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Words for Battle and Listen to Britain
Keith Beattie

of the Crown Film Unit noted, ‘Humphrey used whatever he wanted’.71 The point is further exempli­ fied by Pat Jackson who, in his memoir of the era, recounts how he was disturbed to see shots from his film Ferry Pilot (1941) included without his permission in Words for Battle.72 Jennings’ image acquisition may have been more rigorous than that of other directors but, as Malcolm Smith notes, ‘[t]here is nothing unusual about this [practice] in wartime documentary, or in the British documentary tradition, which time and again used stock-shot material. What is unusual

in Humphrey Jennings
Douglas Keesey

, Seattle and London, University of Washington Press, pp. 34–58. Anon. (1983), ‘Catherine et Marie-Hélène Breillat sont passées du duel au duo’, Elle, January. Argand, Catherine (2002), ‘Le Livre de leur enfance’, Lire, July/August. Beauvoir, Simone de (1958), Mémoires d’une jeune fille rangée, Paris, Gallimard. Beauvoir, Simone de (1959), Memoirs of a Dutiful Daughter, trans. James Kirkup, Cleveland and New York, World Publishing. Berlant, Lauren (2002), ‘Two Girls, Fat and Thin’, in Stephen M. Barber and David L. Clark (eds), Regarding Sedgwick: Essays on Queer Culture

in Catherine Breillat
National cinema, indigenous creativity and the international market
Christopher Meir

, something that Puttnam was very concerned about. The final aspect of the film that I would like to comment on here in relation to commercial pressures is one that remained largely unchanged throughout its making: that is the ending. In his memoir The Undeclared War David Puttnam refers to his own experiences in the making of Local Hero to illustrate the balance he sought throughout his career between commercial and artistic demands. In so doing he mentions a particular incident that is worth quoting at some length: ‘Raking over’ Local Hero again 33 Warner Bros

in Scottish cinema
William H. Rosar

successful and celebrated associations between a film director and composer ended in 1966 with Torn Curtain, a fact that has been lamented ever since by devotees of both Alfred Hitchcock and Bernard Herrmann, all the more since the film itself proved unsuccessful at the box office. But the handwriting was already on the wall well before then, and the seeds of Hitchcock’s discontent really originated not so much out of conflict with Herrmann, but with the studio system and its established procedures for film scoring. In his memoir Music for the Movies, Louis Levy recorded

in Partners in suspense
Callan (ITV, 1967–72) as an existential thriller for television
Joseph Oldham

others.’23 Yet whilst the hardboiled novel typically relates events in the past tense, providing the memoir of closed case, the voice-over narration in Callan is in the present tense, providing the viewer with access to Callan’s streamof-­consciousness in moments of dramatic tension, conveying his ‘A balance of terror’ 35 doubts and insecurities and creating a much more uncertain and unresolved tone. This is therefore a hardboiled style reworked according to the characteristics of immediacy ingrained within videotaped television drama. ‘Callan lives!’: Breakout

in Paranoid visions
John Izod, Karl Magee, Kathryn Hannan and Isabelle Gourdin-Sangouard

. 116 Diary, 14–15 June 1967 (LA 6/1/54/63–6). 117 Diary, 19 June 1967 (LA 6/1/54/71). 118 Gavin Lambert, Mainly About Lindsay Anderson: A Memoir (London: Faber and Faber, 2000) 138. 119 Anderson

in Lindsay Anderson
Abstract only
John Izod, Karl Magee, Kathryn Hannan and Isabelle Gourdin-Sangouard

Film-Maker (London: Cassell, 1998) 119. 4 See Cunningham, ‘Lindsay Anderson’s O Lucky Man !’, 261. 5 Gavin Lambert, Mainly About Lindsay Anderson: A Memoir (London: Faber and Faber, 2000) 168. 6 Diary, 16 June 1972 (LA 6

in Lindsay Anderson
Boom! (1968), Secret Ceremony (1968) and Figures in a Landscape (1970)
Colin Gardner

life and death prove to be immanent in each other. Chris’s role, as The Angel of Death, will be to teach Sissy the true meaning of this impasse, of death as a form of active silence far beyond her ability to put it into words, whether as past memory or memoir. She will learn, as Williams so eloquently puts it, ‘how not to be frightened of not knowing what isn’t meant to be known, acceptance of not knowing anything but the

in Joseph Losey
Douglas Morrey

), L’Identité de la France: Espace et Histoire , Paris , Flammarion . Deleuze , G. ( 1976 ), ‘Trois questions sur Six fois deux : À propos de Sur et sous la communication ’, Cahiers du cinéma , 271 , 5–12 . Derrida , J. ( 1988 ), Mémoires: pour Paul de Man , Paris , Galilée . Derrida

in Jean-Luc Godard
Derek Paget

especially successful in examples like the 2003 film Touching the Void, and I shall say more about the ­implications of this development in the Chapter 8. The use of a protagonist as verbal caption was particularly striking in Oliver Hirschbiegel’s 2004 film Downfall (German title: Der Untergang). About the last days of Adolf Hitler (and featuring a stunning imperson­ation of the Nazi dictator by Bruno Ganz), the film was partly based on a memoir by one of Hitler’s wartime secretaries, Traudl Junge.4 Junge appears at the beginning and end of the film. In the opening credit

in No other way to tell it