Category Archive for: ‘Issue 8 – First Release’

Issue no.7 was thematic: called “After Grierson”, it considered the worldwide and continuing influence of John Grierson, not only in film. In the present issue we have two more articles that continue this theme. The first is Terence Dobson’s “McLaren and Grierson: intersections” – an article that technical problems prevented us from including in issue 7, but that should be …

Uploaded 12 November 1999 In the representation of the female prostitute in the cinema, the earliest archetypal narratives to emerge are those of the fallen woman and the white slave. While the white slave films, tracing the fate of the innocent young woman lured into forced prostitution by unscrupulous procurers (or rescued in the nick of time), have received considerable …

Uploaded 12 November 1999 The adjudicator at the Third Glasgow Amateur Film Festival held in January 1936 was to be the renowned John Grierson. From 1929, when his film Drifters was screened at the British premiere of Battleship Potemkin, Grierson had been a vociferous and vigorous advocate of the new mass-medium of film. He also had risen to head the General Post …

Uploaded 12 November 1999 I first became aware of the myth, the man, almost a quarter of a century ago. It may have been a song, a young man holding forth in a pub, an old woman warming herself at her fire – I don’t remember – but I was left in no doubt that this was no ordinary creature, …

Uploaded 12 November 1999 Since the 1960s, a reassessment of the Irish nationalist past has been going on in the Republic of Ireland. This reassessment has a variety of causes, and it began before the eruption of violence in Northern Ireland at the end of the 1960s, but undoubtedly the ongoing conflict in Northern Ireland has been an important catalyst …

Uploaded 12 November 1999 An attachment to history is certainly a mark of British culture, possibly confirmed most tellingly by the previous (Conservative) government calling its Ministry of Culture, the Department of National Heritage. Collecting documents and artefacts has been a singular element in the UK for many years, not least at the British Film Institute. Sixty six years in …

Uploaded 12 November 1999 This paper addresses two of the three key themes ofinfog99[1]  , namely: the provision of user access to digitally delivered screen products, and related issues for screen education in the digital environment. It describes research and development work undertaken during 1998 and 1999 by a University of Glasgow consortium, led by the UK’s Performing Arts Data Service …

Uploaded 12 November 1999 Forgotten Silver (1995) by Costa Botes and Peter Jackson was described, after its screening, as “The greatest film hoax since the invention of movie pictures”.[1] (1) It purported to tell the story of a pioneer New Zealand film director, Colin McKenzie, and the production of his epic film, Salome, on the west coast of the South Island in the …

Uploaded 12 November 1999 Something of a paradox is at work in the world of British documentary. Long a staple of UK television output, in recent years it has become for the first time a jewel in the prime-time crown. At the same time, though, there has been a running newspaper story since May 1998 about “fakery” in these programmes. …

[1] Uploaded 12 November 1999 The study of broadcasting regulation has started to creep into the edges of the media studies curriculum, born on the wind that wafts across the campus from the Schools of Law and Politics. And perhaps this small wind of change should be welcome if it helps us to understand some of the forces that are …