2013
DOI: 10.3366/jbctv.2013.0152
|View full text |Cite
|
Sign up to set email alerts
|

From Documentary Film to Television Documentaries: John Grierson and This Wonderful World

Abstract: The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that:• a full bibliographic reference is made to the original source • a link is made to the metadata record in DRO • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders.Please consult the full DRO policy … Show more

Help me understand this report

Search citation statements

Order By: Relevance

Paper Sections

Select...
1

Citation Types

0
1
0

Year Published

2014
2014
2022
2022

Publication Types

Select...
1
1

Relationship

0
2

Authors

Journals

citations
Cited by 2 publications
(1 citation statement)
references
References 10 publications
0
1
0
Order By: Relevance
“…The BBC’s television service offered Craigie a new creative opportunity to adapt her plans for a film about the suffragettes to the small screen in 1949. Just as Craigie’s career has been overshadowed by post-1960s feminists – between waves, so too she was developing this project during a shadowy, relatively unmapped period for television documentary at the BBC: between the documentary film movement’s development in the 1930s and during the war, and its shift into television in the 1950s and 1960s (Fox, 2013) – when television documentary was evolving and ‘beginning to find its own distinctive voice’ (Russell and Taylor, 2010: 6; Corner, 1991b). When Craigie was writing her scripts, documentary at the BBC was guided by McGivern but wasn’t formally established as a department until filmmaker Paul Rotha was appointed to head it in 1953 (Bell, 1986; Thumim, 2004).…”
Section: Feminist Protest and The Intimate Screenmentioning
confidence: 99%
“…The BBC’s television service offered Craigie a new creative opportunity to adapt her plans for a film about the suffragettes to the small screen in 1949. Just as Craigie’s career has been overshadowed by post-1960s feminists – between waves, so too she was developing this project during a shadowy, relatively unmapped period for television documentary at the BBC: between the documentary film movement’s development in the 1930s and during the war, and its shift into television in the 1950s and 1960s (Fox, 2013) – when television documentary was evolving and ‘beginning to find its own distinctive voice’ (Russell and Taylor, 2010: 6; Corner, 1991b). When Craigie was writing her scripts, documentary at the BBC was guided by McGivern but wasn’t formally established as a department until filmmaker Paul Rotha was appointed to head it in 1953 (Bell, 1986; Thumim, 2004).…”
Section: Feminist Protest and The Intimate Screenmentioning
confidence: 99%