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White Fathers Hear Dark Voices? John Grierson and British Colonial Africa at the End of Empire

The Grierson Effect : Tracing Documentary’s International Movement

British Film Institute, 2014

Book chapter

4

... Illinois University Press, 2000), briefly refers to it (p. 236). For further discussion of the British documentary movement, imperialism, internationalism, nationalism and transnationalism, see Martin Stollery, Alternative Empires: European...

Voiceover/Commentary

The Projection of Britain : A History of the GPO Film Unit

British Film Institute, 2011

Book chapter

4

... and distinctive uses of commentary in individual GPO films. The most often-cited example is Lionel Wendt’s voiceover commentary in The Song of Ceylon (1934), which I discuss elsewhere.Martin Stollery, Alternative Empires (Exeter: University of Exeter...

Introduction

British Film Editors : “The Heart of the Movie”

British Film Institute, 2014

Book chapter

1

... service broadcasting – editors like Tariq Anwar, American Beauty (Sam Mendes, 1999); Masahiro Hirakubo, Trainspotting (Danny Boyle, 1996); Frances Parker, Band of Brothers (TV series, 2001); and Martin Walsh, Chicago (Rob Marshall, 2002) –...

Aspects of British Editing from the 1950s Onwards

British Film Editors : “The Heart of the Movie”

British Film Institute, 2014

Book chapter

1

... hit harder than the previous one; intercutting each shot with Bond’s reaction heightens the realisation that he is going to be dealing with a professional killer’ (Rivers, 2001, p. 121). In GoldenEye (Martin Campbell, 1995), which revived...

Stylistic Developments

British Film Editors : “The Heart of the Movie”

British Film Institute, 2014

Book chapter

1

... on The Innocents and Antony Gibbs’ on A Taste of Honey are early instances of this (see Chapter 4). Another is the sombre The Spy Who Came in from the Cold (Martin Ritt, 1965). Editor Anthony Harvey recounts: There were plenty...

The Future of Editing and Technological Change

British Film Editors : “The Heart of the Movie”

British Film Institute, 2014

Book chapter

0

...Press the wrong button nowadays, and something magical might happen. Peter Honess (2002), editor, LA Confidential (Curtis Hanson, 1997)The Changing Background Nothing in the history of cinema, except for the coming of sound, parallels...

Appendix: Selected Filmographies

British Film Editors : “The Heart of the Movie”

British Film Institute, 2014

Book chapter

1

... concentrate more. Filmography The Core (Jon Amiel, 2003) The Musketeer (Peter Hyams, 2001) Entrapment (Jon Amiel, 1999) U.S. Marshals (Stuart Baird, 1998) The Saint (Philip Noyce, 1997) GoldenEye (Martin Campbell, 1995) Trapped in Paradise...

Editing, Authorship and Collaboration

British Film Editors : “The Heart of the Movie”

British Film Institute, 2014

Book chapter

0

...Problems of Recognition 1 Our work is by and large unnoticed and consequently misunderstood. Tariq Anwar, editor, The Madness of King George (Nicholas Hytner, 1994), American Beauty Film editing, considered by director and editor Stuart...

Aspects of British Editing from the Beginnings to the 1950s

British Film Editors : “The Heart of the Movie”

British Film Institute, 2014

Book chapter

1

... (Stollery, 2000, pp. 201–2). The newly built, ultra-modern Denham laboratories helped facilitate these increasingly sophisticated montage sequences. The Lion Has Wings (Michael Powell, Brian Desmond Hurst, Adrian Brunel, 1939), one of London Films’...

The Film Editor’s Role

British Film Editors : “The Heart of the Movie”

British Film Institute, 2014

Book chapter

1

... and shot, did not work at the editing stage, and Clark and Schlesinger planned a new opening sequence over dinner one evening, and gave their version to writer Troy Kennedy Martin to develop in a re-write. Schlesinger valued Clark sufficiently...