Modernity, myth, colour and collage
The early films
in Humphrey Jennings
Abstract only
Log-in for full text

You are not authenticated to view the full text of this chapter or article.

manchesterhive requires a subscription or purchase to access the full text of books or journals - to see content that you/your institution should have access to, please log in through your library system or with your personal username and password.

If you are authenticated and think you should have access to this title, please contact your librarian.

Non-subscribers can freely search the site, view abstracts/extracts and download selected front and end matter. 

Institutions can purchase access to individual titles; please contact manchesterhive@manchester.ac.uk for pricing options.

ACCESS TOKENS

If you have an access token for this content, you can redeem this via the link below:

Redeem token

The assessment of Humphrey Jennings' early career generally was passed by biographers and other writers on their way to discussion of the mature work. Jennings' early films are either ignored or noted only briefly, although his foundational films do connect with and inform his early and ongoing intellectual preoccupations. This chapter analyses some of the aspects – modernity, myth, colour and collage – of his earlier works. Jennings' lifelong concern with aspects of technological modernity is evident in his earliest films, Post Haste and Locomotives, with their focus on locomotives as symbols of modern experience. In another way, his films The Farm (1938) and English Harvest (1939) apply and exploit features of a myth of rural England, an ideological strain that Jennings analyses in his studies of British poetry and which he also deploys in various forms in a number of later films. Jennings' early work also includes a number of films shot in colour.

Metrics

All Time Past Year Past 30 Days
Abstract Views 73 18 1
Full Text Views 23 0 0
PDF Downloads 12 3 0