D-Day Filming - For Real. A Comparison of ?Truth? and ?Reality? inSaving Private Ryanand Combat Film by the British Army's Film and Photographic Unit

@article{Haggith2002DDayF,
  title={D-Day Filming - For Real. A Comparison of ?Truth? and ?Reality? inSaving Private Ryanand Combat Film by the British Army's Film and Photographic Unit},
  author={Toby Haggith},
  journal={Film History: An International Journal},
  year={2002},
  volume={14},
  pages={332-353}
}
  • Toby Haggith
  • Published 2002
  • History
  • Film History: An International Journal
S teven Spielberg's Saving Private Ryan (1998) is acclaimed for its realistic battle sequences. In part Spielberg achieved this realism by mimicking the style of combat film shot by Allied cameramen. But how does this representation compare with the real thing, taken by men under fire using basic, cumbersome cameras? The purpose of this article is to explore these differences and evaluate how these two different cinematic approaches contribute to our understanding of the Normandy campaign and… Expand
Re-viewing D-Day: The cinematography of the Normandy landings from the Signal Corps to Saving Private Ryan
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The Morphodynamics of the Wadden Sea.By Jürgen Ehlers. A.A. Balkema: 1988. Pp.397. DM 185, £52.75.
discussing the film while on the set in a programme called Retum to Normandy, broadcast on BBC1 on
  • 1998
discussing the film while on the set in a television programme entitled Return to Normandy, broadcast on BBC1 on
  • 1998
during an interviewwith Mark Cousins on a BBC2 programme entitled, War Stories
  • Mark Cousins Talks to Steven Spielberg, broadcast on
  • 1998
during an interviewwith Mark Cousins, in the programme entitled War Stories
  • Mark Cousins Talks to Steven Spielberg, broadcast on BBC on
  • 1998
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