By Ian Mackillop and Neil Sinyard
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Extra resources for British Cinema in the 1950s: A celebration
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. 46. Anderson letter to John Ford, 12 March 1952, John Ford manuscript collection, Lily Library, Indiana University.
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). ‘Ten Years That Shook an Art’, Film 40 (September 1964), pp.
The idea that British cinema is too dull to be worth the serious consideration of intellectuals lives on. See, for example, Gilbert Adair, ‘One of those Films Destined to be Forgotten’, Independent on Sunday (12 November 2000). ), All Our Yesterdays (British Film Institute, 1986), p. 118. ‘ Standing Up for Jesus’, Motion 6 (Autumn 1963), p. 41. ‘Standing Up for Jesus’, p. 39. For Durgnat’s relationship to other critics of his generation, see Jonathan Rosenbaum,’Raymond Durgnat’, and Raymond Durgnat, ‘Apologia and AutoCritique’, Film Comment (May 1973), pp.
British Cinema in the 1950s: A celebration by Ian Mackillop and Neil Sinyard