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Extra resources for Anthony Asquith
Quoted in Wansell, Terence Rattigan, p. 133. Noble, Anthony Asquith, p. 41. Noble also mentions ‘a film of Beau Brummell’ and ‘a remake of Shooting Stars’. 60 See S. Chibnall, ‘Purgatory at the End of the Pier: Imprinting a Sense of Place through Brighton Rock’, in Burton et al. (eds), The Family Way, pp. 135–6, and Wansell, Terence Rattigan, p. 163. 61 J. Petley, ‘The Lost Continent’, in C. ), All Our Yesterdays (London: BFI Publishing, 1986), p. 111. 62 The Woman in Question Pressbook, in BFI Special Collections – Teddy Baird, Item 34.
Donald, A. Friedberg, and L. Marcus (eds), Close Up 1927–1933. Cinema and Modernism (London: Cassell, 1998), p. 41. 7 C. Barr, ‘Before Blackmail. Silent British Cinema’, in R. ), The British Cinema Book (London: BFI Publishing, second edition, 2001), p. 11. 8 See, particularly, A. ), Young and Innocent? The cinema in Britain 1896–1930 (Exeter: University of Exeter Press, 2002) and C. Gledhill, Framing British Cinema 1918–1928 (London: BFI Publishing, 2003). 9 J. , p. 292. 27), p. 59. 11 C. ), p.
The company was reorganised in the late 1920s and though the documentary films had been successful, its relaunch was based on a move into the fiction film, a strategy which undoubtedly reflected the new opportunities promised by the impending government legislation on film quotas. However, the company’s initial announcements in 1927, following its flotation as a public company, indicated that something of its commitment to war subject matter would be retained. Initial publicity for the change of direction focused on a film about the Gallipoli campaign that would blend wartime preoccupations with fictional elements: It has been decided to adopt the well-known novel, ‘Tell England’, by Mr Ernest Raymond, as the subject into which the Gallipoli campaign will be woven.