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Extra resources for Anthony Asquith
48 The highly sophisticated formal processes of the art film, and the ordinary excitements of popular cinema – romance, action, violence, passion – are embodied in tandem in the early films. Both Underground and A Cottage on Dartmoor have ‘metacinematic’ film-viewing sequences, as well as sustained passages of subjective cinematography, expressionist mise-en-scène, and Soviet-style montage; both films are also simple and uncomplicated romantic tales involving crimes of passion. Notes 1 PEP,The British Film Industry (London: Political and Economic Planning, 1952), p.
Slide, ‘Banned in the USA’. British Films in the United States and their Censorship, 1933-1960 (London: I. B. Tauris Publishers, 1998), pp. 122–3. 43 S. ), American Film Criticism (New York: Liveright, 1972), p. 364. 44 Noble, Anthony Asquith, p. 25. The newspaper tycoon project is mentioned in Brownlow, David Lean, pp. 127–8. 38), p. 19. 39), p. 19. 47 Greene, The Pleasure Dome, p. 248. 44) – BFI cuttings collection: French Without Tears. 49 G. Wansell, Terence Rattigan. A Biography (London: Fourth Estate, 1996), p.
79-80. 32), p. 84. 23 Low, The History of the British Film 1928-1929, p. 133. 24 Noble, Anthony Asquith, p. 20-1. Noble quotes from the letter, which was written around 1950. 33), p. 18. 26 Ibid. 27 Balcon Collection, British Film Institute Special Collections, B 92. 32. 28 Minney, Puffin Asquith, p. 84. 35) – BFI cuttings collection: Moscow Nights. 30 See K. Kulik, Alexander Korda. The Man Who Could Work Miracles (London: Virgin Books, 1990), p. 145. 31 See C. Drazin, Korda. Britain’s Only Movie Mogul (London: Sidgwick & Jackson, 2002), pp.