Open Access (free)
Sequence and the rise of auteurism in 1950s Britain
Erik Hedling

contemporaries all wrote sophisticated film criticism for Cahiers du Cinéma in the 1950s, in which Truffaut formulated the intellectual basis for auteurism, ‘La politique des auteurs’ in 1954, and Ingmar Bergman was an aspiring author of dramas, short stories and film scripts in Sweden in the early 1940s. 4 Britain and Sequence had, among others, Lindsay Anderson, the writer who would most eloquently formulate

in British cinema of the 1950s
A celebration

This book offers a startling re-evaluation of what has until now been seen as the most critically lacklustre period of the British film history. It includes fresh assessment of maverick directors; Pat Jackson, Robert Hamer and Joseph Losey, and even of a maverick critic Raymond Durgnat. The book features personal insights from those inidividually implicated in 1950s cinema; Corin Redgrave on Michael Redgrave, Isabel Quigly on film reviewing, and Bryony Dixon of the BFI on archiving and preservation. A classic image from 1950s British cinema would be Jack Hawkins in The Cruel Sea, the epitome of quiet English integrity. Raymond Durgnat's A Mirror for England: British Movies from Austerity to Affluence, which deals extensively with British films of the 1950s, was written in the mid-1960s and was published in 1970. In a 1947 article called 'Angles of Approach' Lindsay Anderson delivered a fierce attack on contemporary British film culture, outlining a model for a devoted politics of creation, well in line with what we would later understand as auteurism and art cinema aesthetics . The war films of the 1950s together constitute the assented-to record of the emotions and moral judgments called upon to set in order those disorderly events. The book also talks about the Festival of Britain, White Corridors, and four Hamer's post-Ealing films: The Spider and the Fly, The Long Memory, Father Brown and The Scapegoat. A number of factors have contributed to the relative neglect of the 1950s as a decade in British cinema history.

Ian Mackillop
Neil Sinyard

To counterbalance the rather tepid humanism of our cinema, it might also be said that it is snobbish, anti-intelligent, emotionally inhibited, willfully blind to the conditions and problems of the present, dedicated to an out of date, exhausted national idea. (Lindsay Anderson

in British cinema of the 1950s
Open Access (free)
Pat Jackson’s White Corridors
Charles Barr

made by Lindsay Anderson on a film with which it has certain affinities, The Small Back Room (Powell and Pressburger, 1949), that the relationship there between David Farrar and Kathleen Byron is, in contrast to so much screen artificiality, ‘recognizably one between a man and a woman’. 10 One of the consistent pleasures of White Corridors is, indeed, its shrewd casting. Around this admirable central

in British cinema of the 1950s
Sarah Easen

experience’ that should ‘stand as a yardstick for contemporary documentary’. Three years later in an article for Sight and Sound , Lindsay Anderson wrote that Family Portrait could stand beside Jennings’s wartime films, but that it lacked the passion of his earlier ones. However, in a 1981 revaluation, Anderson decided that Family Portrait , although distinctive and compositionally distinguished, was

in British cinema of the 1950s
Mathew Thomson

. When critique was not offset by this kind of balancing act of fostering affection through serialised story lines and sympathetic character development, NHS drama struggled for the same popular purchase. A case in point was the 1982 film Britannia Hospital . Directed by Lindsay Anderson, Britannia Hospital , as its title suggests and like The National Health before it, used an NHS hospital as the setting for state-of-the-nation commentary. The screwball, fast-paced style echoed the ‘Carry On’ films, but their warmth was

in Posters, protests, and prescriptions
Paul Henley

Reisz and Lindsay Anderson, who came from the more poetic British documentary tradition originating in the work Humphrey Jennings. In fact, many of the observational stylistic features that distinguish Eskimos of Pond Inlet from the other Disappearing World films were already evident in Grigsby's earlier film, A Life Apart (1973) , which concerns the life of the men on board a Fleetwood fishing trawler as it makes its way to Iceland. This film was shot by Ivan

in Beyond observation