Abstract
The New Film History should be thought of as more than just a question of method. Certainly, it is characterized by its distrust of abstract methods; it places a strong emphasis on the use of primary materials. But the term also implies a fresh vision concerning the things which are deemed to be worthy of study. I want to think about the applications of the New Film History to the materialist study of creativity. The following survey of British film design of the 1940s demonstrates how the historian can illuminate the creative function of the film technician.
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Notes
M. G. Carter, ‘The Darker Side of the Screen: The Biography of a Film Technician, a view from behind the bright lights’, Unpublished manuscript (1981) held at the British Film Institute Library, London.
Details of the locations for It Always Rains on Sunday may be found in Kinematograph Weekly, 17 April 1947, p. 12. See also J. W. Collier, A Film in the Making: It Always Rains on Sunday (London: World Film Publications, 1947), pp. 87–93.
T. Morahan, quoted in Film Industry, 29 July 1948, p. 18.
P. Sheriff quoted in L. Mitchell and H. M. Towers, March of the Movies ( London: Sampson Low Marston, 1948 ), p. 21.
C. Dillon, interview for Fifties Features — The Women Behind the Pictures (Channel 4 documentary series, 1986 ).
C. Dillon in Picturegoer, 16 July 1949, p. 14.
See J. Chapman, Past and Present: National Identity and the British Historical Film ( London: I. B. Tauris, 2005 ), pp. 120–2.
Quoted in E Barker, The Oliviers: A Biography ( London: Hamish Hamilton, 1953 ), p. 212.
Quoted in L. Olivier, Confessions of an Actor ( London: Weidenfeld & Nicolson, 1982 ), p. 99.
E. Carreras in Kinernatograph Weekly, 29 November 1945, p. 38.
H. Halstead quoted in ‘British Studio Section’, Kinetnatograph Weekly, 2 October 1947, p. xxiii.
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© 2007 Palgrave Macmillan, a division of Macmillan Publishers Limited
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Ede, L. (2007). Art in Context: British Film Design of the 1940s. In: Chapman, J., Glancy, M., Harper, S. (eds) The New Film History. Palgrave Macmillan, London. https://doi.org/10.1007/9780230206229_6
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DOI: https://doi.org/10.1007/9780230206229_6
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