listen to britain
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for further details on listen to britain 2017 and to enter, please visit bfi net. work
listen to britain 2017 will again look to observe life in the united kingdom, seeking unique interpretations inspired by the original film and created by emerging filmmakers .
created in 1942, listen to britain was aimed at boosting morale during wwii and galvanising global support for the united kingdom. directed and edited by jennings and mcallister, listen to britain pioneered a new form of documentary film - making, engaging audiences in a way never been seen before .
the editing in listen to britain is trademark jennings: simple comparisons between scenes from everyday life and the manic, unreal struggle of the war effort .
to celebrate the 75th anniversary of listen to britain - humphrey jennings and stewart mcallister' s poetic collage of british life - bbc four is partnering with bfi net. work to offer the next generation of filmmakers an exciting opportunity to capture the diversity of modern britain .
it is clear sign of britain' s arrogance that people will be willing to come to the uk to be second class citizens .
humphrey jennings' s work for the crown film unit in the 1940s gives us a fascinating insight into britain during wartime. here, in a clip from his 1942 short film listen to britain, we get a glimpse of his talent for picking out the details in the lives of ordinary people that was acclaimed by the likes of lindsay anderson and kevin macdonald .
listen to rat: “jesus christ, man, i write this beautiful fucking letter, i slave over it, and what happens? the dumb cooze never writes back. ”
clash is a short experimental documentary critiquing the lack of diversity in on - screen representation in britain today .
humphrey jennings and stewart mcallister' s masterly collage of the various people and classes of britain - at home and at work, at war and at peace - is one of the great films of war - time britain .
archie baron, creative director at wingspan productions, says :
the original listen to britain remains such an inspiring and intriguing film - it’s simultaneously an observational essay, creative soundscape, film poem, and a piece of very british propaganda. but we live in such different times. i can’t wait to see how today’s new and emerging filmmakers respond imaginatively to the original. who knows? maybe they’ll even create works of their own which will come to embody britain in 2017 for those looking back 75 years hence .
open exclusively to new filmmakers, listen to britain 2017 will commission up to 12 documentary pieces, all of which will be considered for broadcast on bbc four and a special screening at bfi southbank. entries will be judged by a panel of industry experts from the bbc, bfi and award - winning wingspan productions. production awards of up to £5, 000 will be issued to fund, or part - fund, the successful submissions .
to
yield the prize ,
for
he rais' d a mortal to the skies ,
while
she drew an angel down
to listen to her. but dryden qualifies the victory of saint cecilia by offering an alternative ,
or both divide the crown
: dryden seems to identify with
old
cassian harrison, channel editor bbc four, says: “we are incredibly proud to be fostering new and innovative documentary talent on bbc four with our partners at bfi and wingspan productions. i see bbc four as a place to support new film - making that reflects the diverse country we live in. listen to britain 2017 perfectly fits this ethos and we are excited to see the dynamic films that result from this project. ”
“heaven was known to the ancients as thessaly, william, and now, with this war, the spirit matter is rolling between the hills like thunder. ” he paused, seemed to listen, smiled, jerked his head and continued: –
listen to britain - poetry, propaganda, myth and ambiguity... war’s early years that the public considered it “un - british to shove propaganda down your throat”, so jennings realised that he would have to take a different approach to succeed... jennings therefore chose to hide the propaganda with ambiguity... line’, in spite of ansley and anderson’s beliefs that poetry and propaganda were incompatible, and the use of poetry in relation to the constraints imposed by the audience and motivations of jennings ...
“just came to me, ” he whispered. “the moral, i mean. nobody listens. nobody hears nothing. like that fatass colonel. the politicians, all the civilian types, what they need is to go out on lp. the vapors, man. trees and rocks—you got to listen to your enemy. ”
“god’s truth, ” mitchell sanders said. “a six - man patrol goes up into the mountains on a basic listening - post operation. the idea’s to spend a week up there, just lie low and listen for enemy movement. they’ve got a radio along, so if they hear anything suspicious—anything— they’re supposed to call in artillery or gunships, whatever it takes. otherwise they keep strict field discipline. absolute silence. they just listen. ”
12: add the verbs
to be
,
to do
and
to allow
to the one i mention at 4 .
he plights his faith; and we believe him just his honour is to promise, ours to trust. thus britain' s basis on a word is laid, as by a word the world it self was made .
‘boys like us’: a cutting of ‘how the beatles changed britain’ (later titled ‘eight arms to hold you’), as originally published in the guardian weekend supplement, 2–3 november 1991 .
17 barbara bush ,
the history of blacks in britain: the 1930s ,
history today 31 (sep. 1981): 46 - 47 .
the amusing thing is that thatcher' s attempt to convert britain to an american - style business - based society has failed. it is not something that could possibly have taken in such a complacent and divided land, especially one lacking a self - help culture. only the immigrants in britain have it; they have much to fight for and much to gain through being entrepreneurial. but it' s as if no one else can be bothered – they' re too mature to fall for such ideas .
photograph of paul mccartney and george harrison by bob whitaker, printed alongside ‘how the beatles changed britain’ (later titled ‘eight arms to hold you’) in the guardian weekend supplement, 2–3 november 1991 .
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28 see tom nairn, the break - up of britain: crisis and neo - nationalism (london: verso, 1977 / 1981) 255 - 90 .
the full piece refers to others as well, and looks back as well to a recruitment ad from 1802 calling upon the men of manchester to join the army and travel at once to gibraltar. be sure to click through to check it out .
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images and sounds of wartime britain, including bud flanagan and chesney allen singing at a lunchtime concert at a munitions factory, and myra hess playing at the national gallery .
photograph of john lennon with his wife cynthia and son julian by bob whitaker, printed alongside ‘how the beatles changed britain’ (later titled ‘eight arms to hold you’) in the guardian weekend supplement, 2–3 november 1991 .
“if you wanted to stay indoors, why didn’t you say so? ” she grumbled to it. but the inspiration continued to sulk .
when britain’s national trust acquired slepe heath in dorset, the supposed inspiration for thomas hardy’s egdon heath, its spokesperson characterised the place in terms of atmosphere – it was, he said, “a place to lose yourself in” .
documentary, public information film, morale booster; propaganda film – all descriptions that apply to humphrey jennings and stewart mcallister' s extraordinary war - time film. using his customary combination of poetry and propaganda, jennings constructs a collage of the various people and classes of britain, at home and at work, at war and at peace. the result, while not overtly proselytising, sounded a clear clarion call to internal and international audiences to fight and save great britain from the onslaught of war .
the most famous example of the power of his associative montage is provided by the commentary - less listen to britain, an extraordinarily poetic evocation of daily life in britain at war, but also very striking is words for battle (1941), in which images of wartime britain are imaginatively counterpointed on the soundtrack by passages from milton, blake, browning, kipling and others. his feature length dramatised documentary, fires were started (1943), is equally resonant but also broke new ground for jennings in its use of a fictional narrative; in addition it is a remarkably authentic picture of london during the blitz and depicts its working - class characters in a notably unpatronising and naturalistic fashion, as does the silent village (1943), jennings' sombre re - creation of the destruction by the nazis of the czech village of lidice .
68 george padmore ,
how britain governs the blacks ,
negro anthology, ed. nancy cunard (new york: negro up, 1934 / 1969) 809 - 13 .
sergeant, sergeant, oh give back my stirrups to me, to me. sergeant, sergeant, oh give back my stirrups to me .
“yeah, but listen, it’s still true. those six guys, they heard wicked sound out there. they heard sound you just plain won’t believe. ” sanders pulled on his rucksack, closed his eyes for a moment, then almost smiled at me .
listen to britain' s title might suggest a strong sound element. there are the very recognisable sounds that one might expect in a wartime film: the evocative thunder of the 1000 horse power rolls royce merlin engines of spitfires and lancasters, the cacophony of wartime heavy industry - tank factories, steel works, steam trains - but also the sounds of music; the egalitarian free classical music concerts, and radio; workers' play time, flanagan and allen performing live at a lunchtime factory concert .
a well - to - do woman is unable to answer her child’s cries due to a coughing fit, in this exaggerated anti - smoking advert .
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national archives and records administration listen to britain office for emergency management. office of war information. overseas operations branch. new york office. news and features bureau. (12 / 17 / 1942 - 09 / 15 / 1945) arc identifier 38651 / local identifier 208. 18. consists of miscellaneous british scenes and sounds that illustrate her wartime activities. these scenes and sounds include singing by women ambulance drivers and by service men at a canteen, war production at factories, lunchtime symphony concerts, and airplane detection units at work .
[ we ] can help to stimulate the growing consciousness of the blacks... [ and ] to learn from the black masses the lessons of the profound experiences that they accumulate in their daily toil, to point out certain pitfalls that may be avoided, to co - ordinate information and organization, to do an incessant propaganda in every quarter of britain, exposing the evils, pressing such remedies as are possible, and mobilising whatever assistance there is to be found in europe for the cause of african emancipation. 60
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when belgium in her dire need appealed to great britain to carry out her pledge, that country’s course was clear. she had either to break faith, letting the sanctity of treaties and the rights of small nations count for nothing before the threat of naked force, or she had to fight. she did not hesitate, and we trust she will not lay down arms till belgium’s integrity is restored and her wrongs redressed .
a depiction of life in wartime england during the second world war. director humphrey jennings visits many aspects of civilian life and of the turmoil and privation caused by the war, all without narration. the title is literal - - the director is asking us to
listen
to
britain
. not necessarily its people, and not the narration of someone telling us how to feel. just the sound of the radio, the airplane, and anything else going on in daily life during the war. they even dance to
roll out the barrel
, though in some weird circular slow dance style rather than the polka version i know and love. this is probably considered humphrey jennings' masterpiece. that may be a fair assessment .
10 on this point, see kenneth little, negroes in britain: a study of racial relations in english societ y (london: routledge and kegan paul, 1948 / 1972); edward scobie, black britannia: a history of blacks in britain (chicago: johnson publishing, 1972). two recent and more comprehensive books that address the experiences of the black communities in london during this period are gretchen gerzina, black england: life before emancipation (london: john murray, 1995), and norma myers, reconstructing the black past: black in britain c. 1780 - 1830 (london: frank cass, 1996) especially chapter 3 .
11 a quantitative social history of this population remains woefully underresearched. see fryer, staying power; ron ramdin, the making of the black working class in britain (aldershot: gower publishing, 1987) 16 - 20 .
35 stedman jones 281 - 314; also, see jenny bourne and a. sivanandan ,
cheerleaders and ombudsmen: the sociology of race relations in britain ,
race and class xxi. 4 (spring 1980) .
to my honour' d friend, dr charleton ,
in chorea gigantum, or the most famous antiquity of great - britain, vulgarly called stone - heng, standing on salisbury plain, restored to the danes, by walter charleton (london: printed for henry herringman, 1663 [ i. e. , 1662 ]) .
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there has been a black community in britain for over five hundred years. the maritime explorations of west africa from the fifteenth century onwards gradually brought that continent and its people to the active attention of the europeans. by the 1500s, a black presence in britain was perceived as inevitably
troublesome
a contaminant within the body politicand was defined increasingly as a social
problem
to be solved by repatriation. in 1596, in a letter to the lord mayor of london, queen elizabeth i protested that there were of late
divers blackamoores brought into these realms, of which kind there are already here to manie... .
7 a 1601 royal proclamation pronounced that the queen was
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there was one independent squadron operating elsewhere at the outbreak of the war: admiral maximilian von spee ‘s german east asia squadron, which had been based out of tsingtao in china. with the declaration of war, however, and japan’s decision to enter on the side of great britain, the then - at - sea squadron could not return to port and was forced to flee. vastly outnumbered and with few options (other german colonies and ports in the area having been swiftly seized), von spee decided to take his ships into the atlantic to subject allied shipping to their predations until better opportunities came along. it was also hoped that they’d be able to dock at valparaiso in chile to refuel and rearm .
in the end, of course, a true war story is never about war. it’s about the special way that dawn spreads out on a river when you know you must cross the river and march into the mountains and do things you are afraid to do. it’s about love and memory. it’s about sorrow. it’s about sisters who never write back and people who never listen .
54 during the period 1880 - 1950, there was operating in britain a black press consisting of over a dozen publications that were predominantly black - edited and black - controlled / owned and included newspapers, periodicals, organizational newsletters, etc. a good summary of these materials is roderick macdonald ,
the wisers who are far away: the role of londons black press in the 1930s and 1940s ,
essays on the history of blacks in britain: from roman times to the mid - twentieth century, eds. jahdish s. gundara and ian duffield (avebury: ashgate publishing, 1992) 150 - 72. a fuller examination can be found in ionie benjamin, the black press in britain (stoke - on - trent: trentham books, 1995) .
for example, the refrain to paul a. reuben’s popular “we don’t want to lose you” (1914) ran thus :
the next installment in this series will be up later this week! be sure to check in again closer to friday .
position, the more he came to doubt the church of england' s claim to authority. by the time he wrote
it was 1968 and i was 13. for the first time in music appreciation classes we were to listen to the beatles' ‘she' s leaving home’, with the bass turned off. the previous week, after some brahms, we' d been allowed to hear an elton john record, again bassless. for mr hogg, our music and religious instruction teacher, the bass guitar ‘obscured’ the music. but hearing anything by the beatles at school was uplifting, an act so unusually liberal it was confusing .
and that leads me on to the second main area i would like to address - and those are the wider challenges presented to so - called
traditional
media by social media .
“i looked at the long grey street, and for a moment it seemed to me to be exactly like the long grey neck of a horse flung up to heaven. but in a moment my sanity returned, and i said, 'but this is all nonsense. streets go to the place they have to go. a street must always go to its end. ’
biographers will never ascertain just why dryden converted, and critics will probably always accuse him of being a trimmer. but there is a logic to his conversion if one studies his works. they are preoccupied with the need for political stability and the concomitant necessity of loyalty to de jure monarchs, whose titles are inherited through primogenitive patrilinearity. as dryden shifted from his early optimism concerning britain' s future as an expansionist imperial power to his defensive posture with regard to the principle of succession amid threats of civil war, his own loyalty to james and to unbroken succession grew stronger. it appears that the more he examined his
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often in a true war story there is not even a point, or else the point doesn’t hit you until twenty years later, in your sleep, and you wake up and shake your wife and start telling the story to her, except when you get to the end you’ve forgotten the point again. and then for a long time you lie there watching the story happen in your head. you listen to your wife’s breathing. the war’s over. you close your eyes. you smile and think, christ, what’s the point ?
and endorse it they did. the authors’ declaration had boasted fifty - three of the biggest names in literary and academic britain; the drafters of the german manifesto, not to be outdone, brought together ninety - three such persons in addition to a host of internationally renowned scientists, theologians, musicians and artists. the list of signatories included no fewer than ten nobel laureates .
,
died only to be
translate [ d ]
to heaven. moreover, the person praised is a poet - - and a woman to boot. dryden uses the occasion to apotheosize art itself. anne is a beatrice, a descendant of
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for some inexplicable reason government concern over immigration centres on' net' immigration - meaning that exporting uk citizens helps as much as not importing foreigners. if exporting uk citizens becomes less attractive because of the falling pound this will make may' s target even harder to achieve. of course encouraging grumpy old brexiters to leave a britain they apparently no longer much like could have other benefits ...
“i got a confession to make, ” sanders said. “last night, man, i had to make up a few things. ”
however, now i' d like to add just a little context to the growth of social media for the audiences of bbc news .
8 fryer 4 - 12. see also, paul edwards ,
the early african presence in the british isles ,
essays on the history of blacks in britain: from roman times to the mid - twentieth century, eds. jahdish s. gundara and ian duffield (avebury: ashgate publishing, 1992) 9 - 29 .
filmmakers will be given freedom to select their style, content and tone, with films limited to two to ten minutes in duration. the project will be co - ordinated, supported and managed by wingspan productions .
the treaty with belgium made our duty clear, but many of us feel that, even if belgium had not been involved, it would have been impossible for great britain to stand aside while france was dragged into war and destroyed. to permit the ruin of france would be a crime against liberty and civilization. even those of us who question the wisdom of a policy of continental ententes or alliances refuse to see france struck down by a foul blow dealt in violation of a treaty .
when these efforts failed great britain had still no direct quarrel with any power. she was eventually compelled to take up arms because, together with france, germany, and austria, she had solemnly pledged herself to maintain the neutrality of belgium. as soon as danger to that neutrality arose she questioned both france and germany as to their intentions. france immediately renewed her pledge not to violate belgian neutrality; germany refused to answer, and soon made all answer needless by her actions. without even the pretense of a grievance against belgium she made war on the weak and unoffending country she had undertaken to protect, and has since carried out her invasion with a calculated and ingenious ferocity which has raised questions other and no less grave than that of the willful disregard of treaties .
on the fifth day an abased and dejected ivy confided to her old governess that she didn’t believe she knew how to write a short story .
while tynan made brecht acceptable to the british theatrical establishment, he also hampered his reception somewhat by assuming that audiences had to share brecht' s anti - capitalism in order to embrace the plays. in the 1970s—and with extra vigour in the thatcherite 1980s—the emphasis in staging brecht in britain was on his political critique at the expense of the epic sweep of the dramas, the songs and jokes and the sheer delight in story - telling. the excessive emphasis on brecht' s marxism (“a highly personalised version”, as george steiner has noted) was sometimes peculiar. the introduction to the methuen edition of his letters includes an encomium to the
sanders was quiet for a second, just working the yo - yo, then he smiled at me. “so, after a couple days the guys start hearing this real soft, kind of wacked - out music. weird echoes and stuff. like a radio or something, but its not a radio, it’s this strange gook music that comes right out of the rocks. faraway, sort of, but right up close, too. they try to ignore it. but it’s a listening post, right? so they listen. and every night they keep hearing this crazyass gook concert. all kinds of chimes and xylophones. i mean, this is wilderness—no way, it can’t be real—but there it is, like the mountains are tuned in to radio fucking hanoi. naturally they get nervous. one guy sticks juicy fruit in his ears. another guy almost flips. thing is, though, they can’t report music. they can’t get on the horn and call back to base and say, ‘hey, listen, we need some firepower, we got to blow away this weirdo gook rock band. ’ they can’t do that. it wouldn’t go down. so they lie there in the fog and keep their months shut. and what makes it extra bad, see, is the poor dudes can’t horse around like normal. can’t joke it away. can’t even talk to each other except maybe in whispers, all hush - hush, and that just revs up the willies. all they do is listen. ”
71 see roderick macdonald ,
the wisers who are far away: the role of londons black press in the 1930s and 1940s ,
essays on the history of blacks in britain: from roman times to the mid - twentieth century, eds. jahdish s. gundara and ian duffield (avebury: ashgate publishing, 1992) 150 - 72 .
“yes; if it’s not too much. ” the lance - corporal became eloquent. “to remember you by, and all your kindness; we want to know if you won’t give one to each of us — ”
whatever the world destiny of germany may be, we in great britain are ourselves conscious of a destiny and a duty. that destiny and duty, alike for us and for all the english - speaking race, call upon us to uphold the rule of common justice between civilized peoples, to defend the rights of small nations, and to maintain the free and law - abiding ideals of western europe against the rule of “blood and iron” and the domination of the whole continent by a military caste .
27 on this point, see barbara j. fieldss arguments in
ideology and race in american history ,
region, race and reconstruction: essays in honor of c. vann woodward, eds. j. morgan kousser and james m. mcpherson (new york: oxford up, 1982); and ,
slavery, race and ideology in the united states of america ,
new left review 181 (may / jun. 1990); see, also, hazel v. carby ,
white woman listen! black feminism and the boundaries of sisterhood ,
the empire strikes back: race and racism in 70s britain (london: hutcheson press, 1982) .
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straight - talking anti - smoking promo, which introduces us to janice, a 51 - year - old woman who uses a ventilator to breathe .
here they come, here they come, second of foot but second to none. here they come, here they come, second of foot but second to none. bullshit, bullshit, covered from head to foot in it. bullshit, bullshit, covered from head to foot in it .
losing yourself is, of course, the whole point of fiction. and if the writer is aiming to destabilise readers, to conjure a sense of dissonance and unease, where better to take them than a wild place ?
at least, lennon wanted to do this. in the 70s, the liberation tendencies of the sixties bifurcated into two streams – hedonism, self - aggrandisement and decay, represented by the stones; and serious politics and self - exploration, represented by lennon. he continued to be actively involved in the obsessions of the time, both as initiate and leader, which is what makes him the central cultural figure of the age, as brecht was, for instance, in the 30s and 40s. but to continue to develop, lennon had to leave the containment of the beatles and move to america. he had to break up the beatles to continue to lead an interesting life .
no terror to my view, no frightful face of danger can be new. inur' d to suffer, and resolv' d to dare, the fates, without my pow' r, shall be without my care .
despite this royal edict, the black community increased. during the seventeenth and eighteenth centuries, it was fashionable for titled and propertied english families to have black slaves as part of their household staff. 9 more than any proclivity on the part of the british aristocracy, however, the increased black population in britain during this time was a result of increased white settlement of the west indies and the explosive expansion of the slave trade. the
triangular trade
involved the capture of greater numbers of africans and their shipment from their homelands to the new world. trading ships returning to england carried tropical fruits and, not infrequently, a
coffle of slaves ,
as did the ships bearing planters, sailors, and military and government officials returning to england for their retirement. by 1770, the black population in london was estimated to be between 14, 000 and 20, 000; for britain as a whole, it was estimated at between 40, 000 and 50, 000. 10
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in july 1956, a few weeks before the berliner ensemble' s first british tour, bertolt brecht died of a stroke. he left instructions to the actors at his theater am schiffbauerdamm in east berlin. the english, he said, expected german drama to be heavy and plodding. “therefore our playing will need to be quick, light and strong. ” he was right about british fears. even after kenneth tynan' s enthusiastic benedictions of the ensemble' s performances, the reception of brecht in britain has always been troubled and quarrelsome .
i want to turn now to a consideration of the interstices of race, gender, and class variables in late - nineteenth - and early - twentieth - century britain. despite my specific focus on a black, mainly middle - class intelligentsia, the predominantly working - class status of blacks within english society is especially significant to the evolution of racialist ideologies. barbara fields posits that race and genderand i would add classare interdependent and socially constructed. 27 in highly class - conscious britain, these characterizations constitute, as well, social hierarchies which, in turn, gave rise to master narratives and discourses. these narrative discourses could be and were crafted and deployed by one group with the intent of subordinating the other. importantly, the discourses of british racialism were predicated, in part, on preconceived attitudes toward distinctions of class. a 1894 issue of the english race, an ideological journal published by the royal society of st. george, read :
these debates were inflamed during the race riots that followed the end of world war i. during 1919 and 1920 ,
disturbances
visited nearly every port town where a black community resided, prompting government calls for deportation. discharged white soldiers who were resentful of and bitter over the scarcity of employment directed their frustrations and hostilities against the black workers. accusations of
stealing
whites jobs were accompanied by charges of
stealing
whites women, renewing historically long - lived fears of miscegenation. 14 despite the accusations of demobilized soldiers, most members of the black workforce lost their positions to the returning white veterans. indeed, the circumstances were so dire in many instances that some individuals and families felt they had no choice other than to leave britain. most of the newer immigrants, howeverif questionedconsidered themselves british subjects and chose, when possible, to remain in britain .
during these centuries of colonial domination and exploitation, the imperialists of britain can truly be said to have learnt the art of governing.  their policy is a dual one. on the one hand, they maintain their domination over the colonial masses through deceit, hypocrisy and corruption. and when these methods fail, brute force and terrorism, backed up by machine guns and bombing planes are brought into action in order to maintain the authority and prestige of these white overlords. 68
the editor sent a heavily - marked copy to miss spang, who was immensely flattered, and felt that at last she had been understood. but nobody she knew read “zig - zag, ” and nobody who read “zig - zag” seemed to care to know her. so nothing in particular resulted from this tribute to her genius .
the royal navy was greatly concerned by the threat von spee’s squadron posed to the pacific theatre, but also with the above possibility of it making its way around the cape to enter the atlantic. rear - admiral christopher cradock ‘s south atlantic squadron was given orders to take up the hunt. cradock was given considerable operational leeway, and decided that it would be best to split the squadron into two patrols, the one to sail up and down the western coast of chile from the cape to valparaiso, the other to patrol the southern coast of argentina. cradock and his flagship, hms good hope, accompanied the western patrol — both were going to their death .
and bowing slightly to the mustard - pot, the man in the restaurant withdrew .
“oh, ” she gasped, trying to readjust her carefully acquired theory of esthetics .
to my dear friend mr. congreve on his comedy call' d the double dealer
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the nineteenth century brought great upheaval to western societies. democratic ideals and the industrial revolution swept through europe and changed the daily lives of citizens at all levels. struggles between the old world order and the new were the root causes of conflicts from the napoleonic wars to the american civil war. from new york, to london, to vienna, the world was changing and the consequences can still be felt to this day .
how has social media changed the way newsrooms work ?
it would seem they have possibly affected people' s ability to conjugate the verb
to have
.
' 12. at 08: 33 11th sep 2011, lastsong - anonymity yet ability to comment unfettered leads to libel and trash talking and there is no responsibility to prove or check what you are writing. no doubt. but not exclusive to areas, and people that still those in the msm try and paint as such exclusively. urltoken
jennings employed his surrealist imagination in his observation of working - class leisure pursuits in pre - war britain in spare time (1939). with its intermittent, minimalist commentary, a music track that often bears little obvious relationship to the images, and a perfunctory, snapshot - like mise - en - scène, the film is a far cry from the realism of a documentary such as housing problems (d. arthur elton / edgar anstey 1935) and was disliked by the documentary traditionalists, who mistook its refusal to ennoble its working - class subjects as an attempt to satirise them .
the ponderous woman looked through the pattern of falling words at the flowers standing cool, firm, and upright in the earth, with a curious expression. she saw them as a sleeper waking from a heavy sleep sees a brass candlestick reflecting the light in an unfamiliar way, and closes his eyes and opens them, and seeing the brass candlestick again, finally starts broad awake and stares at the candlestick with all his powers. so the heavy woman came to a standstill opposite the oval - shaped flower bed, and ceased even to pretend to listen to what the other woman was saying. she stood there letting the words fall over her, swaying the top part of her body slowly backwards and forwards, looking at the flowers. then she suggested that they should find a seat and have their tea .
based on who voted to leave, what would make sense is for the eu to demand having its own workers back, but allow those from great britain to remain in the eu. . i had previously suggested that the eu encourage immigration from the united states, which has a shortage of walkable, transit - served cities, due to the eu' s demographic challenges. . speaking as an american, i can tell you that immigration works like this. the first generation lives in enclaves where it speaks its native language and shops at stores providing familiar goods, but the children attend local schools and assimilate. you get a confirmed citizen of your country in two generations .
jane austen. you may have heard of her. she wrote a book called pride and prejudice, later made famous by dashing actor colin firth and his wet shirt. many americans still want her autograph and others ask questions as to whether she might be enjoyed by male readers, the answer to which may seriously cause me concerns regarding my sexual and gender identity. austen refuses to throw any conan the barbarian - like bones to her male readership, who are going to have to take it on trust that their peni
in brief, the authors’ declaration of sept. 1914 was a manifesto, signed by fifty - three of the most prominent british novelists, poets, dramatists and scholars, which declared in unambiguous terms that the german invasion of belgium the previous month had been a crime, and that britain “could not without dishonour have refused to take part in the present war. ” the declaration was one of the earliest efforts of the nascent war propaganda bureau to craft a coherent intellectual message in support of the war effort .
click here to subscribe: urltoken waltz for george by public service broadcasting. the final track from public service broadcasting' s ep' the war room'. released on may 28 2012 on test card recordings. footage from' listen to britain' is (c) bfi national archive / coi and used with kind permission. j. willgoose, esq. and wrigglesworth sample old public information films and archive material and set them to new music. live, the films are screened simultaneously as laptops are fiddled with, drums are pounded, theremins are wafted at, guitars are bashed and banjos furiously plucked. teaching the lessons of the past through the music of the future. uk - itunes: urltoken cargo records: urltoken order the cd / vinyl / dvd from our online shop: urltoken usa - itunes: urltoken... amazon: urltoken stream: urltoken check out our official website: urltoken + 1 on google plus: urltoken like us on facebook: urltoken follow us on twitter: urltoken follow us on soundcloud: urltoken follow us on instagram: urltoken
12 these questions were raised in the 1772 somerset case. see david brion daviss book the problem of slavery in the age of revolution (ithaca: cornell up, 1975) 479 - 501. also, see douglas a. lorimer ,
black resistance to slavery and racism in eighteenth century england ,
essays on the history of blacks in britain: from roman times to the mid - twentieth century, eds. jahdish s. gundara and ian duffield (avebury: ashgate publishing, 1992) 58 - 80 .
my father was an important member of the community in church and state. we were british and proud of it... . all education from kindergarten to university in freetown was english. so was history, inc 1066 & all that school children learnt. the whole empire pledged their troth annually by sitting to the same senior school leaving certificate of cambridge, with the option of london matriculation & oxford being available. we know the geography of britain & europe better than that of our own country... . 19
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from the brontës to dorothy and william wordsworth, literary siblings challenge assumptions of lonely genius .
the photograph was really too charming to be wasted, and ivy, feeling herself forced onward by an inexorable fate, sat down again to battle with the art of fiction. her perseverance was rewarded, and after a while the fellow authors (though mademoiselle disclaimed any right to the honors of literary partnership) arrived at what seemed to both a satisfactory result .
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5 see cedric robinson, black marxism: the making of the black radical tradition (london: zed books, ltd. , 1983) 369 - 80; robinson ,
black intellectuals at the british core: 1920s1940s ,
essays on the history of blacks in britain: from roman times to the mid - twentieth century, eds. jahdish s. gundara and ian duffield (avebury: ashgate publishing, 1992) 173 - 201 .
60 editorial, international african opinion 1. 1 (jul. 1938): 1. reported in roderick macdonald ,
the wisers who are far away: the role of londons black press in the 1930s and 1940s ,
essays on the history of blacks in britain: from roman times to the mid - twentieth century, eds. jahdish s. gundara and ian duffield (avebury: ashgate publishing, 1992) 150 - 72 .
fortunately, the british school system can be incompetent, liberal and so lacking in self - belief that it lacks the conviction to crush the creativity of young people, which does, therefore, continue to flourish in the interstices of authority, in the school corridor and after four o' clock, as it were. the crucial thing is to have education that doesn' t stamp out the desire to learn, that attempts to educate while the instincts of young people – which desire to be stimulated but in very particular things, like sport, pop music and television – flower in spite of the teacher' s requirement to educate .
she had heard a good deal about not allowing one’s self to be “influenced, ” about jealously guarding one’s originality, and so forth; the editor of “zig - zag” had been particularly strong on that theme. but her story had to be written, and she didn’t know how to begin it; so she decided just to glance casually at a few beginnings .
after a day’s brooding over “fact and fiction, ” she decided to begin on the empiric system. (“it’s sure to come to me as i go along, ” she thought .) so she sat down before the mauve paper and wrote “a shot rang out — ”
at first, in that heavy text, on those heavy pages, it seemed to her a pitifully small thing, hopelessly insignificant and yet pitilessly conspicuous. it was as though words meant to be murmured to sympathetic friends were being megaphoned into the ear of a heedless universe .
' 20. at 14: 08 13th sep 2011, lastsong - there must be intense pressure on media channels (only so called free in the so called free world) to block out news that is inconvenient to the power blocs. of that, no doubt. hence being' sensitive' to being told that is not the case, often, when bending to such pressures, either in agreement or to spite them seems pretty much clear and present .
if prior to 1880 englishness was construed primarily within constitutional parameters, the post - 1880
traditions
relating to identity were reinvented to emphasize a celebratory sense of moral and cultural superiority, skin color, 20 the english language, and the popular ideals of freedom. freedom, as it was represented by nineteenth - century liberalism, was characterized as
an ideal force... [ located ] deep within the national character, and capable of universal dissemination as englands special gift to the world ,
21 and, above all, to her colonies. englishness became linked inseparably to
otherness ,
and the former became a
peculiarity
that was determined by relationship rather than by classification. in his pivotal examination of the concepts of orientalism, edward said posits that during the last two decades of the nineteenth century the efficacy of the dominant version of englishness resided in its ability to represent both itself to others and those others to themselves. 22 or, as is argued, the potency of englishness lay in its ability to recognize, to interpret, and, i would maintain, to contrive .
to collect herself, she decided to remain a while in the ward, serving tea to the soldiers and n. c. o. ’s before venturing into number 5, which the previous week had been occupied only by a polo - player drowsy with chloroform and uninterested in anything but his specialty. think of harold harbard lying in the bed next to that man !
gothic literature was thriving when many advances were taking place and much of the world was in chaos. thanks to the industrial revolution (1760 - 1840), changes were evident throughout society in areas including technology, education, culture, medicine, and the economy. in great britain human labor was being replaced with powered machinery and iron and coal were supplanting wood. capitalism was on the rise, and during this historic era all aspects of society were altered.
listen to britain is a 1942 british propaganda short film by humphrey jennings and stewart mcallister . the film was produced during world war ii by the crown film unit , an organisation within the british government 's ministry of information to support the allied war effort . the film was nominated for the inaugural academy award for documentary feature in 1943 , but lost against four other allied propaganda films . it is noted for its nonlinear structure and its use of sound . 
listen to britain is a 1942 british propaganda short film by humphrey jennings and stewart mcallister. the film was produced during world war ii by the crown film unit, an organisation within the british government's ministry of information to support the allied war effort. the film was nominated for the inaugural academy award for documentary feature in 1943, but lost against four other allied propaganda films. it is noted for its nonlinear structure and its use of sound.
listen to britain is a 1942 british propaganda short film by humphrey jennings and stewart mcallister. the film was produced during world war ii by the crown film unit, an organisation within the british government's ministry of information to support the allied war effort. the film was nominated for the inaugural academy award for documentary feature in 1943, but lost against four other allied propaganda films. it is noted for its nonlinear structure and its use of sound.