The Brighton School And The Birth Of British Film

This study is devoted to the work of two early British filmmakers, George Albert Smith and James Williamson, and the films that they made around 1900. Internationally, they are known collectively as the ‘Brighton School’ and are positioned as being at the forefront of Britain’s contribution to the birth of film. The book focuses on the years 1896 to 1903, as it was during this short period that film emerged as a new technology, a new enterprise and a new form of entertainment. Beginning with a historiography of the Brighton School, the study goes on to examine the arrival of the first 35mm films in Britain, the first film exhibitions in Brighton and the first projection of film in Brighton. Both Smith and Williamson’s work features a progression from the production of single shot unedited films to multi-shot edited films. Their subject matter was inspired by a knowledge of contemporary pantomime, humour, literature, theatre, mesmerism, the magic lantern and current affairs and their practices were underpinned by active involvement in the new film trade. Through the exploration of how these filmmakers cultivated a new way of understanding film and its commercial potential, this book establishes them as key figures in the development of British film culture.

In this vivid and accessible new account of the dawn of film in Britain, internationally respected film historian and curator Bryony Dixon introduces us to Britain's first cinematic pioneers – an eclectic mix of chemists, engineers, photography enthusiasts, fairground showmen and magicians – who in a few short years built a vibrant new industry. As she chronicles the emergence of the first embryonic film forms and genres, she reveals often surprising innovations, from cutting-edge science to ingeniously witty tricks and comedies, with filmmakers reflecting existing entertainment forms as well as advancing editing and cinematography in ways that shaped the art of film for many decades after. Dixon offers fresh insights by focusing on the films themselves – many of them only recently available to view – while building on the work of generations of scholars. In the process, Dixon makes a compelling case for the British filmmakers of the era as inventive and creative figures, every bit as influential as their more celebrated contemporaries in France and the US.

This investigation into the little-known genre of mission-oriented films uncovers how Protestant missionaries overseas sought to bring back motion picture footage from remote parts of the world. In the broader religious community, mission films aimed to educate congregants back home about efforts to evangelize communities around the world. This book, however, demonstrates the larger impact of mission films on American visual culture. The evolution and development of the genre is highlighted from an early emphasis on "foreign views" in the 1910s, to interwar films providing a more detailed look at how mission stations functioned in far-flung lands, to Cold War productions which at times functioned as veritable propaganda tools parroting anti-communist discourse emanating from the CIA.

In the last fifty years, folklorists have amassed an extraordinary corpus of contemporary legends including the “Choking Doberman,” the “Eaten Ticket,” and the “Vanishing Hitchhiker.” But what about the urban legends of the past? These legends and tales have rarely been collected, and when they occasionally appear, they do so as ancestors or precursors of the urban legends of today, rather than as stories in their own right. In The Nail in the Skull and Other Victorian Urban Legends, Simon Young fills this gap for British folklore (and for the wider English-speaking world) of the 1800s. Young introduces seventy Victorian urban legends ranging from “Beetle Eyes” to the “Shoplifter’s Dilemma” and from “Hands in the Muff” to the “Suicide Club.” While a handful of these stories are already known, the vast majority have never been identified, and they have certainly never received scholarly treatment. Young begins the volume with a lengthy introduction assessing nineteenth-century media, emphasizing the importance of the written word to the perpetuation and preservation of these myths. He draws on numerous nineteenth-century books, periodicals, and ephemera, including digitized newspaper archives—particularly the British Newspaper Archive, an exciting new hunting ground for folklorists. The Nail in the Skull and Other Victorian Urban Legends will appeal to an academic audience as well as to anyone who is interested in urban legends.

This concise, authoritative volume analyses critically the work of 100 British directors, from the innovators of the silent period to contemporary auteurs.

"Papers taken from the ... second Visual Delights conference held at the University of Sheffield in 2002"--P. [4] of cover.

A refreshing insight into a previously neglected area of popular British cinema – the holiday film - including historical information about the British holiday and analyses of key films from the 1900s to the recent past.

The four volumes of Film Study include a fresh approach to each of the basic categories in the original edition. Volume one examines the film as film; volume two focuses on the thematic approach to film; volume three draws on the history of film; and volume four contains extensive appendices listing film distributors, sources, and historical information as well as an index of authors, titles, and film personalities.