching truly wide audiences, the documentary film had matured into a media and art form on the British silver screen before a significant home grown feature film industry did. For this reason the British feature films of the 1940s and ‘50s show remarkable dependence on the techniques developed by the documentarists. The protagonists, methods, techniques, aims and achievements of the early British documentary film movement will be explored in this article. There are few sources on this topic other than the films themselves that have recently been restored, digitised and published on DVD by the British Film Institute. -
Appendix Screenings and Additional Resources
Appendix Screenings and Additional Resources The analyses of various films and television programmes undertaken in this book are intended to function ‘interactively’ with screenings of the films and programmes. To this end, a complete list of works to accompany each chapter is provided below. Certain of these works are available from national and international distribution companies. Specific locations in the United States, the United Kingdom and Australia for each of the listed works are, nevertheless, provided below. The entries include running time and format (16 mm, VHS, or DVD) for each work. (Please note: In certain countries films require copyright clearance for public screening.) Also included below are further or additional screenings of works not analysed or referred to in each chapter. This information is supplemented by suggested further reading. 1 ‘Believe me, I’m of the world’: documentary representation Further reading Corner, J. ‘Civic visions: forms of documentary’ in J. Corner, Television Form and Public Address (London: Edward Arnold, 1995). Corner, J. ‘Television, documentary and the category of the aesthetic’, Screen, 44, 1 (2003) 92–100. Nichols, B. Blurred Boundaries: Questions of Meaning in Contemporary Culture (Bloomington: Indiana University Press, 1994). Renov, M. ‘Toward a poetics of documentary’ in M. Renov (ed.), Theorizing Documentary (New York: Routledge, 1993). 2 Men with movie cameras: Flaherty and Grierson Nanook of the North, Robert Flaherty, 1922. 55 min. (Alternative title: Nanook of the North: A Story -
1 "Documentary Films" an Entry in the Encylcopedia of International Media
1 "Documentary Films" An entry in the Encylcopedia of International Media and Communication, published by the Academic Press, San Diego, California, 2003 2 DOCUMENTARY FILMS Jeremy Murray-Brown, Boston University, USA I. Introduction II. Origins of the documentary III. The silent film era IV. The sound film V. The arrival of television VI. Deregulation: the 1980s and 1990s VII. Conclusion: Art and Facts GLOSSARY Camcorders Portable electronic cameras capable of recording video images. Film loop A short length of film running continuously with the action repeated every few seconds. Kinetoscope Box-like machine in which moving images could be viewed by one person at a time through a view-finder. Music track A musical score added to a film and projected synchronously with it. In the first sound films, often lasting for the entire film; later blended more subtly with dialogue and sound effects. Nickelodeon The first movie houses specializing in regular film programs, with an admission charge of five cents. On camera A person filmed standing in front of the camera and often looking and speaking into it. Silent film Film not accompanied by spoken dialogue or sound effects. Music and sound effects could be added live in the theater at each performance of the film. Sound film Film for which sound is recorded synchronously with the picture or added later to give this effect and projected synchronously with the picture. Video Magnetized tape capable of holding electronic images which can be scanned electronically and viewed on a television monitor or projected onto a screen. Work print The first print of a film taken from its original negative used for editing and thus not fit for public screening. -
International & Australian Posters
International & Australian Posters Collectors’ List No. 157, 2012 Josef Lebovic Gallery 103a Anzac Parade (cnr Duke Street) Kensington (Sydney) NSW Ph: (02) 9663 4848; Fax: (02) 9663 4447 Email: [email protected] Web: joseflebovicgallery.com JOSEF LEBOVIC GALLERY Australian & International Events, Performances... Established 1977 1. “The Recruiting Officer,” 1790. Letterpress 103a Anzac Parade, Kensington (Sydney) NSW handbill, 25.1 x 17.2cm (paper). Laid down on acid- free paper. Post: PO Box 93, Kensington NSW 2033, Australia $1,250 Text includes “Theatre Royal, Covent Garden… This present Tel: (02) 9663 4848 • Fax: (02) 9663 4447 • Intl: (+61-2) Thursday, February 25, 1790, will be presented a comedy, called The Recruiting Officer. After which will be performed, Email: [email protected] • Web: joseflebovicgallery.com for the 39th time, a pantomime, called Harlequin’s Chpalet Open: Wed to Fri 1-6pm, Sat 12-5pm, or by appointment • ABN 15 800 737 094 [sic]…” A cast list for both plays is included. Written by George Farquhar in 1706, The Recruiting Officer was the Member of • Association of International Photography Art Dealers Inc. first play performed in Australia, in June 1789 in Sydney. This International Fine Print Dealers Assoc. • Australian Art & Antique Dealers Assoc. handbill is for the London performance of 1790. 2. George E. Mason (Brit.). Mason’s Instructions For COLLECTORS’ LIST No. 157, 2012 Fingering The Fretted Violin. A Diagram For The Use Of Students, c1890. Lithograph, International & Australian Posters 64.6 x 25cm. Foxing and stains overall, repaired tears, creases, pinholes, and missing portions. On exhibition from Wednesday, 13 June to Saturday, 4 August. -
Song of Ceylon, Sound and Documentary Filmmaking Jamie Sexton, University of Wales, Aberystwyth, UK
The Audio-Visual Rhythms of Modernity: Song Of Ceylon, Sound and Documentary Filmmaking Jamie Sexton, University of Wales, Aberystwyth, UK With the introduction of sound in Britain a looming possibility in the late 1920s, previously held hopes for a co-ordination between the independent and mainstream spheres, leading to a progressive and technically sophisticated cinema, were shattered. In 1927, Close Up editor Kenneth MacPherson wrote that independent and commercial spheres would grow closer together, and feed off of each other, leading to a point where "the power of film will be immense beyond prediction." (MacPherson, 1927: 14) Just over a year later, when sound films were becoming more regularly produced, MacPherson claimed that sound was a "monstrosity… descending full speed upon us." (MacPherson, 1928: 8) In the early 1920s until 1928, at least in Britain, intellectual film writers were interested in both mainstream and independent films; after the introduction of sound, hostility towards the commercial cinema became more marked. The introduction of sound had, contrary to many wishes, increased the demarcation between commercial and independent filmmaking (the latter being made without synchronised sound for a long period). The lack of any sustained, experimental uses of sound in filmmaking was one of the many factors that led to the demise of Close Up, due to the editorial team's increasing pessimism about the artistic status of the medium. Yet ideas about "alternative" uses of sound were kept current within two journals that emerged within the 1930s: Cinema Quarterly (1932-1936), which was closely connected with the British documentary film movement, and Film/ Film Art (1933-1937), a journal more connected to independent activity outside the documentary film movement, but nevertheless sharing a number of similarities to Cinema Quarterly. -
Robert Flaherty B. February 16, 1884, Iron Mountain, Michigan, USA D
Robert Flaherty b. February 16, 1884, Iron Mountain, Michigan, USA d. July 23, 1951, Vermont, Montana, USA ________________________________________ filmography bibliography web resources Robert Flaherty is often proclaimed one of the founding fathers of documentary film. Flaherty indirectly became part of the mythology of the burgeoning world-wide documentary movement of the 1930s when John Grierson was said to have originated the usage of the term 'documentary' in relation to film when he wrote, "of course, Moana [1926] being a visual account of events in the daily life of a Polynesian youth and his family, has documentary value.” (1) In recent times Flaherty's oeuvre has been unfairly caught up in the ongoing debates about the ethnographic worth of his early pre-modern films Nanook of the North (1921), Moana: A Romance of the Golden Age (1926) and Man of Aran (1934). (2) Nanook of the North Flaherty's first film, Nanook of the North, is possibly one of the best known of the silent era documentaries. Flaherty had visited the sub-Arctic eastern coast of Hudson Bay previously on behalf of mining companies during which he filmed the countryside and filmed Eskimo communities. Flaherty's idea was to make a film in collaboration with the local communities. A famous quote from Flaherty pertains to the instance when he was discussing the filming of the walrus hunt with the Eskimo community and explained to them that they may have to give up the kill if it interferes with the film. The reply was “yes, yes, the Aggie will come first, not a man will stir, not a harpoon will be thrown until you give the sign.” (3) This idea of the community's structure being altered almost immediately for the film points to the idea of the films problematic methodology; of representing the Inuit community as some kind of timeless, noble race that exists in isolation from outside influences. -
John Grierson (1898-1972) by Jo Fox
J O H JOHN GRIERSON (1898-1972) N GRIERSON By Jo Fox There is not a creative use of film anywhere in the world which does not owe something to Grierson’s demonstration of what film can achieve in involving us actively in the developments and decisions which affect our lives. Forsyth Hardy ‘Documentary’ was never a term with which John Grierson, its originator, felt wholly comfortable. Describing it as a ‘clumsy’ expression, ‘a swell word for a simple thing’, he recognised that definitions were transient: ‘documentary’ was intended as an evolving concept, a concept that ‘doesn’t fit very tidily into a museum’, a concept which has more in common with ‘what people are doing now, or are going to do tomorrow’. For Grierson, documentary was ‘the art of giving film sequence to natural material’. It was not simple ‘reproduction’, but ‘interpretation’: the ability to give ‘creative shapes’ to defined realities; not a ‘mirror’, but an ‘hammer’, forging new contours in the perception of the world around us. In short, it had purpose and it gave him purpose. Although Grierson’s critics accused him of deserting the aesthetes in favour of the documentary ‘purists’, his prolific writings attest to his deep commitment to all forms of creative representation in cinema. His sponsorship of artistic pioneers such as Len Lye and Norman McLaren, alongside Paul Rotha, Basil Wright, Harry Watt, and Arthur Elton, highlighted Grierson’s view that the documentary form was a broad church. Social purpose and creativity were not mutually exclusive, Grierson furthering that ‘political necessity may well encourage the possibility of art’. -
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).