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Cultural politics and art films in post-war Britain
Katerina Loukopoulou

(BFI) and international organisations like FIFA. As can be inferred from the correspondence of its film officers, the Arts Council was the first point of contact for regional art galleries and museums in the UK for advice about suitable new films on art. 38 The Council’s direct engagement with the exhibition of art films continued up to the early 1980s. But from 1956, the year that the Arts Council commissioned its first production – The Stained Glass at Fairford (Basil Wright) – until 1998, when the process of direct commissioning ended, the main focus of the

in British art cinema
Chaplin (1992) and Grey Owl (1999)
Sally Dux

’, the revelation of Grey Owl’s true identity, added the cinematic entertainment factor to the more serious theme and message of conversation that the film was to deliver. The theme of conservation was particularly topical for the 1990s. Conservation and environmentalism had gained momentum over the last three decades with national and international organisations formed to deal with the issues. These included the World Wildlife Fund, founded in 1961; Friends of the Earth, launched in America in 1969, and Greenpeace, originally known as the Greenpeace Foundation, which

in Richard Attenborough
Michael Leonard

that occurred in 1972, Wollen observes that it brought an end to a succession of avant-gardes that had begun in Paris with the Futurist manifesto: ‘the epoch of the historic avant-gardes with their typical apparatus of international organisation and propaganda, manifestos, congresses, quarrels, scandals, indictments, expulsions, polemics, group photographs, little magazines, mysterious episodes, provocations, utopian theories and intense desires to transform art, society, the world and the pattern of everyday life’ (Wollen 1993 : 124). Les Amants réguliers is

in Philippe Garrel