British Film (National Film Traditions) by Jim Leach

By Jim Leach

Demonstrating the richness and diversity of a countrywide cinema that has typically struggled to outline itself among the paradigms of Hollywood renowned movie and eu paintings cinema, this research presents entire insurance of British cinema ordinarily in addition to severe discussions of particular films--useful for screenings. every one bankruptcy covers a selected subject and contains exact descriptions of key motion pictures consultant of alternative old classes.

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The main target of this xenophobic outburst was Alexander Korda, a Hungarian-born producer who came to Britain in 1931 and quickly became a leading producer who frequently employed fellow refugees from the political turmoil in continental Europe. 16 Korda had been makingfilmssince 1914,firstin his native Hungary and then, after hefledthe fascist regime there, in Austria, France, and the United States. Shortly before coming to Britain, he affirmed his commitment to filmmaking as an international endeavor: "It is no use thinking about making little pictures.

The opening captions announce that Henry's marriage to his first wife is of no interest because Catherine of Aragon was "a respectable woman," which is why he divorced her. " The film then begins with the preparations for Anne's execution for adultery, which are intercut with those for Henry's marriage to his third wife, Jane Seymour, that is to follow immediately. An eager crowd gathers to watch the execution, including a woman who declares that she feels sorry for Anne, but whose sorrow does not prevent her from making sure that she gets a good view of the block.

The marquis engineers marriages for all of them, only to end up realizing that he is in love with his grandmother's secretary. The film proclaims its national origins in the opening shot, in which the camera pans from the Houses of Parliament to Westminster Abbey to the accompaniment of the "Wedding March" - originally written by Felix Mendelssohn for a production of A Midsummer Night's Dream. Among the marital prospects for the marquis are the twin daughters of an aristocratic family, who both have rather dim-witted lovers, and they thus resemble the young couples who defy parental authority in Shakespeare's play.

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