By Ian Mackillop and Neil Sinyard
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Extra resources for British Cinema in the 1950s: A celebration
He is then tried in heaven for his life with the defence that because he has fallen in love after the official moment of his death, heavenly bureaucracy is at fault and his death revocable. His prosecutor, ally and friend of Paul Revere, keeps up his nation’s old enmity against the English. The jury, appealed against as being allAmerican citizens, is promptly replaced by exactly the same people in their world-historical guises, all of them victims and judges of empire: Irish, Indian, Chinese and so on.
That is to say, they were in a position to judge the films for truthfulness as picturing a people’s experience of what Angus Calder called ‘The People’s War’. For the first time in cultural history a huge and historic sequence of events was narrated and represented MacKillop_04_Ch3 37 9/1/03, 9:29 am 38 …………………………………………… not on behalf of a powerful elite and as redounding to its credit, but on behalf of a whole population, permitting them to judge for themselves whether they came out of it well or badly.
13 On the same lines he praised little-known independent British film productions, such as Clive Brook’s On Approval (1944), summing up his argument for a creative, non-industrially based cinema like this: ‘what is required is a cinema in which people can make films with as much freedom as if they were writing poems, painting pictures or composing string quartets’. 14 Cinema, then, was an art form, and not a Griersonian institution of social propaganda, and it was particularly not supposed to be a commercial industry, producing popular entertainment for the masses.
British Cinema in the 1950s: A celebration by Ian Mackillop and Neil Sinyard