A New History of British Documentary.

By: Chapman, JamesMaterial type: TextTextSeries: eBooks on DemandPublisher: Basingstoke : Palgrave Macmillan, 2015Description: 1 online resource (339 p.)ISBN: 9780230392878Subject(s): Documentary films -- Great Britain -- History and criticism | Documentary television programs -- Great Britain -- History and criticismGenre/Form: Electronic books.Additional physical formats: Print version:: A New History of British DocumentaryDDC classification: 070.1/8 | 070.18 LOC classification: PN1995.9.D6 C4345 2015Online resources: Click here to view this ebook.
Contents:
Cover; Contents; Preface; Acknowledgements; List of Abbreviations; Introduction: Critical and Historical Perspectives on British Documentary; 1 Documentary Before Grierson; Early British non-fiction film; Mitchell and Kenyon: 'See yourself as others see you'; Battle of the Somme (1916) and the origins of British documentary; British Instructional Films and the documentary reconstruction; Epics of exploration; 2 Documentary in the 1930s; The contexts of documentary; Documentary and mass communications; Documentary and the projection of Britain; Drifters (1929) and the Empire Marketing Board
Robert Flaherty and Man of Aran (1934)The GPO Film Unit: The 'Voice of the Nation'; Independent documentary units: Shell, Strand, Realist and others; Documentary and the trade: distribution and exhibition; Documentary and the public: audiences and reception; 3 DocumentaryatWar; The Ministry of Information and documentary film; The Crown Film Unit; Humphrey Jennings and the people's war; Target for Tonight (1941) and the story documentary; Desert Victory (1943), the Army Film Unit and actuality documentary; The progressive voice of wartime documentary; 4 Post-War Documentary
Documentary and the post-war British film industryThe Central Office of Information and documentary film; The Crown Film Unit after the war; Land of Promise (1946) and documentaries of reconstruction; Documentary and the Festival of Britain; A Queen is Crowned (1953) and the heritage documentary; The NCB Film Unit and British Transport Films; Documentary and industrial sponsorship; Post-war social documentary; 5 Television and Documentary; Institutional contexts; Technological and aesthetic contexts; Documentary and current affairs: Panorama, This Week, World in Action
Cathy Come Home (1966) and the documentary dramaArchival documentary: The Great War (1964) and The World at War (1973); Observational documentary; Granada and the evolution of drama documentary; Continuity and change: Television documentary since the 1990s; 6 Alternative and Oppositional Documentary; Political documentary in the 1930s; Free Cinema and its contexts; Peter Watkins and the alternative form in documentary drama; Cinema Action and 'people's films'; Regional documentary practice: Amber Films; The Black Audio Film Collective and Handsworth Songs (1986)
Conclusion: British Documentary in ContextNotes; Bibliography; Index
Summary: <p ><span style=""font-style:italic;"" >A New History of British Documentary</span> is the first comprehensive overview of documentary production in Britain from early film to the present day. It covers both the film and television industries and demonstrates how documentary practice has adapted to changing institutional and ideological contexts.
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Cover; Contents; Preface; Acknowledgements; List of Abbreviations; Introduction: Critical and Historical Perspectives on British Documentary; 1 Documentary Before Grierson; Early British non-fiction film; Mitchell and Kenyon: 'See yourself as others see you'; Battle of the Somme (1916) and the origins of British documentary; British Instructional Films and the documentary reconstruction; Epics of exploration; 2 Documentary in the 1930s; The contexts of documentary; Documentary and mass communications; Documentary and the projection of Britain; Drifters (1929) and the Empire Marketing Board

Robert Flaherty and Man of Aran (1934)The GPO Film Unit: The 'Voice of the Nation'; Independent documentary units: Shell, Strand, Realist and others; Documentary and the trade: distribution and exhibition; Documentary and the public: audiences and reception; 3 DocumentaryatWar; The Ministry of Information and documentary film; The Crown Film Unit; Humphrey Jennings and the people's war; Target for Tonight (1941) and the story documentary; Desert Victory (1943), the Army Film Unit and actuality documentary; The progressive voice of wartime documentary; 4 Post-War Documentary

Documentary and the post-war British film industryThe Central Office of Information and documentary film; The Crown Film Unit after the war; Land of Promise (1946) and documentaries of reconstruction; Documentary and the Festival of Britain; A Queen is Crowned (1953) and the heritage documentary; The NCB Film Unit and British Transport Films; Documentary and industrial sponsorship; Post-war social documentary; 5 Television and Documentary; Institutional contexts; Technological and aesthetic contexts; Documentary and current affairs: Panorama, This Week, World in Action

Cathy Come Home (1966) and the documentary dramaArchival documentary: The Great War (1964) and The World at War (1973); Observational documentary; Granada and the evolution of drama documentary; Continuity and change: Television documentary since the 1990s; 6 Alternative and Oppositional Documentary; Political documentary in the 1930s; Free Cinema and its contexts; Peter Watkins and the alternative form in documentary drama; Cinema Action and 'people's films'; Regional documentary practice: Amber Films; The Black Audio Film Collective and Handsworth Songs (1986)

Conclusion: British Documentary in ContextNotes; Bibliography; Index

<p ><span style=""font-style:italic;"" >A New History of British Documentary</span> is the first comprehensive overview of documentary production in Britain from early film to the present day. It covers both the film and television industries and demonstrates how documentary practice has adapted to changing institutional and ideological contexts.

Description based upon print version of record.

Author notes provided by Syndetics

James Chapman is Professor of Film Studies at the University of Leicester, UK, and editor of the Historical Journal of Film, Radio and Television. His previous work includes The British at War: Cinema, State and Propaganda, 1939-1945 (1998), Licence To Thrill: A Cultural History of the James Bond Films (1999) and Past and Present: National Identity and the British Historical Film (2005). He is also co-editor (with Mark Glancy and Sue Harper) of The New Film History: Sources, Methods, Approaches.

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