Martin Stollery
Biographic Data
| ID | 3043181 |
|---|---|
| NAME | Martin Stollery |
| GIVEN NAMES | Martin |
| FAMILY NAME | Stollery |
| SIGNATURE | STOLLERY M |
| AFFILIATIONS | Independent researcher |
| ORCID | 0000-0001-9561-298X |
| VERIFIED | Yes |
| TOTAL WORKS | 17 |
| TOTAL CITATIONS | 7 |
| WORKS AS AUTHOR | 17 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 1993 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 2 |
Angus MacPhail
This article is the first extended analysis of British screenwriter Angus MacPhail’s long-term, albeit intermittent, collaboration with Alfred Hitchcock between the 1920s and 1950s. It contributes to the debates about authorship which have been a feature of Hitchcock scholarship since the 1950s. MacPhail first worked with Hitchcock within the British studio system during the 1920s and 1930s and Hitchcock chose to continue their collaboration afte…
Paul Rotha at the BBC and The World Is Ours revisited
This article reassesses Paul Rotha’s tenure as BBC television’s Head of Documentaries (1953–55), primarily by reconsidering his signature television series, The World Is Ours (1954–56), as a more hybrid and collaborative production than has hitherto been acknowledged. It relates Rotha’s BBC work to the British documentary film movement’s embrace of a specific variant of postwar internationalism, to the changing style of his preceding film project…
The Myth of Stalin and the Death of Hitler
This essay explores aspects of the transnational and transhistorical impact of The Fall of Berlin (Padenie Berlina, Mikheil Chiaureli, 1949). Although the film is late Stalinist propaganda, and an outstanding manifestation of the Stalin personality cult, it cannot be reduced to those descriptors. It has had an ongoing impact upon viewers within different cultural contexts who do not necessarily subscribe to its politics. André Bazin’s seminal, fr…
New Themes for the Bold
The POOL group, active in the late 1920s and early 1930s, whose core members comprised the modernist poet H. D. (Hilda Doolittle), writer and modernist patron Bryher, and the writer and film maker
Angus MacPhail's Frozen Credits
This article, taking its cue from Charles Drazin's pioneering work, is the first extended analysis of the career of British screenwriter Angus MacPhail, described as one of the key figures who helped to lay the groundwork for the golden age of British cinema. MacPhail worked as scenario editor for producer Michael Balcon at the leading British studios Gainsborough, Gaumont-British and Ealing from the late 1920s to the late 1940s. The article cons…
Josephine Botting, Adrian Brunel and British Cinema of the 1920s
The reader can never be sure what’s going to come next”
Oswell Blakeston's four now largely forgotten travel books, Portuguese Panorama (1955), Isle of St. Helena (1957), Sun at Midnight: Finland Holiday (1958), and Thank You Now: An Exploration of Ulster (1960), warrant the attention of contemporary scholars of travel writing. This article outlines how Blakeston's writing about his travels, or holidays, further illuminates contemporary historical explorations of the continuum, rather than categorical…
Peasants and Partisans, Stranger Selves
This essay is the first detailed critical analysis of Pebbles from My Skull/ Carlino (1963/1985), Stuart Hood’s account of the 1943/4 period he spent fighting as part of the Italian Resistance. It situates Hood’s work in relation to the prevailing ‘Colditz Myth’ associated with British Second World War prisoner of war escapees and the conceptions of England and Europe underlying this myth. It also considers Hood’s ‘memoir project – the self-refle…
The Hideous Difficulty of Recreating Nazism at War’
This essay offers an alternative perspective on the history of British prisoner-of-war (POW) film cycle of the 1950s and early 1960s, with a particular focus on The Wooden Horse (Jack Lee, 1950). Following Dilys Powell, these films have often been understood as variations on the British tradition of public school stories, where schoolboys become ingenious escapers and German captors stand in for the ultimately outwitted prefects or masters. Witho…
John Grierson’s ‘First principles’ as origin and beginning
Journal Article John Grierson's 'First principles' as origin and beginning: the emergence of the documentary tradition in the field of nonfiction film Get access Martin Stollery Martin Stollery Search for other works by this author on: Oxford Academic Google Scholar Screen, Volume 58, Issue 3, Autumn 2017, Pages 309–331, https://doi.org/10.1093/screen/hjx027 Published: 15 September 2017
The newsreel commentator, the actor, the intellectual, and the broadcaster
This paper explores some hitherto overlooked intersections between British documentary of the 1930s and 1940s and celebrity culture. It does so through the analysis of voice-over commentary in a range of different films from this period. There is currently an opening for new types of scholarship in this area of film history because many previously unavailable British documentaries, including the majority of those discussed in this paper, have rec…
Shadows of Progress
The British documentary movement of the 1930s and 1940s casts a long shadow. The British Film Institute's Shadows of Progress project is a sustained attempt to shed light on over twenty-five years of postwar documentary filmmaking that has been obscured by this shadow. The material collected under this title comprises an edited collection of new essays on postwar British documentary filmmakers, with extensive contextual material by editors Patric…
DVD Reviews
I Shot Jesse James (1949) USA Director Samuel Fuller Screenplay Samuel Fuller Producer Carl K. Hittleman Director of Photography Ernest Miller Film Editor Paul Landres Art Director Frank Hotaling Costume Designer Alfred Berke Music Albert Glasser With Preston Foster (Kelley), Barbara Britton (Cynthy), John Ireland (Bob Ford), Reed Hadley (Jesse James), J. Edward Bromberg (Kane), Victor Kilian (Soapy), Tom Tyler (Frank James), Tom Noonan (Charles …
Another Look at Third Cinema
Masculinities, generations, and cultural transformation in contemporary Tunisian cinema
Journal Article Masculinities, generations, and cultural transformation in contemporary Tunisian cinema Get access Martin Stollery Martin Stollery Search for other works by this author on: Oxford Academic Google Scholar Screen, Volume 42, Issue 1, Spring 2001, Pages 49–63, https://doi.org/10.1093/screen/42.1.49 Published: 01 March 2001
African Experiences of Cinema Imruh Bakari Mbye Cham
Book Review| December 01 1997 Review: African Experiences of Cinema by Imruh Bakari, Mbye Cham African Experiences of CinemaImruh BakariMbye Cham Martin Stollery Martin Stollery Search for other works by this author on: This Site PubMed Google Scholar Film Quarterly (1997) 51 (2): 55–57. https://doi.org/10.2307/3697142 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter L…
Books
Shammit Saggar, Race and Politics in Britain, Hemel Hempstead: Prentice‐Hall, 1992, 236 pp., £9.95 p.b. Alexander DeConde, Ethnicity, Race, and American Foreign Policy: A History, Boston: Northeastern University Press, 1992, 270 pp., n.p., cloth Caroline Knowles, Race, Discourse and Labourism, London: Routledge, 1992, 206 pp., £40.00 h.b. Steven Fielding, Class and Ethnicity: Irish Catholics in England, 1880–1939, Buckingham: Open University Pres…
Masculinities, generations, and cultural transformation in contemporary Tunisian cinema
Journal Article Masculinities, generations, and cultural transformation in contemporary Tunisian cinema Get access Martin Stollery Martin Stollery Search for other works by this author on: Oxford Academic Google Scholar Screen, Volume 42, Issue 1, Spring 2001, Pages 49–63, https://doi.org/10.1093/screen/42.1.49 Published: 01 March 2001
African Experiences of Cinema Imruh Bakari Mbye Cham
Book Review| December 01 1997 Review: African Experiences of Cinema by Imruh Bakari, Mbye Cham African Experiences of CinemaImruh BakariMbye Cham Martin Stollery Martin Stollery Search for other works by this author on: This Site PubMed Google Scholar Film Quarterly (1997) 51 (2): 55–57. https://doi.org/10.2307/3697142 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter L…
The newsreel commentator, the actor, the intellectual, and the broadcaster
This paper explores some hitherto overlooked intersections between British documentary of the 1930s and 1940s and celebrity culture. It does so through the analysis of voice-over commentary in a range of different films from this period. There is currently an opening for new types of scholarship in this area of film history because many previously unavailable British documentaries, including the majority of those discussed in this paper, have rec…
Books
Shammit Saggar, Race and Politics in Britain, Hemel Hempstead: Prentice‐Hall, 1992, 236 pp., £9.95 p.b. Alexander DeConde, Ethnicity, Race, and American Foreign Policy: A History, Boston: Northeastern University Press, 1992, 270 pp., n.p., cloth Caroline Knowles, Race, Discourse and Labourism, London: Routledge, 1992, 206 pp., £40.00 h.b. Steven Fielding, Class and Ethnicity: Irish Catholics in England, 1880–1939, Buckingham: Open University Pres…
African Experiences of Cinema Imruh Bakari Mbye Cham
Book Review| December 01 1997 Review: African Experiences of Cinema by Imruh Bakari, Mbye Cham African Experiences of CinemaImruh BakariMbye Cham Martin Stollery Martin Stollery Search for other works by this author on: This Site PubMed Google Scholar Film Quarterly (1997) 51 (2): 55–57. https://doi.org/10.2307/3697142 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter L…
Masculinities, generations, and cultural transformation in contemporary Tunisian cinema
Journal Article Masculinities, generations, and cultural transformation in contemporary Tunisian cinema Get access Martin Stollery Martin Stollery Search for other works by this author on: Oxford Academic Google Scholar Screen, Volume 42, Issue 1, Spring 2001, Pages 49–63, https://doi.org/10.1093/screen/42.1.49 Published: 01 March 2001
Another Look at Third Cinema
DVD Reviews
I Shot Jesse James (1949) USA Director Samuel Fuller Screenplay Samuel Fuller Producer Carl K. Hittleman Director of Photography Ernest Miller Film Editor Paul Landres Art Director Frank Hotaling Costume Designer Alfred Berke Music Albert Glasser With Preston Foster (Kelley), Barbara Britton (Cynthy), John Ireland (Bob Ford), Reed Hadley (Jesse James), J. Edward Bromberg (Kane), Victor Kilian (Soapy), Tom Tyler (Frank James), Tom Noonan (Charles …
Shadows of Progress
The British documentary movement of the 1930s and 1940s casts a long shadow. The British Film Institute's Shadows of Progress project is a sustained attempt to shed light on over twenty-five years of postwar documentary filmmaking that has been obscured by this shadow. The material collected under this title comprises an edited collection of new essays on postwar British documentary filmmakers, with extensive contextual material by editors Patric…
The newsreel commentator, the actor, the intellectual, and the broadcaster
This paper explores some hitherto overlooked intersections between British documentary of the 1930s and 1940s and celebrity culture. It does so through the analysis of voice-over commentary in a range of different films from this period. There is currently an opening for new types of scholarship in this area of film history because many previously unavailable British documentaries, including the majority of those discussed in this paper, have rec…
The Hideous Difficulty of Recreating Nazism at War’
This essay offers an alternative perspective on the history of British prisoner-of-war (POW) film cycle of the 1950s and early 1960s, with a particular focus on The Wooden Horse (Jack Lee, 1950). Following Dilys Powell, these films have often been understood as variations on the British tradition of public school stories, where schoolboys become ingenious escapers and German captors stand in for the ultimately outwitted prefects or masters. Witho…
John Grierson’s ‘First principles’ as origin and beginning
Journal Article John Grierson's 'First principles' as origin and beginning: the emergence of the documentary tradition in the field of nonfiction film Get access Martin Stollery Martin Stollery Search for other works by this author on: Oxford Academic Google Scholar Screen, Volume 58, Issue 3, Autumn 2017, Pages 309–331, https://doi.org/10.1093/screen/hjx027 Published: 15 September 2017
Peasants and Partisans, Stranger Selves
This essay is the first detailed critical analysis of Pebbles from My Skull/ Carlino (1963/1985), Stuart Hood’s account of the 1943/4 period he spent fighting as part of the Italian Resistance. It situates Hood’s work in relation to the prevailing ‘Colditz Myth’ associated with British Second World War prisoner of war escapees and the conceptions of England and Europe underlying this myth. It also considers Hood’s ‘memoir project – the self-refle…
The reader can never be sure what’s going to come next”
Oswell Blakeston's four now largely forgotten travel books, Portuguese Panorama (1955), Isle of St. Helena (1957), Sun at Midnight: Finland Holiday (1958), and Thank You Now: An Exploration of Ulster (1960), warrant the attention of contemporary scholars of travel writing. This article outlines how Blakeston's writing about his travels, or holidays, further illuminates contemporary historical explorations of the continuum, rather than categorical…
Angus MacPhail's Frozen Credits
This article, taking its cue from Charles Drazin's pioneering work, is the first extended analysis of the career of British screenwriter Angus MacPhail, described as one of the key figures who helped to lay the groundwork for the golden age of British cinema. MacPhail worked as scenario editor for producer Michael Balcon at the leading British studios Gainsborough, Gaumont-British and Ealing from the late 1920s to the late 1940s. The article cons…
Josephine Botting, Adrian Brunel and British Cinema of the 1920s
The Myth of Stalin and the Death of Hitler
This essay explores aspects of the transnational and transhistorical impact of The Fall of Berlin (Padenie Berlina, Mikheil Chiaureli, 1949). Although the film is late Stalinist propaganda, and an outstanding manifestation of the Stalin personality cult, it cannot be reduced to those descriptors. It has had an ongoing impact upon viewers within different cultural contexts who do not necessarily subscribe to its politics. André Bazin’s seminal, fr…
New Themes for the Bold
The POOL group, active in the late 1920s and early 1930s, whose core members comprised the modernist poet H. D. (Hilda Doolittle), writer and modernist patron Bryher, and the writer and film maker
Angus MacPhail
This article is the first extended analysis of British screenwriter Angus MacPhail’s long-term, albeit intermittent, collaboration with Alfred Hitchcock between the 1920s and 1950s. It contributes to the debates about authorship which have been a feature of Hitchcock scholarship since the 1950s. MacPhail first worked with Hitchcock within the British studio system during the 1920s and 1930s and Hitchcock chose to continue their collaboration afte…
Paul Rotha at the BBC and The World Is Ours revisited
This article reassesses Paul Rotha’s tenure as BBC television’s Head of Documentaries (1953–55), primarily by reconsidering his signature television series, The World Is Ours (1954–56), as a more hybrid and collaborative production than has hitherto been acknowledged. It relates Rotha’s BBC work to the British documentary film movement’s embrace of a specific variant of postwar internationalism, to the changing style of his preceding film project…
Art (15 works) · Cinema and Media Studies (11 works) · Art history (10 works) · History (10 works) · Movie theater (9 works) · Sociology (8 works) · Visual arts (7 works) · Law (6 works) · Media studies (6 works) · Political science (6 works)