Javascript must be enabled to continue!
The Origin, Practice and Meaning of the Free Cinema Manifesto
View through CrossRef
In the late 1940s, the independent film quarterly Sequence, which championed a personal, committed cinema, stood for an attitude towards film-making that provided an important basis for the development of the Free Cinema movement in the following decade. It was in Sequence that the phrase ‘Free Cinema’ was coined for the first time. This article traces the early development of the Free Cinema ethos in Sequence magazine and follows the steps by which the idea was turned into reality. It singles out Lindsay Anderson as the most influential figure in both the genesis and direction of the movement. After its formal end in 1959, Free Cinema lived on most obviously in the British New Wave of the 1960s, but its characteristics defied easy analysis. Discussing the legacy of the Free Cinema, the article explores its contradictory, subjective nature and examines the dominant role that Anderson continued to play in determining how it came to be understood.
Title: The Origin, Practice and Meaning of the Free Cinema Manifesto
Description:
In the late 1940s, the independent film quarterly Sequence, which championed a personal, committed cinema, stood for an attitude towards film-making that provided an important basis for the development of the Free Cinema movement in the following decade.
It was in Sequence that the phrase ‘Free Cinema’ was coined for the first time.
This article traces the early development of the Free Cinema ethos in Sequence magazine and follows the steps by which the idea was turned into reality.
It singles out Lindsay Anderson as the most influential figure in both the genesis and direction of the movement.
After its formal end in 1959, Free Cinema lived on most obviously in the British New Wave of the 1960s, but its characteristics defied easy analysis.
Discussing the legacy of the Free Cinema, the article explores its contradictory, subjective nature and examines the dominant role that Anderson continued to play in determining how it came to be understood.
Related Results
Alternative Entrances: Phillip Noyce and Sydney’s Counterculture
Alternative Entrances: Phillip Noyce and Sydney’s Counterculture
Phillip Noyce is one of Australia’s most prominent film makers—a successful feature film director with both iconic Australian narratives and many a Hollywood blockbuster under his ...
On the Road to the “Manifesto”: The Surrealists’ March Between Blois and Romorantin from May 5 to May 15, 1924
On the Road to the “Manifesto”: The Surrealists’ March Between Blois and Romorantin from May 5 to May 15, 1924
Abstract: This article aims to demonstrate that, in a sense, the 1924 “Manifesto of Surrealism” of André Breton was written by walking as a way to reassess its impact in the light ...
The Struggle for History: Lindsay Anderson Teaches Free Cinema
The Struggle for History: Lindsay Anderson Teaches Free Cinema
In spring 1986, Lindsay Anderson appeared in a television programme on British cinema. This was part of a series of three under the heading British Cinema: Personal View, produced ...
Aller au cinéma, aller au peuple
Aller au cinéma, aller au peuple
Jenny LEFCOURT Aller au cinéma, aller au peuple Pendant l’entre-deux guerres et pour une partie de la société française, aller au cinéma était l’équivalent d’« aller au peuple » à ...
The Free Germany Manifesto and the German People
The Free Germany Manifesto and the German People
This chapter examines the significance of the Free Germany Manifesto to the German people. Three facts made the Free Germany Manifesto significant: the backing it apparently receiv...
Faroese cinema and transnational nation-building
Faroese cinema and transnational nation-building
In addition to providing a brief history of Faroese cinema in a broad perspective, this article examines the juxtaposition of the transnationalism of Nordic cinema and what could b...
Persistent Free Radicals in Petroleum
Persistent Free Radicals in Petroleum
The persistent free radical content in petroleum is of the order 1018 spins/g (1 μmol/g), with higher and lower values found depending on origin and in different distillation fract...
From Chinese independent cinema to art cinema: Convergence and divergence
From Chinese independent cinema to art cinema: Convergence and divergence
With the decline of Chinese independent cinema, art cinema has grown at a fast pace since the mid-2010s in China. There has been a convergence as well as a divergence of independen...


