Filming and Formatting the Explorer Hero: Captain Scott and Ealing Studios’ Scott of the Antarctic (1948). / Dodds, Klaus.

Biography and History in Film. ed. / Thomas Freeman; David Smith. London : Palgrave Macmillan Ltd., 2019. p. 257-275 (Palgrave Studies in the History of Media).

Research output: Chapter in Book/Report/Conference proceedingChapter

Published

Standard

Filming and Formatting the Explorer Hero: Captain Scott and Ealing Studios’ Scott of the Antarctic (1948). / Dodds, Klaus.

Biography and History in Film. ed. / Thomas Freeman; David Smith. London : Palgrave Macmillan Ltd., 2019. p. 257-275 (Palgrave Studies in the History of Media).

Research output: Chapter in Book/Report/Conference proceedingChapter

Harvard

Dodds, K 2019, Filming and Formatting the Explorer Hero: Captain Scott and Ealing Studios’ Scott of the Antarctic (1948). in T Freeman & D Smith (eds), Biography and History in Film. Palgrave Studies in the History of Media, Palgrave Macmillan Ltd., London, pp. 257-275.

APA

Dodds, K. (2019). Filming and Formatting the Explorer Hero: Captain Scott and Ealing Studios’ Scott of the Antarctic (1948). In T. Freeman, & D. Smith (Eds.), Biography and History in Film (pp. 257-275). (Palgrave Studies in the History of Media). Palgrave Macmillan Ltd..

Vancouver

Dodds K. Filming and Formatting the Explorer Hero: Captain Scott and Ealing Studios’ Scott of the Antarctic (1948). In Freeman T, Smith D, editors, Biography and History in Film. London: Palgrave Macmillan Ltd. 2019. p. 257-275. (Palgrave Studies in the History of Media).

Author

Dodds, Klaus. / Filming and Formatting the Explorer Hero: Captain Scott and Ealing Studios’ Scott of the Antarctic (1948). Biography and History in Film. editor / Thomas Freeman ; David Smith. London : Palgrave Macmillan Ltd., 2019. pp. 257-275 (Palgrave Studies in the History of Media).

BibTeX

@inbook{380052f429844c35a3cb4df52e5d79a3,
title = "Filming and Formatting the Explorer Hero:: Captain Scott and Ealing Studios{\textquoteright} Scott of the Antarctic (1948)",
abstract = "The film Scott of the Antarctic (1948) offered a more ambivalent reading of Robert Scott and the Terra Nova expedition. Some of that critical work is done through the narrative arc and staged encounters, but there is also another element to the film which is sound. The musical score by the English composer Ralph Vaughan Williams reminds us that sound can and does shape the mood and tempo of film, offering insights into places, times, emotional states and relationships. Ealing Studios considered Vaughan Williams to be inherently appropriate given public reputation as a composer and contributor to the BBC including the Proms. The prevailing geopolitical context of Antarctica in the late 1940s also acts as a counterpoint to a film that ostensibly looks backwards to a Heroic Era of exploration that was largely surpassed by a new era of permanent occupation and large-scale and multi-national exploration. The film{\textquoteright}s release coincided with new plans led by the United States for the future control of Antarctica. The timing of the film was opportune. While there was no location filming in Antarctica, the film utilizes film footage from the Antarctic Peninsula in a deliberate attempt to promote British Antarctic interests at a time of rising geopolitical tension. ",
author = "Klaus Dodds",
year = "2019",
month = oct,
day = "15",
language = "English",
isbn = "3319894072",
series = "Palgrave Studies in the History of Media",
publisher = "Palgrave Macmillan Ltd.",
pages = "257--275",
editor = "Thomas Freeman and David Smith",
booktitle = "Biography and History in Film",
address = "United Kingdom",

}

RIS

TY - CHAP

T1 - Filming and Formatting the Explorer Hero:

T2 - Captain Scott and Ealing Studios’ Scott of the Antarctic (1948)

AU - Dodds, Klaus

PY - 2019/10/15

Y1 - 2019/10/15

N2 - The film Scott of the Antarctic (1948) offered a more ambivalent reading of Robert Scott and the Terra Nova expedition. Some of that critical work is done through the narrative arc and staged encounters, but there is also another element to the film which is sound. The musical score by the English composer Ralph Vaughan Williams reminds us that sound can and does shape the mood and tempo of film, offering insights into places, times, emotional states and relationships. Ealing Studios considered Vaughan Williams to be inherently appropriate given public reputation as a composer and contributor to the BBC including the Proms. The prevailing geopolitical context of Antarctica in the late 1940s also acts as a counterpoint to a film that ostensibly looks backwards to a Heroic Era of exploration that was largely surpassed by a new era of permanent occupation and large-scale and multi-national exploration. The film’s release coincided with new plans led by the United States for the future control of Antarctica. The timing of the film was opportune. While there was no location filming in Antarctica, the film utilizes film footage from the Antarctic Peninsula in a deliberate attempt to promote British Antarctic interests at a time of rising geopolitical tension.

AB - The film Scott of the Antarctic (1948) offered a more ambivalent reading of Robert Scott and the Terra Nova expedition. Some of that critical work is done through the narrative arc and staged encounters, but there is also another element to the film which is sound. The musical score by the English composer Ralph Vaughan Williams reminds us that sound can and does shape the mood and tempo of film, offering insights into places, times, emotional states and relationships. Ealing Studios considered Vaughan Williams to be inherently appropriate given public reputation as a composer and contributor to the BBC including the Proms. The prevailing geopolitical context of Antarctica in the late 1940s also acts as a counterpoint to a film that ostensibly looks backwards to a Heroic Era of exploration that was largely surpassed by a new era of permanent occupation and large-scale and multi-national exploration. The film’s release coincided with new plans led by the United States for the future control of Antarctica. The timing of the film was opportune. While there was no location filming in Antarctica, the film utilizes film footage from the Antarctic Peninsula in a deliberate attempt to promote British Antarctic interests at a time of rising geopolitical tension.

M3 - Chapter

SN - 3319894072

T3 - Palgrave Studies in the History of Media

SP - 257

EP - 275

BT - Biography and History in Film

A2 - Freeman, Thomas

A2 - Smith, David

PB - Palgrave Macmillan Ltd.

CY - London

ER -