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subjective fades to black to suggest the ‘dying of the light’ as a mortally injured Ian Bannen tries unavailingly to attend to what a policeman is saying to him. In Charles Crichton’s Dance Hall (1950), the crosscutting between dance hall and train station as the heroine (Natasha Parry) is taken almost to the point of suicide eloquently forges a connection between the deceptive illusions of the former setting (‘You’re Only

in British cinema of the 1950s

Control Commission for Germany. The Berlin air lift began on 24 June 1948. As the free world and the eastern-bloc countries stockpiled arms and suspiciously faced each other, the Rosenbergs were executed for spying for the Reds, the Korean War broke out, Alger Hiss was found guilty of perjury in concealing his Communist Party membership, the atom spy Klaus Fuchs was exposed, Senator Joseph McCarthy

in British cinema of the 1950s
Queen Victoria, photography and film at the fin de siècle

the moment from an early stage, and visited the Alhambra Music Hall in June 1896 to see what had become the first major success of British ‘animated photography’: Robert Paul’s film of the Derby, won by the Prince’s horse, Persimmon. Having filmed the finish of the race at Epsom, when an enthusiastic crowd surged onto the course, Paul hurried back to London to develop and print the film, which he was

in The British monarchy on screen
Open Access (free)
Amateur film, civic culture and the rehearsal of monarchy

must not be allowed to intrude upon the dignity of the institution of Queenship.’ 6 The Queen’s peculiar status – as both person and symbol – is related to kingship (or, here, queenship) as an institution, as well as a biological inheritance that must be indelibly tied to the actual body of her person. As Joseph Roach suggests, in his historical study of processions, rituals and other civic performance, this kind of

in The British monarchy on screen
The Pony Express at the Diamond Jubilee

that early mail service was dead’. His work on behalf of the film project therefore continued, in a transcontinental journey taking him from the Library of Congress and archives in New York through repositories in St. Joseph, Missouri; Cheyenne, Wyoming; Denver, Colorado; and Reno, Nevada. Then officials of the Wells Fargo Bank heard of the project. ‘For old times’ sake’ – the Wells Fargo express

in Memory and popular film

Gentleman (1957) and Dickinson’s Queen of Spades (1948) and Gaslight (1940). The high estimate put on the English films of Joseph Losey, the determination to disrupt the aura of reverence around the British Documentary Movement, the questioning of the importance of Free Cinema and scepticism about the status of The Third Man (1949) as a masterpiece, were shared by other young critics, particularly the

in British cinema of the 1950s
Open Access (free)

May 1897 opening of Sheffield’s Town Hall, or in a much grander parade through the streets of London to celebrate her Diamond Jubilee a month later. By her death in January 1901, the commercial value of royal ‘actualities’ had become apparent, and several film companies took up positions on the route of her funeral cortège, along which Victoria’s crowned coffin was borne on a gun carriage. From these early examples alone, it

in The British monarchy on screen