How I filmed the war; a record of the extraordinary experiences of the man who filmed the great Somme battles etc Geoffrey H Malins Low Warren Books
Download As PDF : How I filmed the war; a record of the extraordinary experiences of the man who filmed the great Somme battles etc Geoffrey H Malins Low Warren Books
This book was originally published prior to 1923, and represents a reproduction of an important historical work, maintaining the same format as the original work. While some publishers have opted to apply OCR (optical character recognition) technology to the process, we believe this leads to sub-optimal results (frequent typographical errors, strange characters and confusing formatting) and does not adequately preserve the historical character of the original artifact. We believe this work is culturally important in its original archival form. While we strive to adequately clean and digitally enhance the original work, there are occasionally instances where imperfections such as blurred or missing pages, poor pictures or errant marks may have been introduced due to either the quality of the original work or the scanning process itself. Despite these occasional imperfections, we have brought it back into print as part of our ongoing global book preservation commitment, providing customers with access to the best possible historical reprints. We appreciate your understanding of these occasional imperfections, and sincerely hope you enjoy seeing the book in a format as close as possible to that intended by the original publisher.
How I filmed the war; a record of the extraordinary experiences of the man who filmed the great Somme battles etc Geoffrey H Malins Low Warren Books
On at least three occasions, Geoffrey Malins was almost killed getting his battlefield films: once, when a mortar pit he had just left took a direct hit from German artillery, on another occasion when his camera tripod was hit by shell fragments, and on a third occasion when he was having tea with two British soldiers. Malins was able to dive for cover. Both soldiers were killed by the shell.Malins' writing is clear and descriptive, but I found his writing not quite as gripping as some of the other World War One eyewitness accounts I have read. I suppose that is to be expected; he is a film maker, not a writer. Even so, I can picture myself in the trenches and at the front with him, seeing, hearing, and smelling the death and carnage all around him. Smell...that is what stuck with me as I read his writing. The smell of rot, death, and decay that permeated the trench warfare environment.
He had the ability to travel freely within Allied lines, because he was the first official cinematographer of the British War Office, and therefore he had access to generals at staff meetings as well as privates in the trenches. His objective for all he met was simple: shoot the film! He even at one point ambushed one camera-shy subject (the Prince of Wales, if I recall correctly) with a hidden camera...quite an accopmlishment in the days of large, boxy hand-cranked film cameras!
He felt his greatest achievements, however, were his films taken at the front. Malins realized the value of his films, both for public morale and for military tacticians. He was willing to take the risks to get his shots.
The one moment that was most vivid to him seemed to be the detonation of the mine at Hawthorn Redoubt. Informed ahead of time, Malins was able to get his camera into position and ready. He writes how he is cranking, cranking, cranking, he is almost out of film, waiting for the explosion...then he describes the moment when a mountain of earth rose up in front of him, not quickly as one would expect, but slowly, with great effort, separating from the earth before collapsing into itself again. This footage is probably the piece most familiar to people.
I thoroughly enjoyed reading Malins' book, and I think World War One historians, journalists and photographers would find it a fascinating piece of history told by the man who was there, seeing it through the eye of his film camera.
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How I filmed the war; a record of the extraordinary experiences of the man who filmed the great Somme battles etc Geoffrey H Malins Low Warren Books Reviews
badly written, badly illustrated. I'm pretty sure that the other reviewer who has given this five stars is related to the author. This book seems to be targeted for amateurs, not professionals.
greaat
Higly informative first-person reporting on WWI trench warfare.
This book ( Version) was a most enjoyable read, especially since I am a retired television network photojournalist. The risks and hardships that Lieut. Geoffrey H. Malins went through in order to bring the scope and suffering of the war to the viewing public was beyond the call of duty. I plan on keeping this book in my and re-read it at least once a year. I highly recommend it.
It is good reading to start but gets boring after repeating his efforts to get to the front lines for filming.
this is a good story of Geoffrey Malins adventures while filming WWI. The technology of the time, how he was able to get the footage, the descriptions of front line activities all make for a good story well writ from the film makers eye. I followed up by finding the film footage and watching it. puts a new perspective on it after reading the book.
This is a truly remarkable story of World War I, mostly in the trenches, as seen by someone who had regular access to both senior commanders and the regular soldiers in the dugouts. Often to get the film of an offensive he would be out in no-man's land all by himself. Think of it as "All Quiet on the Western Front" in a quarter of the length and no politics. You'll draw your own political conclusions, of course, but these stories are just matter-of-facts recitals of where he went and what he saw.
On at least three occasions, Geoffrey Malins was almost killed getting his battlefield films once, when a mortar pit he had just left took a direct hit from German artillery, on another occasion when his camera tripod was hit by shell fragments, and on a third occasion when he was having tea with two British soldiers. Malins was able to dive for cover. Both soldiers were killed by the shell.
Malins' writing is clear and descriptive, but I found his writing not quite as gripping as some of the other World War One eyewitness accounts I have read. I suppose that is to be expected; he is a film maker, not a writer. Even so, I can picture myself in the trenches and at the front with him, seeing, hearing, and smelling the death and carnage all around him. Smell...that is what stuck with me as I read his writing. The smell of rot, death, and decay that permeated the trench warfare environment.
He had the ability to travel freely within Allied lines, because he was the first official cinematographer of the British War Office, and therefore he had access to generals at staff meetings as well as privates in the trenches. His objective for all he met was simple shoot the film! He even at one point ambushed one camera-shy subject (the Prince of Wales, if I recall correctly) with a hidden camera...quite an accopmlishment in the days of large, boxy hand-cranked film cameras!
He felt his greatest achievements, however, were his films taken at the front. Malins realized the value of his films, both for public morale and for military tacticians. He was willing to take the risks to get his shots.
The one moment that was most vivid to him seemed to be the detonation of the mine at Hawthorn Redoubt. Informed ahead of time, Malins was able to get his camera into position and ready. He writes how he is cranking, cranking, cranking, he is almost out of film, waiting for the explosion...then he describes the moment when a mountain of earth rose up in front of him, not quickly as one would expect, but slowly, with great effort, separating from the earth before collapsing into itself again. This footage is probably the piece most familiar to people.
I thoroughly enjoyed reading Malins' book, and I think World War One historians, journalists and photographers would find it a fascinating piece of history told by the man who was there, seeing it through the eye of his film camera.
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