Abstract
In the previous issue of the Journal of British Cinema and Television Brian Winston provided a typically combative response to the special issue of the journal entitled ‘Postwar Documentary: Decline or Transition?’, which was edited by John Corner andMartin Stollery (2013). Winston’s article largely takes the form of a strongly worded attack on Shadows of Progress: Documentary Film in Post-War Britain, a BFI project of three years earlier which formed part of the context for Corner and Stollery’s edited collection. This intervention is in several ways a welcome one. The foreword to Shadows of Progress states:
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