- Rubenstein , Lenny . 1980 . Winstanley and the historical film, Cineaste , X ( 4 ) : 22
- 1968 . How It Happened Here 25 – 26 . Garden City, NY Although unseen today, The Capture was an important first step in Brownlow's film making aspirations. It was shot over a 3 year period, during 1952-1955. Brownlow updated De Maupaussant's short story from the Franco-Prussian War to wartime France in 1940. It told the story of how a German patrol was captured by a forester's daughter and taken into custody by the local national guard. Ironically, they not the girl are given credit for the capture. 'After The Capture, I knew I was capable of making films', says Brownlow. See his
- Barsam , Richard Meran , ed. 1976 . Nonfication Film Theory and Criticism 70 – 74 . New York Important contemporary essays on the Free Cinema movement include Lindsay Anderson, Free cinema, written in 1957 and anthologised in
- Lambert , Gavin . 1956 . Free cinema . Sight and Sound , 25 Spring : 173 – 177 .
- Walker , Alexander . 1974 . Hollywood U.K.: the British film industry in the 1960s New York For a book-length overview, see
- Lambert , Gavin . Free cinema 177
- Richardson , Tony . 1956 . A free hand . Sight and Sound , 28 ( 2 ) Spring : 174
- Houston , Penelope . 1959 . Room at the top . Sight and Sound , 28 ( 2 ) Spring : 58
- Welsh , James M. and Tibbetts , John C. , eds. 1999 . The Cinema of Tony Richardson 31 – 37 . Albany, NY For what it's worth, declares Brownlow, 'in the beginning Andrew Mollo and I had nothing to do with Free Cinema and Sight and Sound--we were light years away from all that. Amateurs in the UK have no contact whatever with even semi-professionals, as they were' (letter to the author, 28 April 1999). Nonetheless, Brownlow would eventually establish many contacts with the Free Cinema film makers in later years, including Karel Reisz, Lindsay Anderson (for whom he edited The White Bus) and Tony Richardson (for whom he worked as an editor on Charge of the Light Brigade in 1968). For Brownlow's own account of these associations, see
- 1980 . Gilbert Adair from London . Film Comment , 16 ( 3 ) May-June : 6
- Robinson , David . 1964-1965 . It happened here . Sight and Sound , 34 ( 1 ) Winter : 39
- Brownlow , Kevin . How It Happened Here 70
- Brownlow , Kevin . How It Happened Here 138
- 1966 . Daily Mail , 26 February Quoted in Brian Dean, Film critics protest over cuts in Nazi scene,
- Reed , Stanley . 1966 . It happened here . The Times , 3 March
- Robinson , David . It happened here 39
- Rubenstein . 1975 . It happened here: a second look . Film Comment , VI ( 4 ) : 36
- Brownlow , Kevin . How It Happened Here 177
- Brownlow , Kevin . How It Happened Here 138
- Walker , Sophie . 1996 . British Nazis' film to be shown uncut after 30-year ban . The Independent , 29 September : 2
- Blue , James and Gill , Michael . 1965 . Peter Watkins discusses his suppressed nuclear film . Film Comment , 3 ( 4 ) : 16 – 17 .
- Squire , J.C. , ed. 1932 . If It Had Happened Otherwise: lapses into imaginary history v London
- 1996 . The Man in the High Castle and The Difference Engine may be found in the four-volume Magill's Guide to Science Fiction and Fantasy Literature Englewood Cliffs, NJ Essays on Bring the Jubilee,
- 1968 . Agee on Film: reviews and comments 104 Boston In 1942 Alberto Cavalcanti made Went the Day Well? (US title Forty-eight Hours), in which German paratroopers, disguised as members of the British army, take over the village of Bramley End in Gloucestershire. They are ultimately defeated by the villagers. The scenario was based on a story by Graham Greene. Writing in The Nation, James Agee praised its 'melodramatically plausible actions' and concluded that the film has 'the sinister, freezing beauty of an Auden prophecy come true'. See
- Coward , Noel . 1948 . Peace in Our Time: a play in two acts and eight scenes New York Coward's play, like Brownlow's It Happened Here, centres around a number of English characters caught up in the Nazi invasion of Britain. They debate the issue of whether or not British citizens should accommodate themselves to Nazi domination. One character parades his patriotic fervor: 'But don't give in--don't ever let them win you round with their careful words and their "good-behaviour" policies. They are our enemies--now and forever. If other people find it expedient to be nice to them--do remember that they don't count, those thinking, broken reeds--they're only in the minority in this country and they'll never be anything else' (p. 49). Another character argues the opposite position: 'I prefer to see life as it is rather than as it should be. Being a realist I have adapted myself to the circumstances around me … The world is changing swiftly … and to cope with its changes you need better equipment than a confused jumble of high-school heroics' (pp. 151-152). See). According to Brownlow, the play was revived in 1997. 'I was struck by its similarity in tone to our script', he writes (letter to the author, 28 April 1999)
- Ferguson , Niall , ed. 1997 . Virtual History: alternatives and counterfactuals 2 London
- Ferguson , Niall . Virtual History 83 – 85 .
- Rosenstone , Robert , ed. 1995 . Revisioning History: film and the construction of a new past 19 Princeton, NJ
- White , Hayden . 1988 . Robert Brent Toplin and John E. O'Connor . American Historical Review , 93 ( 5 ) December See also a collection of essays pertinent to this subject by writers like
- Roberts , Andrew and Ferguson , Niall . “ What if Germany had invaded Britain in May 1940? ” . In Virtual History Edited by: Ferguson , Niall . 296 – 302 .
- Ibid., p. 291.
- Armes , Roy . 1978 . A Critical History of British Cinema 325 New York Historian Roy Armes reports that, from 1952 onwards, the British Film Institute, through the Experimental Film Fund (restructured in the mid-1960s as the BFI Production Board), 'took over the role once occupied by [John] Grierson's documentary movement and began to play a more central part in independent film production'. See
- Tibbetts , John C. and Welsh , James M. 1979 . Kevin Brownlow and Winstanley . Films in Review , 30 ( 7 ) September : 432 – 433 . Milestone Films has published in its pressbook extensive programme notes on Winstanley and It Happened Here
- Hill , Christopher . 1980 . The World Turned Upside Down 14 New York
- Prasch , Thomas . 1994 . The making of an English working past . The Wordsworth Circle , XXV ( 3 ) Summer : 166
- Prasch , Thomas . The making of an English working past 166
- Hill , Christopher . 1978 . The Religion of Gerrard Winstanley, Past and Present 1 – 2 . In summarising historiography on Gerrard Winstanley, Christopher Hill divided scholars into two camps--those who stress his modernity at the expense of his mysticism and those who ignore his politics in favour of his religious ideas. See Supplement Five
- Hill , Christopher . The World Turned Upside Down 148 176 See a brief discussion of Boehme's Six Theosophic Points (1620) in
- Caute , David . 1962 . Comrade Jacob 8 New York
- Brownlow , Kevin . 1995 . In the first place . Literature/Film Quarterly , 23 ( 2 ) : 84 Brownlow's accounts of his early, formative encounters with films assume a poignant, almost religious tone. As a 7 year old boy in a preparatory school in Crowborough, Sussex, for example, he watched his first films in a cinema that had been converted from a chape---'which seems appropriate in retrospect'. Although the screenings featured old silent films, he instantly fell in love with the experience. 'I knew the cinema was a place for powerful emotions', he recalls. 'The darkened room symbolised blissful escape from the miseries of school, and the shaft of light promised anything--Felix the cat; the Citroen expedition to Asia; Charlie Chaplin and his lovely Edna Purviance, who looked so like my mother, the British Army fighting the fuzzy-wuzzies in India; even kindly old characters named after me ["Mr. Brownlow" in Oliver Twist).' See
- Brownlow , Kevin . It Happened Here 125
- Klawans , Stuart . 1999 . It happened here . The Nation , 268 ( 3 ) 25 January : 43
- Schama , Simon . Clio at the Multiplex 40
- Borges , Jorge Luis . 1964 . Labyrinths: selected stories & other writings 28 New York In Borges' short story, 'The Garden of Forking Paths', the character of Stephen Albert describes this mysterious 'garden': 'The Garden of Forking Paths is an enormous riddle, or parable, whose theme is time … lit constitutes] an infinite series of times, in a growing, dizzying net of divergent, convergent and parallel times. This network of times which approached one another, forked, broke off, or were unaware of one another for centuries, embraces all possibilities of time. We do not exist in the majority of these times; in some you exist, and not I; in others I, and not you; in others, both of us. In the present one, which a favorable fate has granted me, you have arrived at my house; in another, while crossing the garden, you found me dead; in still another, I utter these same words, but I am a mistake, a ghost.' See
- Rubenstein , Lenny . Winstanley and the historical film 22
- Schama , Simon . 1998 . Clio at the Multiplex . The New Yorker , 19 January : 41
- Rubenstein . 1980 . Winstanley and the historical film, Cineaste , X ( 4 ) Fall : 25
- Kracauer , Siegfried . 1947 . From Caligari to Hitler: a psychological history of the German film 106 Princeton, NJ Least known among these films is Arthur von Gerlach's Die Chronik yon Grieshaus (The Chronicles of the Gray House), a film Brownlow greatly admires and which historian Siegfried Kracauer says 'breathes the atmosphere of a sinister medieval saga'. See
- Eisner , Lotte H. 1969 . The Haunted Screen Berkeley and Los Angeles Commentator Lotte H. Eisner regards it as a landmark in German silent cinema. It was adapted by Thea Von Harbou from a tale by the German writer Theodor Storm. Here, writes Eisner, 'Gerlach succeeded in creating one of the few German films to capture the feeling of fresh air and nostalgic poetry characteristic of the Swedish cinema … The Luneberger Heide in northern Germany lends its natural setting of bleak open country to this grim tale of unhappy love, fratricide and expiation. Across the plains dotted with blackish storm-rent shrubs horsemen gallop in vast billowing cloaks, huge equestrian frescoes sculpted against a pale sky … The storm of the heart and Nature become one. In the interiors, darkness, light, and superimposed apparitions weave their dense veil of atmosphere' (p. 63). See
Historical Journal of Film, Radio and Television
Volume 20, 2000 - Issue 2