We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
ACKNOWLEDGEMENTS
The knowledge and views which have gone into the following pages are those of the British Film Academy committee which was formed to write this book. Individual members made specific contributions as follows : Reginald Beck on the early stages of planning ; Roy Boulting on Chapter 2, and the passage from Brighton Rock ; Sidney Cole on the historical and theoretical chapters and the section on comedy ; Jack Harris on action sequences and the excerpts from Great Expectations and Once a Jolly Swagman ; Robert Hamer on the historical material ; David Lean on dialogue sequences and the excerpts from Great Expectations and The Passionate Friends ; Ernest Lindgren on the historical and theoretical sections (he also gave permission to base much of the theoretical discussion on arguments put forward in his book The Art of the Film and to use many of his definitions in the Glossary) ; Harry Miller on sound editing and the passage from Odd Man Out ; Basil Wright on all the documentary chapters and the excerpts from Night Mail, Diary for Timothy and Song of Ceylon ; Thorold Dickinson, as chairman, on every phase of the writing.
Others who helped the committee were : Geoffrey Foot who contributed the analysis of the passage from The Passionate Friends and gave much patient advice on the complexities of cutting room procedure ; R. K. Neilson Baxter who supervised the chapter on instructional films ; G. T. Cummins and N. Roper who supplied the information on newsreels ; Jack Howells and Peter Baylis who spent much time with me on the excerpts from The Peaceful Years and made written contributions ; Paul Rotha who advised on The World is Rich ; Wolfgang Wilhelm who advised on dialogue scripting ; J. B. Holmes who gave an account of his work on Merchant Seamen ; and R. Q. McNaughton who provided the analysis and break-down of the passages from Merchant Seamen and Night Mail.
From U.S.A. we received the advice of Viola Lawrence on Lady from Shanghai and James Newcom on Topper Returns. Helen van Dongen's long contributions about the editing of Louisiana Story are printed in full : to her we owe perhaps the greatest individual debt.
Dr. Rachael Low gave freely of her time and knowledge of film history in discussion and Julia Coppard gave invaluable help in the preparation of the manuscript. Dr. Roger Manvell of the British Film Academy and A. KrasznaKrausz provided sympathetic help — and patience.
I also wish to thank the following : —
Miss Norah Traylen and Mr. Harold Brown of the British Film Institute for a great deal of help in the preparation of the stills ;
The cataloguing staff of the National Film Library for permitting me to use their editola ;
11