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Books on the topic 'British national film movement'

Author: Grafiati

Published: 4 June 2021

Last updated: 17 February 2022

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1

Service, British Library National Bibliographic. British national film and video. London: British Library, National Bibliographic Service, 2000.

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2

Institute, British Film. British national film and video catalogue. London: British Film Institute, 1988.

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3

British Library. British national film and video guide. London: British Library, 2002.

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4

The British co-operative movement film catalogue. Westport, Conn: Greenwood Press, 1997.

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5

The British documentary film movement, 1926-1946. Cambridge [England]: Cambridge University Press, 1989.

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6

The British Labour movement and film, 1918-1939. London: Routledge & Kegan Paul, 1987.

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7

Indian national movement: The role of British liberals. New Delhi: Criterion Publications, 1986.

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8

British national cinema. 2nd ed. New York, NY: Routledge, 2008.

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9

British national cinema. London: Routledge, 1997.

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10

Burton, Alan George. The British consumer co-operative movement and film, 1896-1970. Leicester: De Montfort University, 2000.

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11

Humphrey Jennings and British documentary film movement: A re-assessment. Burlington, Vt: Ashgate, 2011.

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12

Bamford, Kenton. Distorted images: British national identity and film in the 1920s. London: Tauris, 1999.

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13

Bamford, Kenton. Distorted images: British national identity and film in the 1920s. London: I.B. Tauris, 1999.

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14

The holiday and British film. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2011.

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15

Hutchings, Peter Ward. The British horror film: An investigation of British horror production in its national context. Norwich: University of East Anglia, 1989.

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16

Dyson, Ben. The British labour movement and the National Health Service, 1942-48. [s.l.]: typescript, 1989.

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17

Bongiorno, Frank. British to their bootheels too: Britishness and Australian radicalism. London: Menzies Centre for Australian Studies, 2006.

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18

Film England: Culturally English filmmaking since the 1990s. London: I.B. Tauris, 2011.

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19

L, Evans Mark, ed. The Derek Williams collection at the National Museum of Wales. Cardiff: The Museum, 1989.

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20

British Academy of Film and Television Arts. and British Film Institute, eds. BFI/BAFTA Commission of Enquiryinto the Future of the BBC: Held at the National Film Theatre, London, 10 and 11 March 1993. London: BFI Publishing, 1993.

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21

The NUM and British politics. Aldershot, Hampshire, England: Ashgate, 2003.

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22

Great Britain. Dept. of National Heritage. The British film industry: A policy document, incorporating the government's response to the House of Commons National Heritage Select Committee. London: HMSO, 1995.

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23

Indian Council of Historical Research, ed. Towards freedom: Documents on the movement for independence in India, 1939 : part 2. New Delhi: Oxford University Press, 2008.

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24

Hamdi, Walid M. S. Rashid Ali al-Gailani and the nationalist movement in Iraq, 1939-1941: A political and military study of the British campaign in Iraq and the national revolution of May 1941. London: Darf, 1987.

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25

Canada, War Amputations of, ed. Hanging a legend: The NFB's shameful attempt to discredit Billy Bishop, VC. Ottawa, Canada: The War Amputations of Canada, 1986.

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26

Thomson, C. Claire. A Film-progressive Nation: The Social Denmark Series and the British Documentary Movement. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474424134.003.0006.

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In the immediate post-WWII period, Danish documentary filmmaking was recognised overseas as productive and of high quality. This chapter tells the story of a collaboration between Ministeriernes Filmudvalg and the British Documentary Movement, which resulted in a package or series of five films made for the foreign market and entitled Social Denmark. The British documentarist Arthur Elton was invited to Copenhagen to oversee the production of one or more films which would promote newly-liberated Denmark to the world as a modern, progressive, democratic nation. Elton’s report on the state of Danish documentary and recommendations for its further development is discussed in detail as a snapshot of the state-of-the-art in international informational film production and distribution. Informational filmmaking was regarded in and of itself as a progressive act. The film People’s Holiday (Søren Melson, 1947) is analysed as an example of the Social Denmark films. The impact of conflicting political and aesthetic interests on its production is discussed, as well as the routes by which ‘facts’ emerge as such in the film, and its reception. The role of the auteur Carl Th. Dreyer in the production and promotion of Social Denmark is also considered.

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27

British national film & video catalogue. London: British Film Institute, 1986.

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28

British Film Institute. National Film and Television Archive., ed. British national film and video guide. Boston Spa: The British Library, 1996.

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29

British national film and video catalogue. London: British Film Institute, 1986.

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30

1947-, Brown Maureen, and British Film Institute, eds. British national film and video catalogue. London: British Film Institute, 1990.

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31

British Library. National Bibliographic Service. and British Film Institute, eds. British national film and video guide. London: The British Library, National Bibliographic service, 2001.

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32

British Library. National Bibliographical Service. and British Film Institute, eds. British national film and video guide. Boston Spa: British Library, 1997.

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33

British national film and video catalogue. London: British Film Institute, 1992.

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34

British national film and video catalogue. London: British Film Institute, 1987.

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35

British national film and video catalogue. London: British Film Institute, 1989.

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36

British national film and video catalogue. London: British Film Institute, 1991.

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37

British Library. National Bibliographical Service. and British Film Institute, eds. British national film and video guide. Boston Spa: British Library, 1997.

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38

British Library. British national film and video guide. British Library, 2001.

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39

British national film and video guide. London: British Library, National Bibliographic Service, 1999.

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40

British Labour Movement and Film, 1918-1939. Taylor & Francis Group, 2018.

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41

1962-, Burton Alan, ed. The British co-operative movement film catalogue. Trowbridge: Flicks Books, 1997.

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42

British national film and video subject index. (Boston Spa): National Bibliographic Service, British Library, 1995.

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43

Jones, Stephen G. The British Labour Movement and Film, 1918–1939. Routledge, 2018. http://dx.doi.org/10.4324/9780429449376.

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44

Street, Sarah. British National Cinema. 2nd ed. Routledge, 2008.

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45

Council, British, ed. Landmarks: Independent film and video from the British workshop movement. London: British Council, 1989.

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46

1953-, Schmitt-Sasse Joachim, ed. Widergänger: Faschismus und Antifaschismus im Film. Münster: MAkS Publikationen, 1993.

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47

Chapman, James. Past and Present: National Identity and the British Historical Film (Cinema and Society). I. B. Tauris, 2005.

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48

Past and Present: National Identity and the British Historical Film (Cinema and Society). I. B. Tauris, 2005.

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49

Distorted Images: British National Identity and Film in the 1920s (Cinema and Society). I. B. Tauris, 1999.

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50

Elliott, Paul. Studying the British Crime Film. Liverpool University Press, 2014. http://dx.doi.org/10.3828/liverpool/9781906733742.001.0001.

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Ever since its inception, British cinema has been obsessed with crime and the criminal. One of the first narrative films to be produced in Britain, the Hepworth's 1905 short Rescued by Rover, was a fast-paced, quick-edited tale of abduction and kidnap, and the first British sound film, Alfred Hitchcock's Blackmail (1930), centred on murder and criminal guilt. For a genre seemingly so important to the British cinematic character, there is little direct theoretical or historical work focused on it. The Britain of British cinema is often written about in terms of national history, ethnic diversity, or cultural tradition, yet very rarely in terms of its criminal tendencies and dark underbelly. This volume assumes that, to know how British cinema truly works, it is necessary to pull back the veneer of the costume piece, the historical drama, and the rom-com and glimpse at what is underneath. For every Brief Encounter (1945) there is a Brighton Rock (2010), for every Notting Hill (1999) there is a Long Good Friday (1980).

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