University:
California State University, Northridge
Course:
CTVA 305 | History of Television
Academic year:

2012
Views:

298

Pages:

15
Author:

manaip0nw

John Grierson & the British documentary movement “I look on cinema as a pulpit, and use it as a propagandist” John Grierson (1898-1972) John Grierson 1898-1972 John Grierson Founder of the British documentary film movement Its leader for 40 years One of the first 1) to see the potential of motion pictures to shape people’s attitudes 2) to urge the use of films for educational purposes Educated at the University of Glasgow and University of Chicago 1924 - Rockefeller fellowship to study public opinion & mass media 1928 - Founded film unit at Empire Marketing Board Drifters 1929 1936- Unit moved to General Post Office 1939 – Formation of National Film Board of Canada WWII – Supervisor of information films for Canadian government 1946-1948 - UNESCO Grierson – Key figure Point of departure – how to involve citizens in their government? Response – cinema can provide a basic education about issues important to the functioning of a democracy Challenge – how to harness cinema to the citizens’ education Cinema of the 1920s - sources of inspiration for his project 1. Eisenstein - dramatization of revolutionary events to indoctrinate & educate Soviet people - montage 2. Flaherty - celebration of traditional cultures 3. Hollwood westerns – epic poems for a new nation 4. City symphonies – an impressionist approach to the modern city Grierson & the Empire Marketing Board EMB - unique government public relations agency - founded 1926 to promote the marketing of products from British Empire “to bring the Empire alive” Film Unit organized by Grierson in 1930 collective filmmaking enterprise involved dozens of educated professionals made more than 100 films Aim – put art to social use to make the state a& society function better Key films– Drifters 1929 - herring fishermen in North Sea produced, directed, written by Grierson Industrial Britain 1933 – Flaherty DRIFTERS 1929 Grierson & the General Post Office EMB disbanded 1933 – Film Unit moves to GPO GPO – vast organization – mail, telephone, wireless broadcasting Film strategy – showcase the GPO as modern means of communications More than 100 films made Key films - Song of Ceylon 1934 Coal Face 1935 A new financing strategy – private sponsorship Private industry – new source of funding – oil, gas companies Key films: Housing Problems 1935 Enough to Eat? 1936 Grierson sets up a model for documentary financing production distribution influential in many countries – chiefly Canada, National Film Board The Films 1929-1939 60+ filmmakers 300+ films 3 main directions in subject, purpose & style 1. docs showing parts/activities / aspects of the British Empire 2. docs calling attention to pressing problems in need of solution 3. narrative docs 1. Documentaries about the British Empire Drifters 1929 Influenced by Battleship Potemkin & Flaherty Industrial Britain 1933 Collaboration between Grierson & Flaherty Song of Ceylon 1934 Basil Wright – does little to sell the sponsor’s product, tea Coal Face 1935 Alberto Cavalcanti - Experiments with sound 2. Documentaries about social problems Housing Problems 1935 - slum dwellings Enough to Eat? 1936 - malnutrition The Smoke Menace 1937 - air pollution Children at School 1937 - shortcomings of public education Journalistic pieces - incorporated formal and technical experiments - direct interviews 3. Narrative documentaries Night Mail 1936 Basil Wright & Harry Watt Blends social purpose & formal properties North Sea 1938 Harry Watt This narrative line led directly to the wartime British semi documentary feature – fusion of fact & fiction Grierson & Flaherty Friends & antagonists Flaherty - to make the unfamiliar familiar - to discover & reveal what is distant & past - film may lead to social change, but it is not created for that purpose. Grierson - to find new meanings & excitement in the familiar through the ‘creative treatment of actuality’ - his goals were always social, economic, and political - “art is a by- product of a job of work done” Two different approaches to documentary Flaherty & Grierson : two poles in the documentary tradition A documentary filmmaker still has to find a place between these two poles Grierson’s Contribution Articulated a basis for documentary cinema - form & function, aesthetics & ethics First to use the term ‘documentary’ Multifaceted & innovative leadership Teacher, writer, speaker Responsible for the development of documentary in English-speaking countries Responsible for 300+ documentaries and the system that made them possible

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