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The first films were shorts. Most leading filmmakers made shorts,
including Chaplin, Keaton, Orson Welles, Stanley Kubrick, Lindsay
Anderson, and--more recently--Lynne Ramsey and Damian O' Donnell.
Though a standard and much-loved part of the cinemagoing experience
for decades, short films are now rarely seen, even though more are
made than ever. Hundreds of student films are made annually and
television stations use shorts as fillers. Dotcom companies fight
to secure rights and short film festivals take place all over the
world. There is even the beginning of a comeback for the cinema
short.
This book traces the history of the short film and its current
role. Focusing on short-film producers and directors, it looks at
the short film as a training opportunity for new talent. It covers
issues of distribution, funding (including the lottery boom),
exhibition, festivals, training, and publications.
Cinema and the Great War concentrates on one part of the art of the
war: the cinema. Used as tool for propaganda during the war itself,
by the mid 1920s cinema had begun to reflect the rejection of
conflict prevalent in all the arts. Andrew Kelly explores the
development of anti-war cinema in, Britain, America, Germany and
France from the ground-breaking Lay Down your Arms, made by Bertha
Von Suttner in 1914 and Lewis Milestone's bitter All Quiet on the
Western Front through to Stanley Kubrick's magnificent Paths of
Glory.
Cinema and the Great War concentrates on one part of the art of the
war: the cinema. Used as tool for propaganda during the war itself,
by the mid 1920s cinema had begun to reflect the rejection of
conflict prevalent in all the arts. Andrew Kelly explores the
development of anti-war cinema in, Britain, America, Germany and
France from the ground-breaking Lay Down your Arms, made by Bertha
Von Suttner in 1914 and Lewis Milestone's bitter All Quiet on the
Western Front through to Stanley Kubrick's magnificent Paths of
Glory.
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