Some sort of an avant-garde movement was generally established in the world to remind us that there was more in films than the photographed stage play or the custard-pie comedy. By 1920, the industry was more or less mature and had changed from a fairground novelty into one of great potential power and rewards. Prior to the 1914-1918 war, Britain was certainly in the race for the mastery of a new medium of entertainment but the war retarded us enormously and, at the same time, enabled America to make great strides forward. Read to a joint meeting of the British Kinematograph Society and the Association of Cinema and Allied Technicians on May 25, 1949. Film Service, Warner Bros., Woman to Woman (1923) Woolf, Cicely Courtneidge, Donald Crisp, Downhill (1927), Easy Virtue (1928), Elstree Studios, Borehamwood, Hertfordshire, Emelka Studios, Germany, Erich Pommer, Famous Players-Lasky, Gainsborough Pictures, Gaumont British Picture Corporation Limited, Graham Cutts, Islington Studios, London, Ivor Montagu, Jessie Matthews, Leytonstone, London, Metro-Goldwyn-Mayer, Michael Balcon, New York City, New York, Paramount Pictures, Robert Stevenson, The 39 Steps (1935), The Blackguard (1925), The Call of Youth (1921), The Great Day (1920), The Lodger: A Story of the London Fog (1927), The Man from Home (1922), The Man Who Knew Too Much (1934), The Mountain Eagle (1926), The Princess of New York (1921), The Spanish Jade (1922), The White Shadow (1924), Three Live Ghosts (1922), Universum Film AG, Victor Saville, W. keywords: Alexander Korda, Alfred Hitchcock, Angus MacPhail, Appearances (1921), Beside the Bonnie Brier Bush (1921), Betty Balfour, British International Pictures, C.M.publisher: British Kinematograph Society.
journal: British Kinematography (October 1949).article: Thirty Years of British Film Production.
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