Roger Manvell Research Articles

Film Appreciation and Cultural Leadership: Rudolf Arnheim, Roger Manvell, and Two Books Called Film

Cet essai examine la portée du livre Film de Roger Manvell — un livre de poche de la collection Penguin — auprès de la génération des activistes bénévoles des cinéclubs lors de l’Après-guerre en Grande-Bretagne. Il débute en comparant les idées d’appréciation esthétique et d’analyse filmique telles qu’on les retrouve dans le classique Film de Rudolf Arnheim, traduit en anglais et publié en Grande-Bretagne par Faber en 1933, avec ces mêmes idées telles qu’on les retrouve dans l’ouvrage du même nom de Manvell. Ce dernier fut un activiste du cinéclub de Leicester qui est ensuite devenu responsable du cinéma au ministère de l’information et on se rappelle de son livre comme d’une bible pour les nouvelles générations d’animateurs de cinéclubs après 1945. Cet article défend l’idée qu’au moment où le modèle du cinéclub était en essor, le livre de Manvell concevait le cinéclub responsable comme un instrument des classes éduquées qui défendait une idée du cinéma comme un art populaire, réaliste et socialement engagé plutôt que comme un art d’élite promu par les intellectuels ou par une avant-garde artistique.

Response: The art of making faces

Click to increase image sizeClick to decrease image size Notes 1 Amateur Photographer (24 July 1885), p. 242. 2 On the ability of the new camera technologies of the late nineteenth century and early twentieth century to ‘penetrate’ reality see Tom Gunning, ‘In Your Face: Physiognomy, Photography, and the Gnostic Mission of Early Film’, Modernism/Modernity 4∶1 (1997), pp. 1–29. 3 On the work of Le Brun and the court style of Louis XIV see Brewster Rogerson, ‘The Art of Painting the Passions’, Journal of the History of Ideas, XIV (January 1953), pp. 68–94; Jennifer Montagu, The Expression of the Passions: The Origin and Influence of Charles Le Brun's ‘Conférence sur l'expression générale et particulière’ (New Haven and London: Yale University Press, 1994). 4 René Descartes, ‘Passions of the Soul’, in The Philosophical Writings of Descartes, vol. 1 (Cambridge: Cambridge University Press, 1985). For a brief but helpful discussion of Descartes within the context of nineteenth-century adaptations of physiognomy see Gunning, ‘In Your Face’. 5 As cited in Sandra Kemp, Future Face: Image, Identity, Innovation (London: Profile Books, 2004), p. 56. 6 Charles Bell, Essays on the Anatomy of Expression in Painting (London: Longman, Hurst, Rees and Orme, 1806), p. 112. On the use of physiognomy in art see E. H. Gombrich, ‘The Mask and the Face: The Perception of Physiognomic Likeness in Life and Art’, in M. Mandelbaum, ed. Art, Perception, and Reality (Baltimore: Johns Hopkins University Press, 1972), pp. 1–46, and Richard Brilliant, ‘The Metonymous Face’, Social Research 67∶1 (Spring 2000), pp. 25–46. 7 See Johann Kaspar Lavater, Physiognomische Fragmente (1775–8) and subsequent editions as cited in Brilliant, ‘The Metonymous Face’, p. 34. 8 See John Barnes, The Beginnings of the Cinema in England 1894–1901. Volume Five: 1900 (Exeter: Exeter University Press, 1997) where he argues that the lantern slides were the origins of the film ‘close-up’. 9 On expression and gesture in nineteenth-century theatre see Martin Meisel, Realizations: Narrative, Pictorial and Theatrical Arts in Nineteenth-Century England (Princeton, NJ: Princeton University Press, 1983). 10 J. R. Creed, ‘The Art of Making Faces’, Pearson's Magazine, IV (July–December 1897), pp. 628–31. Facial contortionists were a popular turn in music-hall programmes in the years around 1900; see, for example, Ludwig Amann, Facial Mimic, who performed at the Empire Theatre, London, 29 April 1901. Museum of London Archives ‘Entertainment B16’. For variations on this genre see C. Lang Neil, ‘Chapeaugraphy: Or, Many Faces Under One Hat’, in The Modern Conjurer and Drawing-Room Entertainer (London: C. Arthur Pearson Ltd., 1903), pp. 331–49. 11 On the early film genre of ‘facials’ see Joe Kember, ‘Face-to-Face: The Facial Expressions Genre in Early British Film’, in Alan Burton and Laraine Porter, eds. The Showman, the Spectacle and the Two-Minute Silence (Trowbridge: Flicks Books, 2001), pp. 28–39. Also Rachel Low and Roger Manvell, The History of the British Film. Volume 1 1896–1906 (London: George Allen and Unwin Ltd., 1948), pp. 75–6. 12 Hepworth Manufacturing Company, Cat. 1906. Cited in Low and Manvell, History of the British Film, p. 76. 13 As cited in John Hagan, ‘Erotic Tendencies in Film 1900–1906’, in Roger Holman, ed., Cinema 1900–1906 (Brussels: FIAF, 1982), p. 232. On The May Irwin Kiss, see Charles Musser, The Emergence of Cinema: The American Screen to 1907 (Berkeley, Los Angeles, London: University of California Press, 1990), pp. 118–9. 14 See Kember, ‘Face-to-Face’, p. 30. 15 The film was produced by Wallace McCutcheon and photographed by A. E. Weed. In the copy submitted for copyright purposes to the Library of Congress it is forty seconds long. It can be viewed at www.chnm.gmu.edu/courses/magic/movies/movindex.html. 16 On ‘Prison Portraits’, see Bill Jay, Cyanide and Spirits: An Inside-Out View of Early Photography (Munich: Nazraeli Press, 1991). See also Tom Gunning, ‘Tracing the Individual Body: Photography, Detectives, and Early Cinema’, in Leo Charney and Vanessa R. Schwartz, eds., Cinema and the Invention of Modern Life (Berkeley, Los Angeles and London: University of California Press, 1995), pp. 15–45, and Allan Sekula, ‘The Body and the Archive’, October 39 (Winter 1986), pp. 3–64. 17 Arthur Bowes, ‘Crime and the Camera’, Photography (21 November 1889), p. 649. 18 Georg Simmel, ‘The Aesthetic Significance of the Face’ (1901), in Kurt H. Wolff, ed., Essays on Sociology, Philosophy and Aesthetics (New York: Harper & Row, 1965), p. 277. For discussion of Simmel's essay in the context of portrait photography, see Alan Trachtenberg, ‘Lincoln's Smile: Ambiguities of the Face in Photography’, Social Research, 67∶1 (Spring 2000), pp. 1–23.

I'll Tell You What: The Life of Elizabeth Inchbald (review)

Reviewed by: I’ll Tell You What: The Life of Elizabeth Inchbald Ben P. Robertson (bio) Annibel Jenkins, I’ll Tell You What: The Life of Elizabeth Inchbald. Lexington: University Press of Kentucky, 2003. 596 pp. $39.95 (cloth). With I'll Tell You What: The Life of Elizabeth Inchbald, Annibel Jenkins has accomplished an ambitious task. Using information from a variety of sources, Jenkins has compiled what undoubtedly will become known as the authoritative biography of Elizabeth Inchbald (1753–1821). Well researched [End Page 119] and thoughtfully written, this biography provides the most complete overview of Inchbald's life since James Boaden published his Memoirs of Mrs. Inchbald in 1833 (London: Richard Bentley). Inchbald was a significant figure during the romantic period in Britain. She first came to the public's attention in the 1780s when she worked as an actor. For nearly a decade, she was a regular at the Covent Garden and the Haymarket Theatres in London, and she also performed in Scotland and Ireland (as well as provincially in England). Despite the limitations of an embarrassing speech impediment, she acquired a reputation as a good actor whom theatre managers consistently rehired to please a demanding public. When she tried her own hand at writing comedies and farces for the stage, she met with a surprising level of success that encouraged her to continue writing. Ultimately, she wrote around twenty plays, many of which were produced and published repeatedly. Inchbald also wrote two book-length fictions, A Simple Story (1791) and Nature and Art (1796). A Simple Story achieved such popularity, in Britain and abroad, that it has never been out of print. In her later years, Inchbald became a literary critic, and her most ambitious critical project was to write prefaces to each of the 125 plays included in the series entitled The British Theatre. Given Inchbald's renown as an actor and writer, it may seem surprising that it has taken so long for someone to write a comprehensive biography. In part, the delay is a result of a longstanding critical tendency to favor male voices from the romantic period. Even more importantly, however, finding information about Inchbald's life has been especially challenging. On the advice of her confessor, Inchbald burned her own memoirs, and of the many pocket-book diaries on which James Boaden says he based his biography, all but eleven have been lost or destroyed. Two scholars, Samuel Littlewood (Elizabeth Inchbald and Her Circle. [London: O'Connor]) and Roger Manvell (Elizabeth Inchbald: England's Principal Woman Dramatist and Independent Woman of Letters in 18th-Century London. [New York: University Press of America]), attempted biographies of Inchbald in 1921 and 1987 respectively, but their efforts were poorly documented and based largely on Boaden's Memoirs. The difficulty in finding material about Inchbald makes Jenkins's biography all the more impressive. Jenkins, like her predecessors, relies heavily on Boaden's work, but she goes beyond the mere quotation of secondary material. A true scholar, Jenkins has consulted the original sources—the remaining eleven pocket-book diaries, now housed in the Folger Shakespeare Library. She quotes frequently from the diaries to give Inchbald her own voice within the biography and to infuse the text with a vitality that evokes Inchbald's own humanity. Moreover, Jenkins has consulted Inchbald-related materials in the British Library and the York Minster Library. Jenkins is exemplary in her use of manuscripts from the Godwin, Shelley, and Edgeworth families. Inchbald's correspondence with these friends provides additional information that the author did not record in her diaries. Regrettably, Jenkins's biography contains no important surprises for Inchbald scholars. The lost pocket-books remain so, [End Page 120] and Jenkins did not uncover new correspondence or charred remnants of Inchbald's memoirs. She openly admits in several instances that the details of Inchbald's activities remain a "puzzle." However, Jenkins has managed to compile the most usable, most complete, and best documented biography of Inchbald. Jenkins surpasses even Boaden, who knew Inchbald and who had all of her papers as he wrote his own story of the writer's life. Jenkins's biography is meticulous—as detailed as possible—and...

Animators and animals: john halas, joy batchelor, and george orwell's Animal Farm

The brouhaha over the CIA's funding of a cultural Cold War against the Soviet Union has obscured various projects that benefited from the infusion of those dollars. Whatever the political rationale...

The Cambridge Companion to Shakespeare on Film (review)

Reviews493 how the enterprise in Lille and similar theatrical experiments failed. Of special interest is the book's extensive bibliography. The "selected" list, which is primarily in German, includes books, articles, dissertations, and unpublished manuscripts dealing with topics ranging from legitimate theater to puppet shows. The entries connecting art, media, and race are invaluable; and the bibliography points to another subject barely addressed in Theatre under the Nazis: cinema. This brief overview must conclude with a return to the book's first page and London's remarks about Mephisto—the 1936 roman à clefwritten in exile by Thomas Mann's son Klaus, who points a sharp pin at his onetime brotherin -law, the actor-director and Nazi collaborator Gustaf Gründgens. Klaus Mann's finely tuned novel was officially banned in Germany until 1980; the famous film version appeared one year later. The case, as London observes, demonstrates "that it was not easy to criticize those who had been directly involved in the theatre of the Third Reich." Robert Hinkel Western Michigan University Russell Jackson, ed. The Cambridge Companion to Shakespeare on Film. Cambridge: Cambridge University Press, 2000. Pp. xiv + 342. $60.00 casebound; $19.95 paperbound. The study of Shakespeare on film may seem an overnight success, but, like many such phenomena, its sudden success took decades. In the 1970s, the BBC created video productions of the canon, while Bernice Kliman and Ken Rothwell established The Shakespeare on Film Newsletter, following books on the topic of Shakespearean films from Jack Jorgens, Robert Hamilton Ball, and Roger Manvell. Throughout the 1980s, these reference tools were expanded. Increasingly VCRs and video disk players were available, which meant academic critics had access to a wider range offilm productions. A string oflively film versions appeared, building on the success of Kurosawa's Ran (1985), Branagh's Henry V (1989), and Zeffirelli's Hamlet (1990). A generation of academics trained in both Shakespeare studies and film analysis began to look critically at Shakespearean movies. Moreover, a new interest in appropriation and intertextuality led a number of critics to consider the way Shakespeare's 494Comparative Drama works made their way onto the screen. Today, courses and books about Shakespeare on film seem to be everywhere, although one sometimes wonders about their merits. Douglas Brode's book about Shakespeare on film (Shakespeare in the Movies: From the Silent Era to Today [2000] ) has been widely and correctly criticized for its carelessness, while manywho offer"Shakespeare on Film" courses seem never to have seen a movie by Kozintsev,Welles, or Kurosawa. The Cambridge Companion to Shakespeare on Film should provide much help, both by providing a firm basis for undergraduate and graduate courses, and by setting a standard ofexcellence against which one may judge newer books. Following an introductory essay by Russell Jackson in which he reminds the reader that film production is always about making—or losing—money, the book has three parts. The first, entitled "Adaptation and Its Contexts," includes four essays, pragmatic in tone. One by Jackson offers an overview of the history ofShakespeare on film, another by Michèle Willems concerns videotaped versions and the special problems which they pose. Two more examine specific plays, one by Barbara Freedman describing Richard III as an index to key moments offilm history and another by Harry Keyishian presenting Hamlet as a study example for questions about movie genres. A second part examines Shakespearean "Genres and Plays." Michael Hattaway considers the comedies. H. R. Coursen returns to the special case of Richard III. J. Lawrence Guntner considers Hamlet, Macbeth, and Lear. Finally, Patricia Tatspaugh discusses the "tragedies of love": Romeo and fuliet, Othello, and Antony and Cleopatra. In part 3, the volume attends to auteurs, and the readerlearns about directors.AnthonyDavies, Pamela Mason, Mark Sokolyansky, Deborah Cartmell, and Samuel Crowl write respectively about Olivier, Welles, Kozintsev, Zeffirelli, and Branagh. In the final section, a series ofessays address "Critical Issues." Carol Chillington Rutter examines the women characters on film, and Neil Taylor examines national and racial stereotypes. Disrupting the conventional academic triad ofgender, race, and class, this volume instead offers a third essay by Neil Forsyth on the "supernatural." Finally, Tony Howard writes about Shakespearean "offshoots," films that...

Institutional Power and the Fleischer Studios: The "Standard Production Reference"

Many of the early texts dealing with animation, such as Edwin Lutz's Animated Cartoons, Art Babbitt's Analysis of the Goof, or John Halas and Roger Manvell's Technique of Film Animation, were written in order to standardize and regularize production.' Between the first publication of the Lutz book in 1920 and the appearance in 1959 of the Halas and Manvell book, the most influential document of this type almost certainly was the Standard Production Reference, published in Miami by the Fleischer Studios, Inc., in 1940. This procedural and technical manual outlined the rules of studio animation practice. Referred to as The Bible at the Fleischer Studios and at its successor company, Famous Studios, Inc., the Standard Production Reference later became a guide by which other animation companies were organized or by which they regularized production. Yet, in contrast to similar texts, The Bible did not receive much attention outside the industry. Never published or distributed in offset type, it circulated in a mimeographed samizdat format, passed from animator to animator until most copies deteriorated. Not intended as an introduction to the technique of animation, this document emphasized the interrelationship and coordination of the constituent parts of a complex animation production house. As a result, its targeted audience was a much narrower one than the amateur would-be animators who read Lutz or Halas and Manvell. Yet, unlike most other contemporary animation documents targeted at professionals, such as Analysis of the Goof,2 the Standard Production Reference did not regulate the depiction of specific, in-house characters. Because of this, The Bible was applicable to the production systems of other studios. For at least thirty-seven years after the demise of the Fleischer Studios, The Bible was the most commonly used reference work within New York animation studios. This continued from its utilization to train new staff in 1942 at Famous Studios, Inc., to its service as a guide for the reorganization of Perpetual Motion Pictures in 1978, prior to the making of the twenty-five minute long Berenstein Bears' Christmas Tree (1979).3 One of the problems encountered in the interpretation of documents is that an artifact's meaning is not immutable. Any document is the product of its specific historical conditions, and one's interpretation of that document can change as conditions change. Before examining the function of the Standard Production Reference and reconstructing its meanings, one must understand the origins and organization of American animation studios in general, and the

Review: Images of Madness: The Portrayal of Insanity in the Feature Film by Michael Fleming, Roger Manvell

Review: Images of Madness: The Portrayal of Insanity in the Feature Film by Michael Fleming, Roger Manvell

: Images of Madness: The Portrayal of Insanity in the Feature Film . Michael Fleming, Roger Manvell.

: Images of Madness: The Portrayal of Insanity in the Feature Film . Michael Fleming, Roger Manvell.

Reviews

I hear America typing: A survey of scriptwriting manuals Richard A. Blum. Television Writing: From Concept to Contract. New York: Hastings House, 1980. viii + 184 pp. $8.95, paper. Robert Edmonds. Scriptwriting for the Audio–Visual Media. New York: Teachers College Press, 1978.185 pp. $10.95, paper. Syd Field. Screenplay: The Foundations of Screenwriting. New York: Dell, 1979. xii + 212 pp. $4.95, paper. Rolando Giustini. The Filmscript: A Writer's Guide. Englewood Cliffs, New Jersey: Prentice‐Hall, 1980. xii + 243 pp. $6.95, paper. Robert Lee and Robert Misiorowski. Script Models: A Handbook for the Media Writer. New York: Hastings House, 1978.96 pp. $4.50, paper. Martin Maloney and Paul Max Rubenstein. Writing for the Media. Englewood Cliffs, New Jersey: Prentice‐Hall, 1980. x + 293 pp. $14.95, cloth. Constance Nash and Virginia Oakey. The Screenwriter's Handbook: What to Write, How to Write It, Where to Sell It. New York: Barnes and Noble Books, 1978. x + 149 pp. $3.95, paper. Wells Root. Writing the Script: A Practical Guide for Films and Television. New York: Holt, Rinehart and Winston, 1979. xvi + 210 pp. $5.95, paper. The avoidance of criticism Brian Henderson. A Critique of Film Theory. New York: E. P. Dut‐ton, 1980. 233 pp. $8.95. The self‐realized critic Beverle Houston and Marsha Kinder. Self and Cinema: A Trans‐formalist Perspective. Pleasantville, New York: Redgrave, 1980. 461 pp. $12.70. Lubitsch reconsidered Leland A. Poague. The Cinema of Ernst Lubitsch. South Brunswick and New York: A. S. Barnes, 1978. Robert Carringer and Barry Sabath. Ernst Lubitsch: A Research and Reference Guide. Boston: G. K. Hall, 1978. The cinema must answer to Hungarians Georges Sadoul. Panorama du cinéma hongrois. Paris: Les Éditeurs francais réunis, 1952. 62 pp., illustrated. István Nemeskürty. Word and Image: History of the Hungarian Cinema. Budapest: Corvina Press, 1974. 252 pp., illustrated. Graham Petrie. History Must Answer to Man: The Contemporary Hungarian Cinema. Budapest: Corvina Press, 1978. 284 pp., illustrated. Yvette Biró. Miklós Jancsó. Preface by Andrzej Wajda. Paris: Editions Albatros, 1977. 142 pp., illustrated. The British factual film of the 1930s Rachel Low. History of the British Film 7929‐39; Documentary and Educational Films of the 1930s. New York: R. R. Bowker, 1979. 244 pp. Rachel Low. History of the British Film 1929–39: Films of Comment and Persuasion of the 1930s. New York: R. R. Bowker, 1979. 256 pp. Crime marches on Carlos Clarens. Crime Movies: An Illustrated History. New York: W. W. Norton and Company, 1980. 351 pp. $16.95. World War II films: Three books in review Roger Manvell. Films and the Second World War. New York: Dell Publishing Company, 1974. 388 pp. Lawrence H. Suid. Guts & Glory: Great American War Movies. Reading, Massachusetts: Addison‐Wesley Publishing Company, 1978. 357 pp. Colin Shindler. Hollywood Goes to War: Films and American Society 1939–1952. London: Routledge & Kegan Paul, 1979. 152 pp.

Roger Manvell, The trial of Annie Besant and Charles Bradlaugh, London, Elek, 1976, 8vo, pp. xi, 182, £5.95.

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Book Reviews

Book review in this ArticleThe Spirit of Eastern Christendom (600–1700). [Volume II of The Christian Tradition: A History of the Development of Doctrine.] By Jaroslav Pelikan.A History of Medieval Spain. By Joseph F. O'Callaghan.Mysticism and Dissent. Religious Ideology and Social Protest in the Sixteenth Century. By Stephen E. Ozment.The King's Parliament of England. By George O. Sayles.Reform and Renewal. Thomas Cromwell and the Common Weal. By G. R. Elton.“No Standing Armies!” The Antiarmy Ideology in Seventeenth‐Century England. By Lois G. Schwoerer.Northumberland: The Political Career of John Dudley, Earl of Warwick and Duke of Northumberland. By Barrett L. Beer.Newcastle, A Duke without Money: Thomas Pelham‐Holles, 1693–1768. By Ray A. Kelch.The Duke of Newcastle. By Reed Browning.Bolingbroke and Harley. By Sheila Biddle.The Scottish Migration to Ulster in the Reign of James I. [Volume III of the Ulster‐Scot Historical Series.] By M. Perceval‐Maxwell.Cruel Habitations: A History of Working‐Class Housing, 1780–1918. By Enid Gauldie.Multi‐Storey Living: The British Working Class Experience. Edited by Anthony Sutcliffe.Mugwumps, Morals & Politics, 1884–1920. By Gerald W. McFarland.Labour in Irish Politics, 1890–1930: The Irish Labour Movement in an Age of Revolution. By Arthur Mitchell.Great Britain and the Caribbean, 1901–1913: A Study in Anglo‐American Relations. By Warren G. Kneer.From Poor Law to Welfare State. By Walter I. Trattner.Hankey: Man of Secrets. Volume II, 1919–1931. By Stephen W. Roskill.British Politics and Government, 1951–1970. A Study of an Affluent Society. By Mary Proudfoot.The Dutch in America, 1609–1974. By Gerald F. De Jong.Jefferson's Louisiana: Politics and the Clash of Legal Traditions. By George Dargo.The United States, 1789–1890. By William R. Brock.Patrician in Politics: Daniel Dewey Barnard of New York. By Sherry Penney.A Compromise of Principle: Congressional Republicans and Reconstruction, 1863–1869. By Michael Les Benedict.Downriver: Orrin H. Ingram and the Empire Lumber Company. By Charles E. Twining.Justice Accused: Antislavery and the Judicial Process. By Robert M. Cover.Mark Twain and the South. By Arthur G. Pettit.Travel on Southern Antebellum Railroads, 1828–1860. By Eugene Alvarez.History of the Atchison, Topeka and Santa Fe Railway. By Keith L. Bryant. Jr.Custer and the Epic of Defeat. By Bruce A. Rosenberg.Black Protest: Issues and Tactics. [Contributions in American Studies, no. 14.] By Robert C. Dick.The Shaping of Southern Politics: Suffrage Restriction and the Establishment of the One‐Party South, 1880–1910. By J. Morgan Kousser.Education and the American Indian: The Road to Self‐Determination, 1928–1973. By Margaret Szasz.Against the Specter of a Dragon: The Campaign for American Military Preparedness, 1914–1917. [Contributions in Military History, no. 7.] By John Patrick Finnegan.The Nazi Movement in the United States, 1924–1941. By Sander A. Diamond.Profiles of Creative Political Leaders: American Statesmen Who Were Great Writers. By Starr Jenkins.Eisenhower: Portrait of the Hero. By Peter Lyon.The John Doe Associates: Backdoor Diplomacy for Peace, 1941. By R. J. C. Butow.The Atomic Energy Commission. By Corbin Allardice and Edward R. Trapnell. [Praeger Library of U.S. Government Departments and Agencies.]The Institute of Pacific Relations: Asian Scholars and American Politics. By John N. Thomas.The United States and Latin America: An Historical Analysis of Inter‐American Relations. By Gordon Connell‐Smith.The Spanish‐American Revolutions, 1808–1826, A unified account of the revolutions that swept over South and Central America in the early nineteenth century. By John Lynch.From Cortés to Castro: An Introduction to the History of Latin America 1492–1973. By Simon Collier.Mallet du Pan (1749–1800): A Career in Political Journalism. By Frances Acomb.Revolution and Mass Democracy: The Paris Club Movement in 1848. By Peter H. Amann.Alexandre Ribot: Odyssey of a Liberal in the Third Republic. By Martin E. Schmidt.A Certain Eventuality: Britain and the Fall of France. By P. M. H. Bell.The French Against the French, Collaboration and Resistance. By Milton Dank.French Communism, 1920–1972. By Ronald Tiersky.Modern Turkey. By Geoffrey Lewis.Modern Turkey. By Geoffrey Lewis.The Agony of a Neutral: La Division Azul. By Raymond L. Proctor.The Soviets: The Russian Workers, Peasants, and Soldiers Councils, 1905–1921. By Oskar Anweiler. Translated from the German by Ruth Hein.From Bassermann to Bebel: The Grand Bloc's Quest for Reform in the Kaiserreich, 1900–1914. By Beverly Heckart.The Hundred Days to Hitler. By Roger Manvell and Heinrich Fraenkel.The Mythical World of Nazi War Propaganda, 1939–1945. By Jay W. Baird.Palace and Politics in Prewar Japan. By David Anson Titus.The Politics of Massacre: Political Processes in South Vietnam. By Charles A. Joiner.

Review Notices : The German Cinema. By Roger Manvell and Heinrich Fraenkel. London: J. M. Dent & Sons. 1971. xv + 159 pp. 163 half-tone illustrations. £3.00

Review Notices : The German Cinema. By Roger Manvell and Heinrich Fraenkel. London: J. M. Dent & Sons. 1971. xv + 159 pp. 163 half-tone illustrations. £3.00

Reviews of Books

Abstract Abstract The War in Korea. By General Matthew B. Ridgway. (Barrie & Rockliffe/Cresset.) 50s. MacArthur as Military Commander. By Gavin Long. (Batsford.) 63s. Communist Chinese Air Power. By Richard M. Bueschel. (Frederick A. Praeger, New York.) $6.95. People's War. The Conditions and the Consequences in China and in South-East Asia. By J. L. S. Girling. (George Allen and Unwin.) 45s. The Arms Trade in International Relations. By Lewis A. Frank. (Pall Mall.) 146s. The Suez Contractors. By Sir Norman Kipping. Introduction by Field-Marshal Sir Richard Hull. (Kenneth Mason Publications, Ltd.) 30s. End of an Illusion: A Critical Analysis of the Cold War Alliances. By James Avery Joyce. (Allen and Unwin.) 50s. The Body Politic. By Ian Gilmour. (Hutchinson). 70s. African Armies and Civil Order. By J. M. Lee. (Chatto and Windus.) 35s. The Great Divide. Britain-India-Pakistan. By H. V. Hodson. (Hutchinsons.) 84s. Middle East Politics: The Military Dimension. By J. C. Hurewitz. (Pall Mall.) 95s. Prague's 200 Days: The struggle for democracy in Czechoslovakia. By Harry Schwartz. (Pall Mall.) 50s. Victory in the West, Vol. II. The Defeat of Germany. By Major L. F. Ellis with Lt.-Col. A. E. Warhurst. (H.M.S.O.) 90s. Saturday at M.I.9. By Airey Neave. (Hodder and Stoughton.) 45s. The Battle for Rome. By W. G. F. Jackson. (Batsford.) 45s. U-Boat Intelligence. By R. M. Grant. (Putnam.) 50s. Marshal Zhukov's Greatest Battles. Edited by Harrison E. Salisbury. Translated by Theodore Shabad. (Macdonald.) £2 5s. The Canaris Conspiracy. By Roger Manvell and Heinrich Fraenkel. (Heinemann.) 50s. The Battle of the Java Sea. By David A. Thomas. (Stein and Day, New York.) 42s. The Siege of Leningrad. By Harrison E. Salisbury. (Secker & Warburg.) 84s. Royal Australian Navy 1942–1945. By G. Hermon Gill. (Angus Robertson.) 40s. AVIATION: British Military Aircraft Serials, 1912–1969. By Bruce Robertson. (Ian Allan.) 35s. A History of Marine Aviation. By John Killen. (Frederick Muller.) 50s. De Gaulle. By Aidan Crawley. (Collins.) 60s. Charles Parquin. (Military Memoirs). Edited by B. T. Jones. (Longmans.) 50s. The Subaltern: A Chronicle of the Peninsular War. By G. R. Gleig. (Leo Cooper.) 42s. Jack Tar: The story of the British sailor. By John Laffin. (Cassell.) 6s. With a Machine Gun to Cambrai: The tale of a young Tommy in Kitchener's Army, 1914–1918. By George Coppard. (H.M.S.O.) 6s.

Book Reviews : William A. Bluem and Roger Manvell, editors. Television: The Creative Experience: A Survey of Anglo-American Progress. New York: Hast ings House, 1967. 328 pp. $7.95

Book Reviews : William A. Bluem and Roger Manvell, editors. Television: The Creative Experience: A Survey of Anglo-American Progress. New York: Hast ings House, 1967. 328 pp. $7.95

Heinrich Himmler

Journal Article Heinrich Himmler Get access Heinrich Himmler. By Roger Manvell and Heinrich Fraenkel. London: Heinemann. 1965. 285 pp. Bibliog. Index. 30s. International Affairs, Volume 41, Issue 4, October 1965, Page 730, https://doi.org/10.1093/ia/41.4.730 Published: 01 October 1965

Literature of broadcasting: Books in review

SYMBOLOGY: THE USE OF SYMBOLS IN VISUAL COMMUNICATIONS (A Report on the Fourth Communications Conference of the Art Directors Club of New York). Edited by Elwood Whitney. New York: Hastings House (Communications Arts Books), 1960. 186 pp. $6.95. DESIGN IN MOTION. By John Halas and Roger Manvell. New York: Hastings House (Visual Communication Books), 1963. 160 pp. $13.50. THE PRODUCTION AND DISTRIBUTION OF KNOWLEDGE IN THE UNITED STATES. By Fritz Machlup. Princeton, New Jersey: Princeton University Press, 1962. xx + 416 pp. $7.50.

Films from Books and Plays

Films from Books and Plays Get access ROGER MANVELL ROGER MANVELL Search for other works by this author on: Oxford Academic Google Scholar ELT Journal, Volume XVII, Issue 3, April 1963, Pages 130–134, https://doi.org/10.1093/elt/XVII.3.130 Published: 01 April 1963

BOOK REVIEWS

Book reviewed in this article:Law in a Changing Society. By W. Friedmann.The Logic of Social Enquiry. By Quentin Gibson.Understanding Human Society. By Walter Goldschmidt.Henry Sidgwick and Later Utilitarian Philosophy. By William C. Havard.An Epic of Clare Market. By Janet Beveridge.The London School of Economics and its Problems 1919–1937. By Lord Beveridge.The Life and Times of Ernest Bevin. By Alan Bullock.The Observer and J. L. Garvin, 1908–1914. By Alfred M. Gollin.The Fall of Parnell, 1890–91. By F. S. L. Lyons.Assault at Arms. By General Sir Ronald Adam, BT., G.C.B., D.S.O., and Charles Judd, C.B.E.Defence: Policy and Strategy. By Air Vice‐Marshal E. J. Kingston–McCouchry, C.B., C.B.E., D.S.O., D.F.C.Science and Technology in Contemporary War. By General G. I. Pokrovsky.The Ministry of Labour and National Service. By Sir Godfrey Ince.German Electoral Politics: A Study of The 1957 Campaign. By Uwe Kitzinger.Doctor Goebbels; His life and death. By Roger Manvell and Heinrich Fraenkel.The Communist Party of The Soviet Union. By Leonard Schapiro.Nationalism. By Elie Kedourie.Land and Politics Among the Luguru of Tanganyika. By Roland Young and Henry Fosbrooke.East African Chiefs. Edited by Audrey I. Richards.Caste and Kinship in Central India. By Adrian C. Mayer.Nationalism and the Right Wing in Japan. By Ivan Morris.SHORTER NOTICESA Family of Friends. By Robert Allerton Parker.Essays In Labour History. In memory of G. D. H. Cole, September 25, 1889–January 14, 1959. Edited by Asa Briggs and John Saville.The World Co‐operative Movement. By Margaret Digby.Yearbook of International Trade Statistics 1958. Two volumes. Prepared by the Statistical Office of the United Nations Department of Economic and Social Affairs.Political Handbook of the World. Edited by walter H. Mallory.The Year Book of World Affairs 1959. Edited by George W. Keeton and Georg Schwarzenberger.

English Literature and the Film—III

English Literature and the Film—III Get access ROGER MANVELL ROGER MANVELL Search for other works by this author on: Oxford Academic Google Scholar ELT Journal, Volume XIV, Issue 3, April 1960, Pages 101–106, https://doi.org/10.1093/elt/XIV.3.101 Published: 01 April 1960

Review: The Techniques of Film Animation by John Halas, Roger Manvell

Review: The Techniques of Film Animation by John Halas, Roger Manvell