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scenes’, arguing that its ‘glorious old English gardens, and some fine river scenes, will still more heighten its thoroughly English atmosphere.’8 British landscapes in pre-Second World War film publicity 49 While many of these examples were merely subtly suggestive allusions to the importance of the countryside to the British character, others, such as the pressbook for The Manxman (George Loane Tucker, 1916), sought to make this connection explicit. Set on the Isle of Man, the film’s marketing began with the familiar notion of a simple, quaint rural idyll

in British rural landscapes on film

tension runs through George Formby’s films, where those with power struggle to keep the irrepressible George in his place. His fruitless attempts to obtain a drink on the Isle of Man steamer in No Limit (d. Monty Banks, 1935) illustrate that though a barman may have low status, he can connive in maintaining the social order – with George at the bottom. The equivocal position of the supervisor has particular

in The British working class in postwar film

.). 64 See, for example, the Preston brothers, who included carnival scenes from Winsford, Reddish, Altrincham, Alderley Edge, Wilmslow, New Brighton, Colchester and Douglas (Isle of Man) in their Glengarry topicals as well as footage of Stockport Carnival shot in successive years. 65 Thomas Magee, *1932: [ Catholic Procession

in Amateur film

. 41 Alan Mannion with Sir John Deane’s College Film Unit, 1968: Isle of Man 1968 , NWFA Film no. 3867 (b/w, silent, 27 min. 14 sec.). 42 J. Martin, Man of the Road . 43 A. Cavalcanti, ‘Mr Cavalcanti explains … why he banned Man on the Road

in Amateur film
Comedies of class, culture and community

very end of the credits will learn that the film was shot entirely on location in Cardiff, whilst Waking Ned , despite being set in Ireland, was filmed on location in the Isle of Man. 38 Even though this group of films placed a great deal of emphasis on notions of ‘Britishness’, and stressed the importance of regional differences within their respective narratives, financial backing outside Britain still had to be sought on

in Tears of laughter
Wildlife documentaries on television

’s riches. (Female, aged 38, single, living in the Isle of Man, civil servant specialising in Government pension schemes) (B3019) 07chap six.p65 137 6/28/2007, 10:40 AM 138 Watching the world A significant element of the appeal of animals – including mediations of them via television and film – is their motility, the fascinating ability to move independently, beyond any arrangement or performance produced by humans organising them. This is what Lorraine Daston and Gregg Mitman call ‘the active reality of animals’.41 They write: As Aristotle remarked, the distinctive

in Watching the world