By Ian MacKillop, Neil Sinyard
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Additional resources for British Cinema in the 1950's: a celebration
Puritans Anonymous’, Motion 6 (Autumn 1963), p. 3. ‘Standing Up for Jesus’, Motion 6 (Autumn 1963), pp. 25–42. ‘Old Wine in New Bottles’, Film 39 (Spring 1964), pp. 32–3. ’, Views 4 (Spring 1964), pp. 49–59. ‘Vote for Britain: A Cinemagoer’s Guide to the General Election’, Part 1, Films and Filming (April 1964), pp. 9–14; Part 2, Films and Filming (May 1964), pp. 10–15; Part 3, Films and Filming (June 1964), pp. 38–43. ‘Horror is My Business’, Films and Filming (July 1964), pp. 7–8 (with John Cutts).
12. François Truffaut, ‘A Certain Tendency of the French Cinema’  in Movies and Methods, ed. Bill Nichols (University of California Press, 1976), p. 234. Anderson, ‘Alfred Hitchcock’, Sequence 9 (Autumn 1949), pp. 113–24. Anderson, ‘Alfred Hitchcock’, p. 115. Anderson, ‘John Ford and They Were Expendable’, Sequence 11 (Summer 1950), pp. 18–31. Anderson, ‘John Ford’, p. 115. Anderson, ‘John Ford’, p. 31. Anderson, ‘The Quiet Man’, Sequence 14 (New Year 1952), pp. 18–31. John Ellis, ‘Art, Culture and Quality’, p.
MacKillop_04_Ch3 41 9/1/03, 9:29 am …………………………………………… 42 This noble film is an overture to the epoch. Thereafter, what one finds in the remarkable succession of honestly made, well-built and tightly told war films is not at all a threnody to empire or an aesthetics of decline, but rather a winning story about the necessity of duty, its visible fulfilment in modestly efficacious action, and the confirmation of its significance in the bonds of trust. C. The Colditz Story The Dam Busters The Sea Shall Not Have Them Above Us the Waves Ill Met by Moonlight Battle of the River Plate Carve her Name with Pride Ice Cold in Alex The line was carried on in the 1960s by such workmanlike films as The Battle of Britain (1958) and comes to a sort of gentle finale with Richard Attenborough’s careful and competent A Bridge too Far (1977) and John Boorman’s endearing Hope and Glory (1987).
British Cinema in the 1950's: a celebration by Ian MacKillop, Neil Sinyard