Abstract
This essay offers a contextual and textual analysis of the television film Henry Moore (1951), produced and directed for the BBC by John Read in close collaboration with the sculptor Henry Moore on the occasion of the Festival of Britain. This film inaugurated a new genre of audio-visual discourse about artists in Britain. The essay traces its production history and explores the new aesthetic register it established in ways of filming sculpture, and specifically Moore's. The discussion frames this film in relation to the film on art genre and the post-Second World War media ecology in Britain.
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