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dc.contributor.authorMellor, Leoen
dc.date.accessioned2019-10-04T14:40:27Z
dc.date.available2019-10-04T14:40:27Z
dc.date.issued2020-04-02en
dc.identifier.issn1752-6272
dc.identifier.urihttps://www.repository.cam.ac.uk/handle/1810/297455
dc.description.abstractThis article examines Humphrey Jennings’ film A Diary for Timothy (1945) and makes the case for understanding the form and aesthetic power of the film through the multiple meanings of the human body. Bodies — of the infant Timothy and of others — are literally depicted throughout in a variety of ways, showing both the cost of the conflict in corporeal terms and the different roles played by civilians in a Total War. But bodies are also used conceptually in the film, they allow a movement beyond the diary structure and introduce a more complex temporality, with visions of a world worth fighting for and memories of the interwar years. Moreover, Jennings’ own past as a Surrealist helps explain his interest in the implied or imagined body, with a tension present throughout between Timothy — a baby with a body but no voice; and the narrator’s commentary — a voice without a body.
dc.language.isoenen
dc.publisherInforma UK Limited
dc.rightsAll rights reserved
dc.title‘It’s Only Chance That You’re Safe and Sound’: Meanings of the Body in Humphrey Jennings’ A Diary for Timothyen
dc.typeArticle
prism.endingPage178
prism.issueIdentifier2en
prism.publicationDate2020en
prism.publicationNameJournal of War and Culture Studiesen
prism.startingPage163
prism.volume13en
dc.identifier.doi10.17863/CAM.44516
dcterms.dateAccepted2019-07-16en
rioxxterms.versionofrecord10.1080/17526272.2019.1644271en
rioxxterms.versionAMen
rioxxterms.licenseref.urihttp://www.rioxx.net/licenses/all-rights-reserveden
rioxxterms.licenseref.startdate2020-04-02en
dc.identifier.eissn1752-6280
rioxxterms.typeJournal Article/Reviewen
cam.orpheus.successThu Jan 30 10:37:31 GMT 2020 - Embargo updated*
rioxxterms.freetoread.startdate2020-07-01


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