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From Tinsel to Realism and Back Again

Mark Duguid

Mark Duguid is a senior curator at the BFI National Archive, with overall responsibility for the online representation of archival film and television. He is the author of the BFI TV Classic on Cracker (2009), and co-editor of Ealing Revisited (BFI, 2012). He has written features and reviews for Sight & Sound magazine and is a contributor to the International Encyclopedia of Television. Author affiliation details are correct at time of print publication.

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Katy McGahan

Ealing Revisited

British Film Institute, 2012

Book

3

... 6.Manchester Guardian, 30 July 1940, p. 6.This last view was probably shared by the Documentary News Letter, which complained that ‘with its poor dialogue and cheap jokes … [Food for Thought] marks an all-time low level in cheap propaganda...

Introduction

Mark Duguid

,

Mark Duguid is a senior curator at the BFI National Archive, with overall responsibility for the online representation of archival film and television. He is the author of the BFI TV Classic on Cracker (2009), and co-editor of Ealing Revisited (BFI, 2012). He has written features and reviews for Sight & Sound magazine and is a contributor to the International Encyclopedia of Television. Author affiliation details are correct at time of print publication.

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Lee Freeman

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Lee Freeman is a film writer and lecturer at the University of Hull, UK. Author affiliation details are correct at time of print publication.

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Keith M Johnston

Keith M. Johnston is Lecturer in Film and Television Studies at the University of East Anglia and author of Coming Soon: Film Trailers and the Selling of Hollywood Technology. Author affiliation details are correct at time of print publication.

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Melanie Williams

Writes: British Film Institute Author affiliation details are correct at time of print publication.

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Ealing Revisited

British Film Institute, 2012

Book

4

... at the notion of the ‘people’s war’, Mark Duguid and Katy McGaham consider the route by which documentary entered Ealing’s bloodstream, while Lee Freeman considers the political content of these wartime productions. Yet the war infiltrates almost all...

A Feminine Touch?

Melanie Williams

Writes: British Film Institute Author affiliation details are correct at time of print publication.

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Ealing Revisited

British Film Institute, 2012

Book

1

... of patriarchal structures and the suffering of those trapped in them, both aggressor and victim.Other striking women made their mark at Ealing, most notably Googie Withers; in terms of typology, a Wicked Queen to Greenwood’s slinky little...

Against the Grain

Charles Barr

Charles Barr is Adjunct Professor at the National University of Ireland in Galway, and is on the editorial boards of the Journal of Film Criticism and The Hitchcock Annual. His pioneering work on British cinema includes Ealing Studios (1999) and English Hitchcock (1999), and, as editor, All Our Yesterdays: 90 Years of British Cinema (1986). He was the researcher and co-writer of Stephen Frears' film Typically British (1995). Author affiliation details are correct at time of print publication.

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Ealing Revisited

British Film Institute, 2012

Book

0

...Early in 1956, Ealing appointed a new script editor, Kenneth Tynan, drama critic of the Observer – a job in which he continued, while giving much of his time to Ealing throughout most of the next two years. Tynan welcomed the chance to,...

‘Who’ll Pay for Reality?’

Ealing Revisited

British Film Institute, 2012

Book

0

...Ealing Studios’ chief strength is traditionally regarded as its ability to present Britain in a broadly realist, albeit rather idiosyncratic, manner. Charles Barr writes that ‘Ealing’s form of cinema … is at home with … the solidly...

Ambiguity and Achievement

James Walters

Tom Brown is Senior Lecturer in Film at King's College London, UK. He is co-editor, with James Bennett, of Film and Television After DVD (2008). Author affiliation details are correct at time of print publication.

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Ealing Revisited

British Film Institute, 2012

Book

1

... its merits (the former celebrated for its dark, frenzied tone, the latter possessing a gentle charm with, admittedly, little bite) but both mark Guinness and Ealing following new trajectories. Between these films, Guinness had made The Swan...

Kind Hearts and Campery

Ealing Revisited

British Film Institute, 2012

Book

0

...‘Ealing’ has long been popularly imagined as a family, watched over by a wise, rational (and prudish) father, Michael Balcon. By the early 1940s this image was tidily broadened to embrace ideals of community spiritedness, which by extension...

Pen Tennyson

Ealing Revisited

British Film Institute, 2012

Book

0

...Penrose Tennyson had a brief but busy career at Ealing. Between 1939 and 1940 he directed three features: There Ain’t No Justice (1939), The Proud Valley (1940) and Convoy (1940). All three have been overshadowed by more celebrated films...

Anthony Mendleson

Ealing Revisited

British Film Institute, 2012

Book

0

...It was design for a character, always.Anthony Mendleson, interview by the author, 15 March 1993; henceforth listed as Mendleson interview (1993) as required. All subsequent unidentified quotations from Mendleson in the text and notes come...

Ealing’s Australian Adventure

Ealing Revisited

British Film Institute, 2012

Book

0

...Everything about Ealing was defiantly small. (Peter Ustinov)Peter Ustinov, ‘Foreword’, in George Perry, Forever Ealing (London: Pavillion, 1994), p. 7. The abiding depiction of Ealing Studios as a producer of small, cosy, restrained films...