Humphrey Jennings (British Film Makers) by Keith Beattie

By Keith Beattie

Humphrey Jennings has been defined because the in basic terms actual poet that British cinema has produced. His documentary motion pictures are outstanding documents of england at peace and warfare, and his variety of representational methods transcended authorized notions of wartime propaganda and revised the stern codes of British documentary movie of the Nineteen Thirties and 1940s.
Poet, propagandist, surrealist and documentary filmmaker -- Jenning's paintings embodies a great mixture of startling apprehension, own expression and representational innovation. This booklet conscientiously examines and expertly explains the imperative elements of Jennings' most important movies, and considers the relevance of his filmmaking to British cinema and modern experience.
Films analyzed contain Spare Time, phrases for conflict, hearken to Britain, Fires have been began, The Silent Village, A Diary of Timothy and relations Portrait.

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206. 20 Ibid. Jackson here follows Hodgkinson and Sheratsky who deduce from their studies of Jennings’ early films that ‘there is evidence to suggest that English Harvest was incorporated into – or possibly extracted from – a slightly longer film entitled The Farm’. Hodgkinson and Sheratsky, Humphrey Jennings, p. 19. 21 Jackson, Humphrey Jennings, p. 206. , pp. 206–7. 23 S. Rose, Which People’s War: National Identity and Citizenship in Britain, 1939–1945 (Oxford: Oxford University Press, 2003), p.

Grierson, for example, during his time at the GPO Film Unit, was willing to promote the use of colour in abstract films such as those made by Lye, ‘but his cordiality did not extend to the live action subject. 35 In contrast to Grierson, Ian Dalrymple of the Crown Film Unit, the successor of the GPO Film Unit, sought to promote the use of colour in wartime documentary films. indd 24 06/10/2009 15:14 modernity, myth, colour and collage 25 to the wartime Ministry of Information to film Pat Jackson’s Western Approaches (1944) in colour, that ‘Colour is still sufficiently a novelty to attract patronage.

Modern film-makers rarely use any shot shorter than Eisenstein’s average shot in Potemkin. Moreover, collage as practiced by moderns allows long takes and tracking shots; montage as practiced by Eisenstein did not’. 46 That being the case, ‘[i]t seems clear that the difference between montage and collage is to be found in the divergent ways in which they associate and order images, not in the length or nature of the images themselves. Montage fragments reality in order to reconstitute it in highly organized, synthetic emotional and intellectual patterns’.

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