Source: Thomas Baird, ‘Television’, World Film News, vol. 3 no. 4 (August 1938), p. 188 Text: An American visitor to this country, when asked what he thought of the Derby, guessed that it had come to stay. Something of the … Continue reading
Source: Richard Carr, ‘Cinemas and Cemeteries’, World Film and Television Progress, vol. 2 no. 2 (May 1937), pp. 18-19 Text: Once synonymous with suburban snobbery, Tooting to-day is a progressive and up-to-date suburb, contrasting favourably with its encircling neighbours, Balham … Continue reading
Source: Jessie Lee, extract from audiotape interviewee recorded 5 July 1994, quoted in Gregg Bachmann, ‘Still in the Dark – Silent Film Audiences’, Film History, Vol. 9, No. 1 (1997), pp. 23-48. Text: We always looked forward to going there … Continue reading
Source: George Audit, ‘Television’, World Film and Television Progress, August 1937, p. 37 Text: The relays from Wimbledon were something quite new in quality of reproduction and in the placing of the shots. The trouble with so many film versions … Continue reading
Source: Thomas Baird, ‘Speedsters Replace Cowboys’, World Film and Television Progress, vol. 2 no. 12 (March 1938), p. 20 Text: A little over twenty years ago, I started to go to the pictures. I was then a small boy living … Continue reading
Source: Anon., ‘Kinoplastikon: As Seen From the Stalls’, The Bioscope, 8 May 1913, p. 391 Text: The cinematograph industry, from its very inception, has been so prolific of novelties and sensations, that we have now grown almost accustomed to living … Continue reading
Source: Carl Koch, from ‘Japanese Cinema’, Close-up vol. VIII no. 4 (December 1931), pp. 296-298 Text: The Japanese film director and actor, Katsumi, recently showed me his latest film in a Berlin projection room. This film, in which he played … Continue reading
Source: Dorothy Richardson, ‘Continuous Performance’, Close Up vol. X no. 2, June 1933, pp. 130-132 Text: One can grow rather more than weary of hearing that the Drama is on its death-bed. For although there is no need to listen … Continue reading
Source: Dorothy Richardson, ‘Continuous Performance: The Film Gone Male’, Close Up vol. IX no. 1, March 1932, pp. 36-38 Text: Memory, psychology is to-day declaring, is passive consciousness. Those who accept this dictum see the in-rolling future as living reality … Continue reading
Source: Dorothy Richardson, ‘Continuous Performance: Dialogue in Dixie’, Close Up vol. V no. 3, September 1929, pp. 211-218 Text: Meekly punctual, clasping our prejudices in what might just possibly prove to be a last embrace, we entered the familiar twilight: … Continue reading
