Titlebook: British Silent Cinema and the Great War; Michael Hammond (Senior Lecturer in Film),Michael Book 2011 Palgrave Macmillan, a division of Ma

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Acetabulum

Adopting New-to-the-World Productsving shot and shell ad lib’, he suggested:.This correspondent’s frustrations were clearly twofold, and one might argue that they closely matched a series of wider concerns about American domination of the exhibition sector in Britain that were the subject of widespread debate during 1927 in the run-up to the Cinematograph Act.

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苦笑

‘Shells, Shots and Shrapnel’: , Goes to Warlume would be marked with a new cover design that would enable the printing of a ‘much bolder portrait on the front page’. Predicting that the improvement would be ‘hailed with delight by all picturegoers’, the editor Fred Dangerfield suggested that the cover portraits would ‘form a charming gallery of picture-players’.

CHURL

Remembering the War in 1920s British Cinemanal presence. As Michael Williams has shown in relation to Ivor Novello, there are many ways in which films not directly addressing the war can suggest a ‘war touch’.. This is particularly evident in films that dramatize competing types of masculinity, among which the figure of the ‘wounded man’ is prevalent.

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Anticipating the Blitz Spirit in First World War Propaganda Film: Evidence in the Imperial War Museueither of them. Thus, the dominant motif of First World War propaganda is often recalled in terms of a simple appeal to patriotism, motivated largely by a concentration on the vileness of the enemy. In the words of Professor Philip Taylor:

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Book 2011This innovative book presents for the first time detailed histories of the impact of the Great War on British cinema in the silent period, from actual war footage to fiction filmmaking. In doing so it explores how cinema helped to shape the public memory of the war during the 1920s.

粗语

https://doi.org/10.1057/9780230321663Battlefield; cinema; film; First World War; propaganda

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