By Ian Mackillop and Neil Sinyard
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See John Ellis, ‘Art, Culture and Quality’, p. 46. Richard Combs, ‘The Whales of August’,, Monthly Film Bulletin 652 (May 1988), p. 154. I was given a tape of Anderson’s original cut by the director in the late 1980s. See Angus Finney, The State of European Cinema: A New Dose of Reality (Cassell, 1966). MacKillop_03_Ch2 31 9/1/03, 9:28 am 32 MacKillop_03_Ch2 …………………………………………… 32 9/1/03, 9:28 am Mirroring England MacKillop_04_Ch3 33 9/1/03, 9:29 am MacKillop_04_Ch3 34 9/1/03, 9:29 am National snapshots: fixing the past in English war films fred inglis A end of Saving Private Ryan (1998), Steven Spielberg presents us with a screen-filling view of the Stars and Stripes.
In the century or so since Daguerre’s amazing invention, the establishment of the news photograph both as incontrovertible testament and cherished revocation of the irrevocable past went unquestioned. Moreover, and in spite of widespread recognition that the same black-andwhite photography once it had electrified into motion lent itself to all sorts of unreal mockeries and delirious fantasy, the authority of black-and-white images lent likelihood to fairy tale and certified headline and ticker-tape with the stamp of truth.
9 The Sequence writers were influenced by Romantic philosophy, such as the writings of the German poet Novalis, and by the tendencies of literary New Criticism at the time: they were, after all, students of English literature. It is easy to compare the concerns of Sequence to Leavisite conceptions of the author – in Sequence’s version the film directors – whose works of art create a fusion of form and content. Thus, they were among the first European writers to create systematically a cult of the film director, or in other words, some of the initiators of the highly influential auteurist philosophy of the 1950s.