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Under the apartheid regime, South Africa’s Mitchell’s Plain, situated close to Cape Town, was devised as a “model township.” A cutting-edge urban planning scheme would provide middle-class Coloured people—evacuated from their homes by racialised rehousing programmes—with exemplary living conditions. This flagship for the regime was inaugurated with fanfare in 1976, and heavily publicised not just within South Africa but also in the international press. Cohorts of political leaders and journalists were invited to admire first-hand how racial segregation could be paired with progressive social planning. A documentary film was commissioned for worldwide distribution: Mitchells Plain (1980). Like other well-laid plans, however, Mitchell’s Plain would foil the designs of its architects. The vaunted utopian township was, for its inhabitants, deeply flawed: essential facilities such as schools and transport were thoroughly inadequate to the population’s needs. These sources of frustration generated a groundswell of civic activism. While the government had banked on separating the Coloured population from the national liberation movement, in 1983, Mitchell’s plain acquired important symbolic status as the birthplace of the United Democratic Front, an umbrella organisation of anti-apartheid associations. This event marked a turning point in the history of South Africa’s struggle for freedom. This study chronicles the fortunes of Mitchell’s Plain: its conception and role as propaganda for the apartheid regime. It draws on official documentary sources, but also on interviews with the various social actors whose life-experience conveys a very different image of the process, to reconstitute from a critical and historical perspective, the ill-fated window-dressing efforts of the National Party government during its declining years.

History --- Cultural studies --- Film Radio Television --- film-making --- apartheid --- South Africa --- Cape Town --- township --- documentary film --- Coloureds

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This first extended biography of William Alwyn sets his works in full context and uses hitherto unpublished material to give a vivid account of his marriages, his operas and his relationship with Britten. This book is the first full-scale biography of William Alwyn since his death in 1985. Alwyn's early life as a flautist was altered when he became a leading composer of the Documentary Film Movement in the 1930s, going on to a prolific career in writing for feature films, including commissions for Walt Disney and Carol Reed. By the mid 1950s his reputation was established by the beginning of his four-symphony cycle, his many tone poems, concertos, chamber and piano pieces. An habitué of the London film studios and concert halls, and a prominent professor at the Royal Academy of Music, a major crisis in Alwyn's life precipitated an escape to the Suffolk coast in 1960, where he turnedhis back on film music and immersed himself in the writing of operas [including Miss Julie], poetry, essays, fiction and painting. Adrian Wright's book balances detailed analysis of Alwyn's work with a vivid account of his marriages to the musician Olive Pull and the composer Doreen Carwithen, relationships that profoundly affected the course of his career. Using a mass of hitherto unpublished material [including an unexpurgated version of his noted Ariel to Miranda] and interviews with prominent figures in Alwyn's life, the volume places his achievements in the musical context of his time, along the way dealing with his relationship with Benjamin Britten,and such hitherto almost unknown works as Don Juan, The Fairy Fiddler and the radio opera Farewell, Companions. ADRIAN WRIGHT is the author of the acclaimed Foreign Country: The Life of L.P. Hartley (1996) and John Lehmann: A Pagan Adventure (1998), and is a contributor to The New Dictionary of National Biography.

Composers --- Alwyn, William, --- Alban, Wilfred, --- Biography. --- Documentary Film Movement. --- Essays. --- Fiction. --- Film Music. --- Musicology. --- Painting. --- Poetry. --- Relationships. --- Walt Disney. --- William Alwyn.

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Analysing recent documentary films dealing with undocumented migration at the Schengen Area's fringes and against the backdrop of what has been termed the `European refugee crisis', Jan Kühnemund investigates the interface between migration discourses and image discourses. As an analytical framework, he conceptualises `Borderland Schengen' as a visual-political transnational space emerging from the interplay of migration movements and border policies. Putting the spaces and iconologies of `illegal' migration under scrutiny and aiming at establishing their protagonists as subjects, Kühnemund in this regard reads the films as attempts at discursive participation as an aesthetic political practice. Besprochen in: Eidgenössische Migrationskommission EKM, 4 (2018)

Migrations of nations. --- Nations, Migrations of --- History --- Human beings --- Migrations --- Borderlands --- Illegal aliens --- Political geography --- Border security --- Government policy --- Migration; Border; Documentary Film; Visuality; Film; Image; Political Art; Refugee Studies; Media Studies --- Border. --- Documentary Film. --- Film. --- Image. --- Media Studies. --- Political Art. --- Refugee Studies. --- Visuality.

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"In the years immediately following the Second World War, art documentaries played an important part in an emerging cinephile culture favoring experimental shorts. In the 1940s and 1950s, hundreds of art documentaries were produced, many of them being highly personal, poetic, reflexive and experimental films that offer a thrilling cinematic experience. With the exception of Alain Resnais's Van Gogh (1948), Henri-Georges Clouzot's Le Mystère Picasso (1956) and a few others, most of them fell into oblivion and they have received only scant scholarly attention. This book aims to rectify this situation by discussing the most innovative, experimental and influential postwar art documentaries, connecting them to contemporaneous museological developments and Euro-American cultural and political relationships. With an international team of contributors with expertise across art history and film studies, Art in the Cinema draws attention to film projects by André Bazin, Ilya Bolotowsky, Paul Haesaerts, Carlo Ragghianti, John Read, Dudley Shaw Aston, Henri Storck and Willard Van Dyke among others"--

Art, Modern. --- Documentary films --- Experimental films --- History and criticism. --- Aesthetics of art --- Film --- fine arts [discipline] --- art criticism --- experimental films --- Modern [style or period] --- documentary films --- anno 1900-1999 --- documentary film

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Mit seinen preisgekrönten Filmen dringt Andres Veiel immer wieder zu den Hintergründen deutscher Geschichte vor. Kennzeichnend für seinen Ansatz sind die ästhetischen Verfahrensweisen, durch die er einen originären Beitrag in der langen Tradition der Auseinandersetzung zwischen wissenschaftlicher und künstlerischer Aneignung von Geschichte leistet. Andre Bartoniczek arbeitet die Signaturen dieser Tradition auf, zeichnet die Entwicklung des Dokumentarfilms nach und liefert als erste umfangreiche Untersuchung Veiels geschichtlicher Filme eine Werkanalyse, die letztlich der Frage nachgeht: Was ist und wie gelingt historische Erinnerung? Dabei kommt auch der Filmemacher selbst zu Wort.

Aesthetics. --- Cultural History. --- Documentary Film. --- FRG (West Germany). --- Film. --- German History. --- History of the 20th Century. --- History. --- Media Aesthetics. --- Memory. --- Veiel, Andres, --- Criticism and interpretation. --- Germany. --- HISTORY / Social History.