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Celluloidowe pomniki wojenne: Brytyjska Kompania Filmów Instruktażowych i pamięć –

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Stan: Dobry

Uwagi sprzedawcy: “Good - Bumped and creased book with tears to the extremities, but not affecting the text block, may ...

ISBN: 9780859899987

Subject Area: Performing Arts, History

Publication Name: Celluloid War Memorials : the British Instructional Films Company and the Memory of the Great War

Publisher: University of Exeter Press

Item Length: 9 in

Subject: Film / General, Europe / Great Britain / General, Individual Director (See Also Biography & Autobiography / Entertainment & Performing Arts)

Publication Year: 2016

Series: Exeter Studies in Film History Ser.

Type: Textbook

Format: Hardcover

Language: English

Item Height: 1.3 in

Author: Mark Connelly

Item Weight: 24.1 Oz

Item Width: 6 in

Number of Pages: 339 Pages

O tym produkcie

Product Identifiers

Publisher

University of Exeter Press

ISBN-10

0859899985

ISBN-13

9780859899987

eBay Product ID (ePID)

211413088

Product Key Features

Number of Pages

339 Pages

Language

English

Publication Name

Celluloid War Memorials : the British Instructional Films Company and the Memory of the Great War

Publication Year

2016

Subject

Film / General, Europe / Great Britain / General, Individual Director (See Also Biography & Autobiography / Entertainment & Performing Arts)

Type

Textbook

Author

Mark Connelly

Subject Area

Performing Arts, History

Series

Exeter Studies in Film History Ser.

Format

Hardcover

Dimensions

Item Height

1.3 in

Item Weight

24.1 Oz

Item Length

9 in

Item Width

6 in

Additional Product Features

Intended Audience

College Audience

Reviews

This is a convincing and important contribution to the field . . . this promises to provide a depth to our understanding of the history and tradition of documentary in British film production at this time. I look forward to reading it when it comes out. Mark Connelly's Celluloid War Memorials is an indispensable addition to the field of British Film History and to Film Studies and History more broadly. The book is a landmark study of a British production company. But more than that, Connelly has written a book which productively connects industry, audience and cultural memory, and in the process provides an important piece of the puzzle that is the ever changing cultural memory of the Great War in Britain.' Michael Hammond, Department of Film Studies, University of Southampton, 'This is a convincing and important contribution to the field . . . this promises to provide a depth to our understanding of the history and tradition of documentary in British film production at this time. I look forward to reading it when it comes out.' 'Mark Connelly's Celluloid War Memorials is an indispensable addition to the field of British Film History and to Film Studies and History more broadly. The book is a landmark study of a British production company. But more than that, Connelly has written a book which productively connects industry, audience and cultural memory, and in the process provides an important piece of the puzzle that is the ever changing cultural memory of the Great War in Britain.' Michael Hammond, Department of Film Studies, University of Southampton 'BIF [British Instructional Films] and their WW1 [World War 1] films have received little attention by scholars, despite their box office success and critical acclaim at the time of their release... the role of the films as a 'surrogate language' for veterans is particularly interesting and productive, as is the argument that the films might be understood as 'celluloid war memorials'. The intention to concentrate on contexts of reception is particularly interesting in this regard and promises to offer a fresh insight into the productions. 'Another major strength is the emphasis it places on the circulation of the films outside Britain itself, within the Empire and further afield. This really is original and has the potential to result in some ground-breaking work.' Lawrence Napper, Film Studies Department, King's College London, Celluloid War Memorials covers a fascinating subject and Professor Connelly reveals interesting and thought-provoking ideas about how the past - even the immediate past - is remembered and memorialized by individuals and society., 'This is a convincing and important contribution to the field . . . this promises to provide a depth to our understanding of the history and tradition of documentary in British film production at this time. I look forward to reading it when it comes out.' 'Mark Connelly's Celluloid War Memorials is an indispensable addition to the field of British Film History and to Film Studies and History more broadly. The book is a landmark study of a British production company. But more than that, Connelly has written a book which productively connects industry, audience and cultural memory, and in the process provides an important piece of the puzzle that is the ever changing cultural memory of the Great War in Britain.' Michael Hammond, Department of Film Studies, University of Southampton 'BIF [British Instructional Films] and their WW1 [World War 1] films have received little attention by scholars, despite their box office success and critical acclaim at the time of their release... the role of the films as a 'surrogate language' for veterans is particularly interesting and productive, as is the argument that the films might be understood as 'celluloid war memorials'. The intention to concentrate on contexts of reception is particularly interesting in this regard and promises to offer a fresh insight into the productions. 'Another major strength is the emphasis it places on the circulation of the films outside Britain itself, within the Empire and further afield. This really is original and has the potential to result in some ground-breaking work.' Lawrence Napper, Film Studies Department, King's College London, "Celluloid War Memorials covers a fascinating subject and Professor Connelly reveals interesting and thought-provoking ideas about how the past - even the immediate past - is remembered and memorialised by individuals and society." Kathy Stevenson, The Western Front Association Stand To!, Number 11, May 2018 "This is a convincing and important contribution to the field ... this promises to provide a depth to our understanding of the history and tradition of documentary in British film production at this time. I look forward to reading it when it comes out. Mark Connelly's Celluloid War Memorials is an indispensable addition to the field of British Film History and to Film Studies and History more broadly. The book is a landmark study of a British production company. But more than that, Connelly has written a book which productively connects industry, audience and cultural memory, and in the process provides an important piece of the puzzle that is the ever changing cultural memory of the Great War in Britain." Michael Hammond, Department of Film Studies, University of Southampton "BIF [British Instructional Films] and their WW1 [World War 1] films have received little attention by scholars, despite their box office success and critical acclaim at the time of their release the role of the films as a 'surrogate language' for veterans is particularly interesting and productive, as is the argument that the films might be understood as 'celluloid war memorials'. The intention to concentrate on contexts of reception is particularly interesting in this regard and promises to offer a fresh insight into the productions. Another major strength is the emphasis it places on the circulation of the films outside Britain itself, within the Empire and further afield. This really is original and has the potential to result in some ground-breaking work." Lawrence Napper, Film Studies Department, King's College London, Connelly's Celluloid War Memorials is an indispensable addition to the field of British film history and to film studies and history more broadly. The book is a landmark study of a British production company. But more than that, Connelly has written a book which productively connects industry, audience, and cultural memory, and in the process provides an important piece of the puzzle that is the ever changing cultural memory of the Great War in Britain., Celluloid War Memorials covers a fascinating subject and Professor Connelly reveals interesting and thought-provoking ideas about how the past - even the immediate past - is remembered and memorialised by individuals and society. Kathy Stevenson, The Western Front Association Stand To!, Number 11, May 2018, Connelly's Celluloid War Memorials is an indispensable addition to the field of British film history and to film studies and history more broadly. The book is a landmark study of a British production company. But more than that, Connelly has written a book which productively connects industry, audience, and cultural memory, and in the process provides an important piece of the puzzle that is the ever changing cultural memory of the Great War in Britain., BIF [British Instructional Films] and their WW1 [World War 1] films have received little attention by scholars, despite their box office success and critical acclaim at the time of their release... the role of the films as a 'surrogate language' for veterans is particularly interesting and productive, as is the argument that the films might be understood as 'celluloid war memorials'. The intention to concentrate on contexts of reception is particularly interesting in this regard and promises to offer a fresh insight into the productions. Another major strength is the emphasis it places on the circulation of the films outside Britain itself, within the Empire and further afield. This really is original and has the potential to result in some ground-breaking work.' Lawrence Napper, Film Studies Department, King's College London

Illustrated

Yes

Table Of Content

Introduction Forging an Identity: The Battle of Jutland (1921) and Armageddon (1923) Twisting the dragon's tail: Zeebrugge (1924) Filming the holy ground of British arms: Ypres (1925) Retreating to Victory: Mons (1926) Praising the not-so-silent service: The Battles of the Coronel and Falkland Islands (1927) Epilogue and conclusion

Synopsis

The films made by the British Instructional Films (BIF) company in the decade following the end of the First World War helped to shape the way in which that war was remembered. This is both a work of cinema history and a study of the public's memory of WW1. By the early twenties, the British film industry was struggling to cope with the power of Hollywood and government help was needed to guarantee its survival.The 1927 Cinematograph Films Act was intended to support the domestic film industry by requiring British cinemas to show a quota of domestically produced films each year.The Act was not the sole saviour of British cinema, but the government intervention did allow the domestic industry to exploit the talents of an emerging group of younger filmmakers including Michael Balcon, Walter Summers and Alfred Hitchcock, who directed the most influential of these BIF war constructions. This book shows that the films are micro-histories revealing huge amounts about perceptions of the Great War, national and imperial identities, the role of cinema as a shaper of attitudes and identities, power relations between Britain and the USA and the nature of popular culture as an international contest in its own right., British Instructional Films was at the centre of a number of issues important to Britain and the Empire in the 1920s: the memory and history of the Great War, national and imperial identities, the role of cinema as a shaper of attitudes, power relations between Britain and the USA and the nature of popular culture as an international contest., The films made by the British Instructional Films (BIF) company in the decade following the end of the First World War helped to shape the way in which that war was remembered. This is both a work of cinema history and a study of the public's memory of WW1. By the early twenties, the British film industry was struggling to cope with the power of Hollywood and government help was needed to guarantee its survival. The 1927 Cinematograph Films Act was intended to support the domestic film industry by requiring British cinemas to show a quota of domestically produced films each year. The Act was not the sole saviour of British cinema, but the government intervention did allow the domestic industry to exploit the talents of an emerging group of younger filmmakers including Michael Balcon, Walter Summers and Alfred Hitchcock, who directed the most influential of these BIF war constructions. This book shows that the films are micro-histories revealing huge amounts about perceptions of the Great War, national and imperial identities, the role of cinema as a shaper of attitudes and identities, power relations between Britain and the USA and the nature of popular culture as an international contest in its own right., Creating Celluloid War Memorials for the British Empire looks at the British Instructional Film company and its production of war re-enactments and documentaries during the mid to late 1920s. It is both a work of cinema history and a study of the public's memory of World War I. As Mark Connelly shows, these films, made in the decade following the end of the war, helped to shape the way in which that war was remembered, and may be understood as microhistories that reveal vital information about perceptions of the Great War, national and imperial identities, the role of cinema as a shaper of attitudes and identities, power relations between Britain and the United States, and the nature of popular culture.