فصل الفلم التسجيلي ، جون كريرسون والمدرسة البريطانية ٢-a .. كتاب فهم السينما

Not, however, that documentaries of the period were boring or crudely didactic. Some of them are smart, accurate and poetic as well, despite their utilitarian goals. The Night Mail, for example, deals with the express mail train traveling from London to Glasgow and the common men responsible for distributing the mail along the way. (6-20). The topic discussed does not seem very exciting from the surface, so the film is closer to romance in its treatment, and it has a renewal in particular in the use of sound, as it presents a musical composition by Benjamin Britten and a poetic commentary by W. a J. oden.

Perhaps the greatest filmmaker to emerge from the British school was Humphrey Jenkins, who produced most of his work during the Second World War. Jenkins' films are poetic, lyrical, and highly suggestive in the best senses, and were perhaps the least publicized in comparison to the largest documentaries produced during that period. His concern was always with people, not abstract ideas, with their courage, fortitude, and determination to resist all the punishments devised by the Nazi war machine. Films such as You Can't Take It, Listen to Britain, and The Fires Began, all produced during England's Darkest Hour, are still poignant accounts of a warrior nation's endurance and fighting. (6) 21). Although the war years produced some of the most amazing documentaries - most notably the Nazi Triumph of the Will (directed by Leni Riefenstahl) and the series (Why We Fight) under the direction of American Frank Capra - few have surpassed Jenkins' achievement in
The emotional richness and perhaps none of them could match it in comprehensiveness and accuracy. Creerson was the first to recognize the emergence of "the new film generation, one that was less oriented toward the written and public speaking as a source of information." Cresson was able to convince a number of senior officials that it is in the national interest to exploit the cinematic medium as a basic channel for understanding between government and citizenship. The vast majority of important British documentaries produced during the Crierson effect (running roughly from 1928 to the end of war) was crowd-funded. The idea of ​​government assistance for the production of documentaries was also adopted in the United States during the thirties, although Congressional funding was sporadic and scarce during the war years. Of course, all the major powers committed themselves to producing documentaries on a large scale for the purpose of raising moral ( 22 - 6 ).
. In 1938, Creerson helped establish the famous Canadian National Film Board (the Canadian National Film Board) and in the following years became its first film director. After the war, Creerson's global interest increased in 1947. He served as Director of Information and Public Communication at UNESCO of the United Nations. During this same period, Creerson regretted the serious collapse in the documentary movement in all countries except Canada and the socialist countries of Eastern Europe (6 - 23). The 1950s saw the mass potential of television, which was quickly replacing cinema as the great medium of mass communication, and which, he rightly concluded, would make the main impetus in the documentary movement. In 1972, the great steed of war in the documentary movement died.