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Men, War and Film - The Calling Blighty Films of World War II (Hardcover)
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Men, War and Film - The Calling Blighty Films of World War II (Hardcover)
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The Calling Blighty series of films produced by the Combined
Kinematograph Service produced towards the end of the Second World
War were one-reel films in which soldiers gave short spoken
messages to the camera as a means of connecting the front line and
the home front. These are the first ever films where men speak
openly in their regional accents, and they have profound meaning
for remembrance, documentary representation and the ecology of film
in wartime. Of the 400 films (or 'issues') made, 64 survive. Each
of those contained around 25 individual messages. Men - and a very
few women - from a particular city, town or region were grouped
together for the films to make regional screenings back in UK
cinemas and town halls possible. Personnel from all three services
are featured, but the men are predominantly from the army units.
Screenings took place at a cinema in the subjects' local area and
were usually organised by the regional Army Welfare Committee. The
names and addresses of those to be invited to the screenings were
sent to the UK along with the films. Until now, these films have
barely been researched, and yet are a valuable source of social
history as well as representing a different mode from the
mainstream of British wartime documentary. This book expands the
history of Calling Blighty and places it in a broader context, both
past and present. New research reveals the origins of the film
series and draws comparisons with written and oral contemporary
sources. Steve Hawley is an artist/filmmaker whose work has been
screened worldwide, and has collaborated closely with the North
West Film Archive UK. He is emeritus professor at the Manchester
Metropolitan University UK. Using memoirs and diaries, Steve Hawley
has researched the roles in the Burma campaign of participants in
the surviving films, and traced over 160 of the families of the men
- and two men still alive - and recreated these wartime screenings.
Hawley's book is part description of the films, part reclamation of
a largely unknown genre of wartime filmmaking, partly an account of
the Burma campaign, and partly a discussion of war and memory.
Engagingly and warmly written. It will be of interest to scholars
and researchers in the areas of war studies, especially those
specializing in the social rather than military history of warfare,
and historians of British wartime cinema and documentary. Also
useful for an undergraduate audience, in history, media/film
studies. Potential for readers with an interest in the Second World
War, particularly the war in Burma, and those with an interest in
family history of the period.
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