Fifty Key British Films, 1st Edition by Sarah Barrow, John White

By Sarah Barrow, John White

In Fifty Key British Films, Britain's most sensible recognized movies similar to Clockwork Orange, the complete Monty and Goldfinger are scrutinised for his or her awesome skill to articulate the problems of the time. this can be crucial studying for a person in quality, cult film. 

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Cinematographer: Basil Emmott. ] Drifters, widely credited as the founding film of the British Documentary Film movement, draws cinematic attention to hitherto overlooked aspects of British society while drawing on creative film techniques to distinguish it from the more functional and recognisable newsreel form. It takes the form of a ‘day-in-the-life’ of the North Sea herring fleets, following the fishermen as they go in search of the creature that has become their livelihood. With this film, John Grierson established a new approach to cinema, combining a deliberately creative treatment of reality with a strong ethical belief in the role film should play in building a democratic and unified society.

4 The film material found by Lord Tenby left archivists with a number of choices in selecting what to include in the restoration, and how to tint it in the authentic style of the time. The resulting film is almost certainly longer than it would have been, at over two and a half hours, but is also of higher quality than any other surviving British film of the silent era (indeed it is one of the best preserved of all silent films). On the restoration, see chapter 5 of David Lloyd George: The Movie Mystery.

Murnau and Sergei Eisenstein (Frayling 1995: 28), and Korda by the modernist designs of Oliver Hill’s furniture, Le Corbusier’s garden landscapes, and Norman Bel Geddes’s futuristic aircraft (Richards 1999: 18–19). Such visual inspiration places Things to Come’s visioning of ‘Everytown’ alongside science fiction’s other great futuristic city, ‘Metropolis’. Fritz Lang’s New York-inspired Metropolis (1926) has become the prototype for modern depictions of the urban landscape (see for example Blade Runner, 1982), with the consequence that the city in science fiction is now largely the signifier of a dystopian future since Metropolis blamed technology, bureaucrats, scientists, and machinery for humanity’s moral failures and the continued subjugation of the working class.

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