%PDF-1.3 1 0 obj << /Type /Catalog /Outlines 2 0 R /Pages 3 0 R >> endobj 2 0 obj << /Type /Outlines /Count 0 >> endobj 3 0 obj << /Type /Pages /Kids [6 0 R 14 0 R 19 0 R 24 0 R 36 0 R ] /Count 5 /Resources << /ProcSet 4 0 R /Font << /F1 8 0 R /F2 9 0 R /F3 10 0 R >> /XObject << /I1 11 0 R >> >> /MediaBox [0.000 0.000 595.280 841.890] >> endobj 4 0 obj [/PDF /Text /ImageC ] endobj 5 0 obj << /Creator (DOMPDF) /CreationDate (D:20140724195817+01'00') /ModDate (D:20140724195817+01'00') /Title (Shadows of Progress: Documentary Film in Post-War Britain) >> endobj 6 0 obj << /Type /Page /Parent 3 0 R /Annots [ 12 0 R ] /Contents 7 0 R >> endobj 7 0 obj << /Length 4204 >> stream q 381.750 0 0 120.000 34.016 687.874 cm /I1 Do Q 0.000 0.000 0.000 rg BT 34.016 676.469 Td /F1 12.0 Tf [(Published on )] TJ ET BT 99.356 676.469 Td /F2 12.0 Tf [(Reviews in History)] TJ ET BT 190.016 676.469 Td /F1 12.0 Tf [( \()] TJ ET 0.000 0.000 0.800 rg BT 197.012 676.469 Td /F1 12.0 Tf [(http://www.history.ac.uk/reviews)] TJ ET 0.000 0.000 0.800 RG 0.24 w 0 J [ ] 0 d 197.012 675.075 m 357.332 675.075 l S 0.000 0.000 0.000 rg BT 357.332 676.469 Td /F1 12.0 Tf [(\))] TJ ET 0.502 0.502 0.502 RG 0.75 w 0 J [ ] 0 d 34.391 653.743 526.499 1.500 re S BT 34.016 615.321 Td /F3 18.0 Tf [(Shadows of Progress: Documentary Film in Post-War Britain)] TJ ET BT 34.016 273.323 Td /F1 12.0 Tf [(It is 1952, and the British documentary movement is in terminal decline. Shorn of the avant-garde )] TJ ET BT 34.016 259.067 Td /F1 12.0 Tf [(credentials it proudly displayed in the 1930s, and the privileged function and position it enjoyed during the )] TJ ET BT 34.016 244.811 Td /F1 12.0 Tf [(Second World War, the tradition that John Grierson built comes to and end in an age of post-war consensus. )] TJ ET BT 34.016 230.555 Td /F1 12.0 Tf [(The sponsored documentary had once been a successful mechanism for managing the funding, production )] TJ ET BT 34.016 216.299 Td /F1 12.0 Tf [(and distribution of high quality documentary films that aspired to the status of art, and often provided radical )] TJ ET BT 34.016 202.043 Td /F1 12.0 Tf [(views of social ills. It was to an extent the victim of its success in previous eras, as ?the movement? looked )] TJ ET BT 34.016 187.787 Td /F1 12.0 Tf [(old-fashioned and inappropriately patrician in a post-war British documentary landscape shaken by the )] TJ ET BT 34.016 173.531 Td /F1 12.0 Tf [(iconoclastic zeal of the Free Cinema movement and the journalistic populism of TV documentary. )] TJ ET BT 34.016 159.275 Td /F1 12.0 Tf [(Documentary was to move away from public information and public relations to independent auteurism as )] TJ ET BT 34.016 145.019 Td /F1 12.0 Tf [(the cinematic New Wave arrived at the shores of British film culture.)] TJ ET BT 34.016 118.763 Td /F1 12.0 Tf [(According to )] TJ ET BT 100.004 118.763 Td /F2 12.0 Tf [(Shadows of Progress: Documentary Film in Post-War Britain)] TJ ET BT 397.664 118.763 Td /F1 12.0 Tf [(, this is the usual narrative given )] TJ ET BT 34.016 104.507 Td /F1 12.0 Tf [(for the history of post-war documentary in Britain, with nods to the world-wide legacy of Grierson, and )] TJ ET BT 34.016 90.251 Td /F1 12.0 Tf [(something of a critical sigh of relief exhaled at the disappearance of the ethical problems of sponsorship and )] TJ ET BT 34.016 75.995 Td /F1 12.0 Tf [(industrial patronage in the documentary film. However, this narrative is largely unsustainable after reading )] TJ ET BT 34.016 61.739 Td /F2 12.0 Tf [(Shadows of Progress)] TJ ET BT 135.356 61.739 Td /F1 12.0 Tf [(. The book?s editorial mission is quite clearly to re-write this orthodox and )] TJ ET BT 34.016 584.699 Td /F3 12.0 Tf [(Review Number:)] TJ ET BT 34.016 570.443 Td /F1 12.0 Tf [(1165)] TJ ET BT 34.016 556.187 Td /F3 12.0 Tf [(Publish date:)] TJ ET BT 34.016 541.931 Td /F1 12.0 Tf [(Tuesday, 1 November, 2011)] TJ ET BT 34.016 527.675 Td /F3 12.0 Tf [(Editor:)] TJ ET BT 34.016 513.419 Td /F1 12.0 Tf [(Patrick Russell)] TJ ET BT 34.016 499.163 Td /F1 12.0 Tf [(James Taylor)] TJ ET BT 34.016 484.907 Td /F3 12.0 Tf [(ISBN:)] TJ ET BT 34.016 470.651 Td /F1 12.0 Tf [(9781844573219)] TJ ET BT 34.016 456.395 Td /F3 12.0 Tf [(Date of Publication:)] TJ ET BT 34.016 442.139 Td /F1 12.0 Tf [(2010)] TJ ET BT 34.016 427.883 Td /F3 12.0 Tf [(Price:)] TJ ET BT 34.016 413.627 Td /F1 12.0 Tf [(19.99)] TJ ET BT 34.016 399.371 Td /F3 12.0 Tf [(Pages:)] TJ ET BT 34.016 385.115 Td /F1 12.0 Tf [(448pp.)] TJ ET BT 34.016 370.859 Td /F3 12.0 Tf [(Publisher:)] TJ ET BT 34.016 356.603 Td /F1 12.0 Tf [(British Film Institute)] TJ ET BT 34.016 342.347 Td /F3 12.0 Tf [(Place of Publication:)] TJ ET BT 34.016 328.091 Td /F1 12.0 Tf [(London)] TJ ET BT 34.016 313.835 Td /F3 12.0 Tf [(Reviewer:)] TJ ET BT 34.016 299.579 Td /F1 12.0 Tf [(Dafydd Sills-Jones)] TJ ET endstream endobj 8 0 obj << /Type /Font /Subtype /Type1 /Name /F1 /BaseFont /Times-Roman /Encoding /WinAnsiEncoding >> endobj 9 0 obj << /Type /Font /Subtype /Type1 /Name /F2 /BaseFont /Times-Italic /Encoding /WinAnsiEncoding >> endobj 10 0 obj << /Type /Font /Subtype /Type1 /Name /F3 /BaseFont /Times-Bold /Encoding /WinAnsiEncoding >> endobj 11 0 obj << /Type /XObject /Subtype /Image /Width 509 /Height 160 /Filter /FlateDecode /DecodeParms << /Predictor 15 /Colors 3 /Columns 509 /BitsPerComponent 8>> /Mask [ 255 255 255 255 255 255 ] /ColorSpace /DeviceRGB /BitsPerComponent 8 /Length 3280>> stream x[EQ㎦fVttҒ +3O{?lGDQԯDrB^.ϯ%~'0۠/2>0AG_>0j0GCfE67>rB^}@  !&y+r?INp:erc b8f=rQC!~-Wf^^zF[)G 2ޯe7V_Go3Ke GEGOo8rώ#\1ZY~N6^H}yLxS-!:412V+u\-LSO?xVvZ|GjǮT_8EYJF=Tw^ 7GxfN/S:Ʌ~ʟtt?5n÷J'JcF-GVξx{rO~tJd;#a\7}|~y'>}c2C vR}f׈**h.)_&@pfzjsx:5;S\vKhM5j=!Cn+h"u]a EUN]jn=k<,:Ք>sU!ni~6EJ)¦72?G}[y}_vc$t?iSܟ2Zݞ,VN?_`='RFK1A2qv&X_lLRWY'%:I㢖zb_UEx\>&ɆBˏ~K@ \gYØU4}$8Dv!'Q'*+Εj(UCGo[#< 2Ja(sZi9fZKE Rn`u\9r^Zmɯ׹}mstO4uc~#'jEvۼ Dx[z ޏQ4KL5,5u3>i^uÒ-53ba ~,~/pyt1fMU'CVm:qv~=Y'Es"WsφG?l_kN5}],Ow7 uh`xƫ?zMl7ٻv$A(4Dl(wwH} ?=[=S;yC]^BK>㕪9`Z'Wj;E|:bf>kCԘ#RY,iv쵗~}n'"1u" *uO΄/2^Sxr(!/DD\~mJyZ!MmrA!#u[if|99WB WΡpp}w}sh#,\ &:%˳X?D3 %W0cC?o̲^} F3XLVn]Cߖiϧ!7}yZJ#P7]=)7Ρp;>> Ye^xx{Oafw{ ;>4gfLt ʊ:q%#r/)pv!O4wGh|dS ӣݽހ-gVUC'pBxrB^} 7JA^} /'8!`:r?}}],X  }6y!`/~Br?}Q< >k7vx"] ,' .3jn{-i}|~%-};b6#U)7繎kiEw 㤳:E}[޼c"rꬊ7Dc$~"/Y&zSd:tFȌCrʙ`7u .#[-<)j ?TGS(j~oTup(hjU4PlJ=}|it.ҽ@\wʨuXÞZcx18Wo<~ikOg,ވ\^?EneyZcc0[R١z|zv7_m:_n]a?osS3~j^ hD.a_X'KfBX6w wݶ"Oa:,bvhrWH[uCF-Xfc}>x+Rz)2N-B 7y^٨;[/vg? | |2Sve}=o䑰j[vWjF0{굦?VI~}xM(_TlG__+]:#к?S} c>GŸD7 !w{S{B =x7a?oE#)+Gz:o_4Q<;n?\tt7?mGCџQGu4kņOF>F?#} hP&ђߴM#u!.СtL2^#o nIk_i.~7tr@n 1P~3?.[]=S5b߮~Yo^HFH YBi8a4iom>CKgMy*;?zqEӕ` >zB9iFzC?XF?ޟIܰ펉A}{I5ᄊx%ez#Mp@rߎpi]IOVjzuJt\۰f׺u5><,J~PTJp1)}){9N {!`/> endstream endobj 12 0 obj << /Type /Annot /Subtype /Link /A 13 0 R /Border [0 0 0] /H /I /Rect [ 197.0117 675.3895 357.3317 687.2695 ] >> endobj 13 0 obj << /Type /Action /S /URI /URI (http://www.history.ac.uk/reviews) >> endobj 14 0 obj << /Type /Page /Parent 3 0 R /Annots [ 17 0 R ] /Contents 15 0 R >> endobj 15 0 obj << /Length 7740 >> stream 0.000 0.000 0.000 rg 0.502 0.502 0.502 RG 0.75 w 0 J [ ] 0 d BT 34.016 796.469 Td /F1 12.0 Tf [(misconceived view of post-war film documentary. We find not only that there was no decline in sponsored )] TJ ET BT 34.016 782.213 Td /F1 12.0 Tf [(film documentary after the end of the Second World War, but that the numbers of documentary films )] TJ ET BT 34.016 767.957 Td /F1 12.0 Tf [(produced vastly increased, as did the number of people involved in commissioning and funding them, )] TJ ET BT 34.016 753.701 Td /F1 12.0 Tf [(producing them, and watching them. Indeed, the post-war period seems to have been a boom period for )] TJ ET BT 34.016 739.445 Td /F1 12.0 Tf [(documentary films in Britain, a boom that was only halted by the appearance of video production and )] TJ ET BT 34.016 725.189 Td /F1 12.0 Tf [(distribution, and by the corporate ethos unleashed by the Thatcher administration. )] TJ ET BT 429.632 725.189 Td /F2 12.0 Tf [(Shadows of Progress)] TJ ET BT 34.016 710.933 Td /F1 12.0 Tf [(reveals a cinematic world in microcosm, with its moguls, its star directors and its canon of influential films. )] TJ ET BT 34.016 696.677 Td /F1 12.0 Tf [(It reveals the dynamic tensions between funders, makers and viewers, and it opens the eye to a world of )] TJ ET BT 34.016 682.421 Td /F1 12.0 Tf [(sponsored documentary expression where crafted commentary, mute-shot observational material, painterly )] TJ ET BT 34.016 668.165 Td /F1 12.0 Tf [(landscapes and bespoke orchestral scores still commanded authority well into the 1970s.)] TJ ET BT 34.016 641.909 Td /F1 12.0 Tf [(Whilst )] TJ ET BT 69.020 641.909 Td /F2 12.0 Tf [(Shadows of Progress)] TJ ET BT 170.360 641.909 Td /F1 12.0 Tf [( discusses cinematic production and form, it also attempts to use the vast )] TJ ET BT 34.016 627.653 Td /F1 12.0 Tf [(archival resources it marshals to illuminate the social history of the period. Its portrayal of the post-war )] TJ ET BT 34.016 613.397 Td /F1 12.0 Tf [(consensus ? consisting of compromise and shades of grey ? reveals a ?regime of truth? where the public )] TJ ET BT 34.016 599.141 Td /F1 12.0 Tf [(good and corporate agendas walked hand in hand under the banner of modernisation and industrialisation, )] TJ ET BT 34.016 584.885 Td /F1 12.0 Tf [(quite unlike the atomised and individualistic present. This is of course a generalised review, and these )] TJ ET BT 34.016 570.629 Td /F1 12.0 Tf [(comments are examples of the reviewers? broad brushstrokes, because the true strength of the book lies in )] TJ ET BT 34.016 556.373 Td /F1 12.0 Tf [(the scope and shape of its examination of what is a considerable, and complex, mass of film culture.)] TJ ET BT 34.016 530.117 Td /F1 12.0 Tf [(When reflecting on how )] TJ ET BT 153.320 530.117 Td /F2 12.0 Tf [(Shadows of Progress)] TJ ET BT 254.660 530.117 Td /F1 12.0 Tf [( works, it is immediately clear that it is a major addition to the )] TJ ET BT 34.016 515.861 Td /F1 12.0 Tf [(literature on the history of the documentary film, and to the history of British cinema. It is over 400 pages )] TJ ET BT 34.016 501.605 Td /F1 12.0 Tf [(long, contains references to hundreds of hitherto unheralded films, and uses extensive archival and oral )] TJ ET BT 34.016 487.349 Td /F1 12.0 Tf [(history techniques and resources to trace the rise and fall of a sector of British cinema production that has, )] TJ ET BT 34.016 473.093 Td /F1 12.0 Tf [(for a number of reasons, been hitherto ignored. The book brings together the combined contribution of 12 )] TJ ET BT 34.016 458.837 Td /F1 12.0 Tf [(authors, and represents an extensive exploitation of the treasures of the British Film Institute \(BFI\)?s archive )] TJ ET BT 34.016 444.581 Td /F1 12.0 Tf [(of films. It is the partner publication to a four-disc DVD set of the same name that gives the reader unusual )] TJ ET BT 34.016 430.325 Td /F1 12.0 Tf [(access to many of the key films mentioned in the book, and as such takes its place in a larger series of )] TJ ET BT 34.016 416.069 Td /F1 12.0 Tf [(publications which attempt to give an overview of the development of non-fiction film in the UK over the )] TJ ET BT 34.016 401.813 Td /F1 12.0 Tf [(last century.)] TJ ET 0.000 0.000 0.800 rg BT 92.672 401.813 Td /F1 12.0 Tf [(\(1\))] TJ ET 0.000 0.000 0.800 RG 0.24 w 0 J [ ] 0 d 92.672 400.419 m 106.664 400.419 l S 0.000 0.000 0.000 rg BT 34.016 375.557 Td /F1 12.0 Tf [(As part of this series, and in its own right, )] TJ ET BT 238.004 375.557 Td /F2 12.0 Tf [(Shadows of Progress)] TJ ET BT 339.344 375.557 Td /F1 12.0 Tf [( brings to wider public and academic )] TJ ET BT 34.016 361.301 Td /F1 12.0 Tf [(attention a category of films that would otherwise be hidden from view. No other book of this scale has been )] TJ ET BT 34.016 347.045 Td /F1 12.0 Tf [(published on the specific topic of British film documentary history in the post-war period, and thanks to its )] TJ ET BT 34.016 332.789 Td /F1 12.0 Tf [(publication there now exists an accessible resource that can both define an area of documentary production, )] TJ ET BT 34.016 318.533 Td /F1 12.0 Tf [(and provide the basis for further study. In turn this is something of a display piece for the BFI?s curatorial )] TJ ET BT 34.016 304.277 Td /F1 12.0 Tf [(team, with no less than five of the authors credited as non-fiction curators of the BFI?s collection. If )] TJ ET BT 34.016 290.021 Td /F1 12.0 Tf [(compelling evidence were ever needed of the value provided by the modest funding that pays for the BFI?s )] TJ ET BT 34.016 275.765 Td /F1 12.0 Tf [(curatorial services, this book provides it.)] TJ ET BT 34.016 249.509 Td /F2 12.0 Tf [(Shadows of Progress)] TJ ET BT 135.356 249.509 Td /F1 12.0 Tf [( is structured around two main sections. The first, authored by the editors Patrick )] TJ ET BT 34.016 235.253 Td /F1 12.0 Tf [(Russell and James Piers Taylor, sets out to give an overview of the production of cinematic documentary )] TJ ET BT 34.016 220.997 Td /F1 12.0 Tf [(film after 1945, and the second section builds on this foundation by profiling the careers of the category?s )] TJ ET BT 34.016 206.741 Td /F1 12.0 Tf [(most influential and typical practitioners. The first half is itself subdivided into introductory sections, which )] TJ ET BT 34.016 192.485 Td /F1 12.0 Tf [(first introduce the book?s approach and the field in general, before going on to examine the distribution, )] TJ ET BT 34.016 178.229 Td /F1 12.0 Tf [(production and sponsorship of the films in this category.)] TJ ET BT 34.016 151.973 Td /F1 12.0 Tf [(The introductory sections \(?Whatever happened to the documentary movement??, ?The long tail? and )] TJ ET BT 34.016 137.717 Td /F1 12.0 Tf [(?Documentary culture: groupings, gatherings and writings?\) set out the book?s conceptual mission; the )] TJ ET BT 34.016 123.461 Td /F1 12.0 Tf [(reclamation of this form of documentary funding, production and distribution from the critical refuse tip. )] TJ ET BT 34.016 109.205 Td /F1 12.0 Tf [(The claim here is that this body of work had been abandoned by numerous writers attracted by the aesthetic )] TJ ET BT 34.016 94.949 Td /F1 12.0 Tf [(blandishments of the Free Cinema Movement of the late 1950s and early 1960s, and the cinematic New )] TJ ET BT 34.016 80.693 Td /F1 12.0 Tf [(Wave that followed. The central argument is that the growth in the volume of films produced, and the )] TJ ET BT 34.016 66.437 Td /F1 12.0 Tf [(growth in their circulation after the end of the Second World War, is evidence against the more simplistic )] TJ ET BT 34.016 52.181 Td /F1 12.0 Tf [(claims made of the death of the Griersonian documentary movement, and of sponsored film documentaries. )] TJ ET endstream endobj 16 0 obj [14 0 R /Fit] endobj 17 0 obj << /Type /Annot /Subtype /Link /A 18 0 R /Border [0 0 0] /H /I /Rect [ 92.6717 400.7335 106.6637 412.6135 ] >> endobj 18 0 obj << /Type /Action >> endobj 19 0 obj << /Type /Page /Parent 3 0 R /Annots [ 22 0 R ] /Contents 20 0 R >> endobj 20 0 obj << /Length 7749 >> stream 0.000 0.000 0.000 rg 0.000 0.000 0.800 RG 0.24 w 0 J [ ] 0 d BT 34.016 796.469 Td /F1 12.0 Tf [(The welfare consensus that characterised the decades between the end of the second world war and the )] TJ ET BT 34.016 782.213 Td /F1 12.0 Tf [(arrival of Thatcherism meant that sponsored film documentary may have lost some of its avant-garde )] TJ ET BT 34.016 767.957 Td /F1 12.0 Tf [(associations, and shifted its emphasis from the artist to the sponsor, but this was due to changed )] TJ ET BT 34.016 753.701 Td /F1 12.0 Tf [(circumstances, requiring public films that partook in making the hard-fought consensus work, rather than )] TJ ET BT 34.016 739.445 Td /F1 12.0 Tf [(arguing for a new social contract.)] TJ ET BT 34.016 713.189 Td /F1 12.0 Tf [(The remainder of the book?s first section details the three pillars on which this cinematic culture was based: )] TJ ET BT 34.016 698.933 Td /F1 12.0 Tf [(distribution/exhibition, production and sponsorship. These three sections are encyclopaedic in scope and )] TJ ET BT 34.016 684.677 Td /F1 12.0 Tf [(detail. They aim to cover a huge amount of ground, and succeed in doing so. The chapter on distribution and )] TJ ET BT 34.016 670.421 Td /F1 12.0 Tf [(exhibition \(?Films nobody sees?: Distribution and exhibition?\) surveys the various modes of distribution and )] TJ ET BT 34.016 656.165 Td /F1 12.0 Tf [(the various modes of exhibition. In particular the importance of non-theatrical exhibition becomes clear, as )] TJ ET BT 34.016 641.909 Td /F1 12.0 Tf [(we are taken back to a world of cinema clubs and societies, often associated with specific workplaces and )] TJ ET BT 34.016 627.653 Td /F1 12.0 Tf [(work activities. The chapter on production leads us into the heart of the old Soho, where the majority of the )] TJ ET BT 34.016 613.397 Td /F1 12.0 Tf [(industry sat cheek by jowl, from the leftist shadows of 1930s radicalism such as the DATA co-operative, to )] TJ ET BT 34.016 599.141 Td /F1 12.0 Tf [(the gloss and glamour of World Wide Pictures. What emerges here are the varieties of approach ? political, )] TJ ET BT 34.016 584.885 Td /F1 12.0 Tf [(aesthetic, technological, organisational ? within such a tightly-knit production sector. The chapter on )] TJ ET BT 34.016 570.629 Td /F1 12.0 Tf [(sponsorship outlines the financing of the production of sponsored film documentaries. As in ?production?, )] TJ ET BT 34.016 556.373 Td /F1 12.0 Tf [(?sponsorship? takes us through this industry layer category-by-category, from the remnant of the 1930s )] TJ ET BT 34.016 542.117 Td /F1 12.0 Tf [(documentary movement in the Central Office of Information to the multi-national petro-giants Shell and BP. )] TJ ET BT 34.016 527.861 Td /F1 12.0 Tf [(What emerges here is the peculiarly important and strangely autonomous figure of the ?film officer?, the )] TJ ET BT 34.016 513.605 Td /F1 12.0 Tf [(recessive mogul of this most self-effacing of movie making cultures. Such individuals varied in their )] TJ ET BT 34.016 499.349 Td /F1 12.0 Tf [(background, taste, and in the scope of their abilities, but they all worked as proto-television commissioners, )] TJ ET BT 34.016 485.093 Td /F1 12.0 Tf [(judging the aesthetics and audience needs of very specific niches, making decisions that influenced company )] TJ ET BT 34.016 470.837 Td /F1 12.0 Tf [(and individual careers. Together, these three chapters build a portrait of the relationships and deals, many of )] TJ ET BT 34.016 456.581 Td /F1 12.0 Tf [(which had evolved from the earlier deals made during the time of the Griersonian ?movement?, that )] TJ ET BT 34.016 442.325 Td /F1 12.0 Tf [(regulated and shaped this sector of the film industry in Britain.)] TJ ET BT 34.016 416.069 Td /F1 12.0 Tf [(Whilst providing excellent coverage of a field, this picture holds the audience at quite a distance from the )] TJ ET BT 34.016 401.813 Td /F1 12.0 Tf [(day-to-day realities of production. To compliment this, )] TJ ET BT 300.992 401.813 Td /F2 12.0 Tf [(Shadows of Progress)] TJ ET BT 402.332 401.813 Td /F1 12.0 Tf [( changes in gear in its second )] TJ ET BT 34.016 387.557 Td /F1 12.0 Tf [(half by profiling 19 documentary filmmakers in 16 chapters written by a variety of authors. While the first )] TJ ET BT 34.016 373.301 Td /F1 12.0 Tf [(half of the book aims for authority and definition, this second half focuses in on the particulars of these )] TJ ET BT 34.016 359.045 Td /F1 12.0 Tf [(prominent and typical filmmakers, and also invites a range of perspectives on the post-war sponsored film )] TJ ET BT 34.016 344.789 Td /F1 12.0 Tf [(documentary. These profiles recount the various career trajectories possible at the time, and cumulatively )] TJ ET BT 34.016 330.533 Td /F1 12.0 Tf [(build an interrelated map of references to films, sponsors, and filmmakers that put flesh on the vast skeleton )] TJ ET BT 34.016 316.277 Td /F1 12.0 Tf [(assembled in the book?s first half. What emerges is the documentary auteur as a liminal figure; caught )] TJ ET BT 34.016 302.021 Td /F1 12.0 Tf [(between film and television, drama and documentary, principles and profit. The profiles in the second half of )] TJ ET BT 34.016 287.765 Td /F1 12.0 Tf [(the book are in the main detailed and interesting, particularly so the chapters on Peter Bradford, Jack )] TJ ET BT 34.016 273.509 Td /F1 12.0 Tf [(Howells, John Krish, Peter Pickering and Derek Williams, which use successive sub-sections to view the )] TJ ET BT 34.016 259.253 Td /F1 12.0 Tf [(profiled filmmaker from a number of vantages, therefore making room for useful contextualisations of )] TJ ET BT 34.016 244.997 Td /F1 12.0 Tf [(personalities, and personal lives.)] TJ ET BT 34.016 218.741 Td /F1 12.0 Tf [(It is perhaps inevitable that such an undertaking as this book would contain some drawbacks. The )] TJ ET BT 34.016 204.485 Td /F1 12.0 Tf [(introductory sections in the first half of the book frame the discussions in an evidence-based and historical )] TJ ET BT 34.016 190.229 Td /F1 12.0 Tf [(framework, but they also frames them within a rhetoric of celebration. The filmmakers are heralded as )] TJ ET BT 34.016 175.973 Td /F1 12.0 Tf [(auteurs, the body of work as an accomplishment, the dismissal of the work as a critical misjudgement. )] TJ ET BT 34.016 161.717 Td /F2 12.0 Tf [(Shadow of Progress)] TJ ET BT 130.688 161.717 Td /F1 12.0 Tf [( draws attention to this last point on numerous occasions, and at its very beginning it )] TJ ET BT 34.016 147.461 Td /F1 12.0 Tf [(cites the culprits: Barnouw, Barsam, Ellis, Hiller and Lovell, MacLaine and Winston \(although Winston?s )] TJ ET BT 34.016 133.205 Td /F1 12.0 Tf [(views are also utilised later in the book\). This in itself is commendable. The reasons for challenging these )] TJ ET BT 34.016 118.949 Td /F1 12.0 Tf [(views ? such as the emergence of new digital archives and the reliance of earlier accounts on 16mm and )] TJ ET BT 34.016 104.693 Td /F1 12.0 Tf [(35mm prints make them fair game. However the hagiographic and celebratory tone of this re-introduction or )] TJ ET BT 34.016 90.437 Td /F1 12.0 Tf [('rescuing' of films and filmmakers for the canon is troubling. For this reader at least, the book?s lack of a )] TJ ET BT 34.016 76.181 Td /F1 12.0 Tf [(critical frame of reference ? such as the extensive literature around the form and function of the creative )] TJ ET BT 34.016 61.925 Td /F1 12.0 Tf [(industries and their effect on the ideas circulating in society )] TJ ET 0.000 0.000 0.800 rg BT 323.300 61.925 Td /F1 12.0 Tf [(\(2\))] TJ ET 0.24 w 0 J [ ] 0 d 323.300 60.531 m 337.292 60.531 l S 0.000 0.000 0.000 rg BT 337.292 61.925 Td /F1 12.0 Tf [( ? means that the tone can feel uneven. A )] TJ ET endstream endobj 21 0 obj [19 0 R /Fit] endobj 22 0 obj << /Type /Annot /Subtype /Link /A 23 0 R /Border [0 0 0] /H /I /Rect [ 323.2997 60.8455 337.2917 72.7255 ] >> endobj 23 0 obj << /Type /Action >> endobj 24 0 obj << /Type /Page /Parent 3 0 R /Annots [ 26 0 R 28 0 R 30 0 R 32 0 R 34 0 R ] /Contents 25 0 R >> endobj 25 0 obj << /Length 7458 >> stream 0.000 0.000 0.000 rg 0.000 0.000 0.800 RG 0.24 w 0 J [ ] 0 d BT 34.016 796.469 Td /F1 12.0 Tf [(tendency towards ?whiggish history? is mentioned as a target for redress, but no other approach is outlined )] TJ ET BT 34.016 782.213 Td /F1 12.0 Tf [(or suggested.)] TJ ET BT 34.016 755.957 Td /F1 12.0 Tf [(For example, the handling of the question of these films? exclusion from the documentary canon is a little )] TJ ET BT 34.016 741.701 Td /F1 12.0 Tf [(one-sided. These films were not only dismissed merely because of an infatuation with Anderson and Reisz. )] TJ ET BT 34.016 727.445 Td /F1 12.0 Tf [(Neither were they only judged because, as is directly claimed, writers of film history tend to be educated in )] TJ ET BT 34.016 713.189 Td /F1 12.0 Tf [(arts faculties and are therefore unable to appreciate the artistry of an industrial or scientific film \(an assertion )] TJ ET BT 34.016 698.933 Td /F1 12.0 Tf [(that also happens to support a celebratory attitude towards these films\). The book itself provides the reader )] TJ ET BT 34.016 684.677 Td /F1 12.0 Tf [(with numerous examples \(such as the passages on Derek Williams? films for the oil industry\) of corporate )] TJ ET BT 34.016 670.421 Td /F1 12.0 Tf [(bad faith, or at least dubious ethics, in such delicate and significant areas as neo-imperialism, globalisation )] TJ ET BT 34.016 656.165 Td /F1 12.0 Tf [(and environmentalism. There is no surprise therefore that such films might have been dismissed by critics as )] TJ ET BT 34.016 641.909 Td /F1 12.0 Tf [(a body of work whose intentions exclude it from an artistic canon. While rescuing these films and )] TJ ET BT 34.016 627.653 Td /F1 12.0 Tf [(filmmakers, this book could have done more to conceptualise the reasons for such failings.)] TJ ET BT 34.016 601.397 Td /F1 12.0 Tf [(On a similar note, claims are made in the book that what is being presented is an illustration of social )] TJ ET BT 34.016 587.141 Td /F1 12.0 Tf [(history, and not merely a newly-configured procession of favoured texts and authors. If the aim is to )] TJ ET BT 34.016 572.885 Td /F1 12.0 Tf [(contribute to a socio-history of the production of media, then this is also commendable. However, the book )] TJ ET BT 34.016 558.629 Td /F1 12.0 Tf [(does not employ a conceptual framework capable of making social sense of this body of work \(and life\), and )] TJ ET BT 34.016 544.373 Td /F1 12.0 Tf [(it tends to fall back on the anecdotal and the biographical. What does not help in this matter are the sustained )] TJ ET BT 34.016 530.117 Td /F1 12.0 Tf [(passages of historical and textual description deployed, quite understandably for the purposes of coverage )] TJ ET BT 34.016 515.861 Td /F1 12.0 Tf [(and accessibility. But it would have been, for example, wonderful to have more detail about the )] TJ ET BT 34.016 501.605 Td /F1 12.0 Tf [(environmental circumstances of these films? reception in the chapters on distribution and exhibition. Who )] TJ ET BT 34.016 487.349 Td /F1 12.0 Tf [(went to see them? What sense and use did they make of them? What, if any, kind of influence did they have )] TJ ET BT 34.016 473.093 Td /F1 12.0 Tf [(over the opinions of the times? This detail would have been useful in justifying a major claim made by this )] TJ ET BT 34.016 458.837 Td /F1 12.0 Tf [(book; that this category of film presents us with a treasury of social history.)] TJ ET BT 34.016 432.581 Td /F1 12.0 Tf [(Perhaps this is unfair, and perhaps this reviewer will in time grow to regret these sentiments, but they are )] TJ ET BT 34.016 418.325 Td /F1 12.0 Tf [(sincerely expressed as reactions that occurred over and over whilst reading this book. Perhaps this reaction is )] TJ ET BT 34.016 404.069 Td /F1 12.0 Tf [(engendered by the great success of the book in reviving a cinematic world, and in a frustration at not being )] TJ ET BT 34.016 389.813 Td /F1 12.0 Tf [(able to penetrate that world more completely. This is a sign of a successful introduction to a given field, )] TJ ET BT 34.016 375.557 Td /F1 12.0 Tf [(which paves the way for further work. Perhaps this reaction comes from wishing for a time when corporate )] TJ ET BT 34.016 361.301 Td /F1 12.0 Tf [(governance was something businesses felt was important enough to be creative about. Whatever the reasons )] TJ ET BT 34.016 347.045 Td /F1 12.0 Tf [(for my reaction, and whatever its merits, this book is most certainly an essential addition to any history of )] TJ ET BT 34.016 332.789 Td /F1 12.0 Tf [(documentary film, as it bravely tackles the area between generally accessible introduction and academic )] TJ ET BT 34.016 318.533 Td /F1 12.0 Tf [(source book, and negotiates the tricky balance of coverage and detail.)] TJ ET BT 34.016 283.635 Td /F3 18.0 Tf [(Notes)] TJ ET BT 48.816 253.018 Td /F1 12.0 Tf [(1.)] TJ ET BT 64.016 253.013 Td /F2 12.0 Tf [(Shadows Of Progress)] TJ ET BT 168.020 253.013 Td /F1 12.0 Tf [( is one of a number of BFI publications the British non-fiction cinema heritage, )] TJ ET BT 64.016 238.757 Td /F1 12.0 Tf [(including the book )] TJ ET BT 157.016 238.757 Td /F2 12.0 Tf [(100 British Documentaries)] TJ ET BT 287.012 238.757 Td /F1 12.0 Tf [(, ed. Patrick Russell \(London, 2007\), the DVD box set )] TJ ET BT 64.016 224.501 Td /F2 12.0 Tf [(Land Of Promise)] TJ ET BT 146.684 224.501 Td /F1 12.0 Tf [( \(London, 2008\), and the website <)] TJ ET 0.000 0.000 0.800 rg BT 315.428 224.501 Td /F1 12.0 Tf [(http://www.screenonline.org.uk)] TJ ET 0.24 w 0 J [ ] 0 d 315.428 223.107 m 467.744 223.107 l S 0.000 0.000 0.000 rg BT 470.744 224.501 Td /F1 12.0 Tf [([2])] TJ ET BT 484.736 224.501 Td /F1 12.0 Tf [(> [accessed 10 )] TJ ET BT 64.016 210.245 Td /F1 12.0 Tf [(November 2011].)] TJ ET 0.000 0.000 0.800 rg BT 148.664 210.245 Td /F1 12.0 Tf [(Back to \(1\))] TJ ET 0.24 w 0 J [ ] 0 d 148.664 208.851 m 202.652 208.851 l S 0.000 0.000 0.000 rg BT 48.816 195.994 Td /F1 12.0 Tf [(2.)] TJ ET BT 64.016 195.989 Td /F1 12.0 Tf [(Landmarks in the body of literature dealing with the cultural industries may be Theodor Adorno, )] TJ ET BT 64.016 181.733 Td /F2 12.0 Tf [(The Culture Industry: Selected Essays on Mass Culture)] TJ ET BT 330.332 181.733 Td /F1 12.0 Tf [( \(London, 1991\), and more recently David )] TJ ET BT 64.016 167.477 Td /F1 12.0 Tf [(Hesmondhalgh, )] TJ ET BT 142.676 167.477 Td /F2 12.0 Tf [(The Cultural Industries)] TJ ET BT 255.356 167.477 Td /F1 12.0 Tf [( \(Thousand Oaks, CA, 2007\).)] TJ ET 0.000 0.000 0.800 rg BT 397.004 167.477 Td /F1 12.0 Tf [(Back to \(2\))] TJ ET 0.24 w 0 J [ ] 0 d 397.004 166.083 m 450.992 166.083 l S 0.000 0.000 0.000 rg BT 34.016 141.221 Td /F1 12.0 Tf [(The editors will respond in due course.)] TJ ET BT 34.016 114.965 Td /F3 12.0 Tf [(Other reviews:)] TJ ET BT 34.016 100.709 Td /F1 12.0 Tf [(Socialist Review)] TJ ET 0.000 0.000 0.800 rg BT 34.016 86.453 Td /F1 12.0 Tf [(http://www.socialistreview.org.uk/article.php)] TJ ET 0.24 w 0 J [ ] 0 d 34.016 85.059 m 251.996 85.059 l S 0.000 0.000 0.000 rg BT 254.996 86.453 Td /F1 12.0 Tf [([3])] TJ ET BT 34.016 72.197 Td /F1 12.0 Tf [(Scope)] TJ ET 0.000 0.000 0.800 rg BT 34.016 57.941 Td /F1 12.0 Tf [(http://www.scope.nottingham.ac.uk/filmreview.php)] TJ ET 0.24 w 0 J [ ] 0 d 34.016 56.547 m 282.332 56.547 l S 0.000 0.000 0.000 rg BT 285.332 57.941 Td /F1 12.0 Tf [([4])] TJ ET BT 34.016 43.685 Td /F1 12.0 Tf [(Criterion Forum)] TJ ET endstream endobj 26 0 obj << /Type /Annot /Subtype /Link /A 27 0 R /Border [0 0 0] /H /I /Rect [ 315.4277 223.4215 467.7437 235.3015 ] >> endobj 27 0 obj << /Type /Action /S /URI /URI (http://www.screenonline.org.uk/) >> endobj 28 0 obj << /Type /Annot /Subtype /Link /A 29 0 R /Border [0 0 0] /H /I /Rect [ 148.6637 209.1655 202.6517 221.0455 ] >> endobj 29 0 obj << /Type /Action /S /GoTo /D 16 0 R >> endobj 30 0 obj << /Type /Annot /Subtype /Link /A 31 0 R /Border [0 0 0] /H /I /Rect [ 397.0037 166.3975 450.9917 178.2775 ] >> endobj 31 0 obj << /Type /Action /S /GoTo /D 21 0 R >> endobj 32 0 obj << /Type /Annot /Subtype /Link /A 33 0 R /Border [0 0 0] /H /I /Rect [ 34.0157 85.3735 251.9957 97.2535 ] >> endobj 33 0 obj << /Type /Action /S /URI /URI 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