SCREEN-L Archives

September 1998, Week 2


Options: Use Monospaced Font
Show Text Part by Default
Show All Mail Headers

Message: [<< First] [< Prev] [Next >] [Last >>]
Topic: [<< First] [< Prev] [Next >] [Last >>]
Author: [<< First] [< Prev] [Next >] [Last >>]

Print Reply
Leo Enticknap <[log in to unmask]>
Reply To:
Film and TV Studies Discussion List <[log in to unmask]>
Mon, 14 Sep 1998 14:14:10 +0400
TEXT/PLAIN (34 lines)
On Thu, 10 Sep 1998 10:08:21 -0500 Scott Hutchins <[log in to unmask]> wrote:
> The other day I purchased the soundtrack for _The Thin Blue Line_, and I
> noticed that it listed a production designer among the credits.  I was
> wondering how someone could be a production desginer on this sort of film
> which uses all real-life sets, buildings, etc, just as they are in life,
> save for how Morris shows them.  Would it be a token/union mandate job in
> this case?
You might like to have a look at Edward Carrick's book "Art and Design in the
British Film" (London, 1947).  Carrick was an art director who worked on a
variety of films, including many of the "story documentaries" of the British
documentary movement during the war (e.g. "Target for Tonight", "Close
Quarters").  In the book he argues that design work for documentries had moved
from a form of glorified location scouting to a role which was more closely
aligned with that of the studio designer.  He also attacks leading documentary
directors for what he calls their "slavish insistence" on supposedly authentic
locations, arguing that he could create the "same" thing a lot more effectively
in a studio.
Leo Enticknap
Postgraduate Common Room
(newly renamed) School of English
University of Exeter
Queen's Building, The Queen's Drive
Devon EX4 4QH
United Kingdom
email: [log in to unmask]
To sign off SCREEN-L, e-mail [log in to unmask] and put SIGNOFF SCREEN-L
in the message.  Problems?  Contact [log in to unmask]