Free cinema:
Gespeichert in:
| Format: | Video Software |
|---|---|
| Sprache: | English |
| Veröffentlicht: |
[London]
BFI
[2006]
|
| Ausgabe: | [Engl. Orig.-Fassung] |
| Schlagworte: | |
| Online-Zugang: | Klappentext |
| Beschreibung: | Orig.: GB 1952 - 1963. - Enth. Disc 1 (Free Cinema 1 & 3): O dreamland ; Momma don't allow ; Together ; Wakefield Express ; Nice time ; The singing street ; Every day except Christmas ; Disc 2 (Free Cinema 6): Refuge England ; Enginemen ; We are the Lambeth Boys ; Food for a bush ; Disc 3 (Beyond Free Cinema): One potato two potato ; March to Aldermaston ; The vanishing street ; Tomorrow's saturday ; Gala day ; Extra: Small is beautiful: The story of the Free Cinema film told by their makers (2006) |
| Beschreibung: | 3 DVDs, Ländercode 2, ca. 475 Min., s/w 12 cm 1 Beih. |
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Datensatz im Suchindex
| _version_ | 1804137561620217856 |
|---|---|
| adam_text | Free Cinema
The BFI has compiled for the first time, the definitive collection of films from the
1950s
Free Cinema
movement. Free Cinema not only re-invented British documentary making, but this highly influential
period in the country s cinema history was the precursor for the better known British New Wave of
social-realist films in the late
1950s
and early
19608.
The DVD box set celebrates the
50
th Anniversary
of the first screening of films by the Free Cinema group, which was also commemorated by a special
event at the NFT on
5
February.
The term Free Cinema was coined by critic and film-maker Lindsay Anderson (If..,
О
Lucky Man!
),
when he,
Karel
Reisz
(
Saturday Night and Sunday Morning
),
Tony Richardson (A Taste of Honey, The
Loneliness of the Long Distance Runner
)
and
Lorenza
Mazzetti
screened a programme of their short
films at the National Film Theatre on
5
February
1956.
Every beard and duffle coat in London, every urchin-cut and pair of jeans seemed to converge on the
National Film Theatre on South Bank last night. Queues of cinema enthusiasts, even longer than during
the Festival of Britain, stood in the drizzle for hours in the hope of seeing three short films [that] in four
days have become the talk of the town reported the Evening News.
The screening was so successful that five more programmes followed until
1959,
featuring films by both
young British and foreign filmmakers.
The films were free in the sense that they were made outside the framework of the film industry, and
that their statements were entirely personal
.
They had in common not only the conditions of their
production (shoestring budget, unpaid crew) and the equipment they employed (usually hand-held
16mm Bolex cameras), but also a style and attitude and an experimental approach to sound. Mostly
funded by the BFI s Experimental Film Fund, they featured ordinary, mostly working-class people at
work and play, displaying a rare sympathy and respect, and a self-consciously poetic style. This
collection contains:
*
О
Dreamland
(dir.
Lindsay Anderson, UK,
1953, 12
mins)
*
Momma Don t Allow
(
dir.
Karel
Reisz/Tony Richardson, UK,
1956, 22
mins)
*
Together
(dir.
Lorenza
Mazzetti,
UK,
1956, 52
mins)
*
Wakefield Express
(dir.
Lindsay Anderson, UK,
1952, 30
mins)
*
Nice Time
(dir.
Alain Tanner/Claude Goretta, UK,
1957,17
mins)
*
The Singing Street
(dir.
Norton Park Group/Nigel Mclsaac, UK,
1952, 18
mins)
*
Everyday Except Christmas
(dir.
Lindsay Anderson, UK,
1957, 40
mins)
*
Refuge England
(dir.
Robert
Vas,
UK,
1959, 27
mins)
*
Enginemen
(dir.
Michael Grigsby, UK,
1959, 21
mins)
*
We Are the Lambeth Boys
(dir.
Karel
Reisz, UK,
1959, 52
mins)
*
Food for a Blush
(dir.
Elizabeth Russell, UK,
1959, 30
mins)
*
One Potato Two Potato
(dir.
Leslie Daiken, UK,
1957, 21
mins)
*
March to Aldermaston (anonymous, UK,
1959, 33
mins)
*
The Vanishing Street
(dir.
Robert
Vas,
UK,
1962, 18
mins)
*
Tomorrow s Saturday
(dir.
Michael Grigsby, UK,
1962, 18
mins)
*
Gala Day
(dir.
John Irvin, UK,
1963, 26
mins)
Extras
*
Small Is Beautiful: The story of the Free Cinema films told by their makers
(2006),
an exclusive
43-
minute film consisting of specially commissioned
i nterviews
with Free Cinema filmmakers
Lorenza
Mazzetti,
Walter Lassally, Alain Tanner and Michael Grigsby; film extracts and previously unseen
photographs
*
A specially curated collection of five rarely seen short films from the late ^Os/early
1960s,
made in
the spirit of the Free Cinema movement
*
40-page, fully illustrated booklet including a general introduction; the original manifestoes, notes on
each of the
16
films, plus a further reading list and web links
BVBBV023255934
|
| adam_txt |
Free Cinema
The BFI has compiled for the first time, the definitive collection of films from the
1950s'
Free Cinema
movement. Free Cinema not only re-invented British documentary making, but this highly influential
period in the country's cinema history was the precursor for the better known British New Wave of
social-realist films in the late
1950s
and early
19608.
The DVD box set celebrates the
50
th Anniversary
of the first screening of films by the Free Cinema group, which was also commemorated by a special
event at the NFT on
5
February.
The term Free Cinema was coined by critic and film-maker Lindsay Anderson (If.,
О
Lucky Man!
),
when he,
Karel
Reisz
(
Saturday Night and Sunday Morning
),
Tony Richardson (A Taste of Honey, The
Loneliness of the Long Distance Runner
)
and
Lorenza
Mazzetti
screened a programme of their short
films at the National Film Theatre on
5
February
1956.
Every beard and duffle coat in London, every urchin-cut and pair of jeans seemed to converge on the
National Film Theatre on South Bank last night. Queues of cinema enthusiasts, even longer than during
the Festival of Britain, stood in the drizzle for hours in the hope of seeing three short films [that] in four
days have become the talk of the town reported the Evening News.
The screening was so successful that five more programmes followed until
1959,
featuring films by both
young British and foreign filmmakers.
The films were 'free' in the sense that they were made outside the framework of the film industry, and
that their statements were entirely personal
.
They had in common not only the conditions of their
production (shoestring budget, unpaid crew) and the equipment they employed (usually hand-held
16mm Bolex cameras), but also a style and attitude and an experimental approach to sound. Mostly
funded by the BFI's Experimental Film Fund, they featured ordinary, mostly working-class people at
work and play, displaying a rare sympathy and respect, and a self-consciously poetic style. This
collection contains:
*
О
Dreamland
(dir.
Lindsay Anderson, UK,
1953, 12
mins)
*
Momma Don't Allow
(
dir.
Karel
Reisz/Tony Richardson, UK,
1956, 22
mins)
*
Together
(dir.
Lorenza
Mazzetti,
UK,
1956, 52
mins)
*
Wakefield Express
(dir.
Lindsay Anderson, UK,
1952, 30
mins)
*
Nice Time
(dir.
Alain Tanner/Claude Goretta, UK,
1957,17
mins)
*
The Singing Street
(dir.
Norton Park Group/Nigel Mclsaac, UK,
1952, 18
mins)
*
Everyday Except Christmas
(dir.
Lindsay Anderson, UK,
1957, 40
mins)
*
Refuge England
(dir.
Robert
Vas,
UK,
1959, 27
mins)
*
Enginemen
(dir.
Michael Grigsby, UK,
1959, 21
mins)
*
We Are the Lambeth Boys
(dir.
Karel
Reisz, UK,
1959, 52
mins)
*
Food for a Blush
(dir.
Elizabeth Russell, UK,
1959, 30
mins)
*
One Potato Two Potato
(dir.
Leslie Daiken, UK,
1957, 21
mins)
*
March to Aldermaston (anonymous, UK,
1959, 33
mins)
*
The Vanishing Street
(dir.
Robert
Vas,
UK,
1962, 18
mins)
*
Tomorrow's Saturday
(dir.
Michael Grigsby, UK,
1962, 18
mins)
*
Gala Day
(dir.
John Irvin, UK,
1963, 26
mins)
Extras
*
Small Is Beautiful: The story of the Free Cinema films told by their makers
(2006),
an exclusive
43-
minute film consisting of specially commissioned
i nterviews
with Free Cinema filmmakers
Lorenza
Mazzetti,
Walter Lassally, Alain Tanner and Michael Grigsby; film extracts and previously unseen
photographs
*
A specially curated collection of five rarely seen short films from the late ^Os/early
1960s,
made in
the spirit of the Free Cinema movement
*
40-page, fully illustrated booklet including a general introduction; the original manifestoes, notes on
each of the
16
films, plus a further reading list and web links
BVBBV023255934 |
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| discipline_str_mv | Allgemeines Anglistik / Amerikanistik |
| edition | [Engl. Orig.-Fassung] |
| era | Geschichte 1952-1963 gnd |
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| format | Video Software |
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| spelling | Free cinema Lindsay Anderson ... [Engl. Orig.-Fassung] [London] BFI [2006] 3 DVDs, Ländercode 2, ca. 475 Min., s/w 12 cm 1 Beih. tdi rdacontent v rdamedia vd rdacarrier Orig.: GB 1952 - 1963. - Enth. Disc 1 (Free Cinema 1 & 3): O dreamland ; Momma don't allow ; Together ; Wakefield Express ; Nice time ; The singing street ; Every day except Christmas ; Disc 2 (Free Cinema 6): Refuge England ; Enginemen ; We are the Lambeth Boys ; Food for a bush ; Disc 3 (Beyond Free Cinema): One potato two potato ; March to Aldermaston ; The vanishing street ; Tomorrow's saturday ; Gala day ; Extra: Small is beautiful: The story of the Free Cinema film told by their makers (2006) Geschichte 1952-1963 gnd rswk-swf Film (DE-588)4017102-4 gnd rswk-swf Großbritannien (DE-588)4022153-2 gnd rswk-swf (DE-588)4135952-5 Quelle gnd-content (DE-588)4585125-6 DVD-Video gnd-carrier Großbritannien (DE-588)4022153-2 g Film (DE-588)4017102-4 s Geschichte 1952-1963 z DE-604 Anderson, Lindsay 1923-1994 Sonstige (DE-588)118645137 oth Digitalisierung UB Regensburg application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016441212&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Klappentext |
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| title | Free cinema |
| title_auth | Free cinema |
| title_exact_search | Free cinema |
| title_exact_search_txtP | Free cinema |
| title_full | Free cinema Lindsay Anderson ... |
| title_fullStr | Free cinema Lindsay Anderson ... |
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| title_short | Free cinema |
| title_sort | free cinema |
| topic | Film (DE-588)4017102-4 gnd |
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