thank you. i've. never heard. her. engine 6944 american canadian and british cameraman and photographers landed on the beaches of normandy alongside the 150000 men from the allied forces

around 20 of these reporters soldiers were british evan asked by the services of the armies of film the parts of the operation overlord have recovered by the british troops between restrain him and are almost 3 sections that were named juno sword and gold an arms barely protected their battle will be a battle of images that will serve the allied propaganda and will become part of history. allow them in reporting. first difficult scenes of em on jobs and better job making their final preparations before the attack seems taken a few hours before general eisenhower was communicating number one tells us that the 2nd front opened.

the outbreak of the 2nd bout will in britain there was not a single a cameraman or newsreel filming was done by newsreel companies it took some time until the leaders of they armed forces in britain could be persuaded that there were advantages to allowing cameras to record events for reasons of morale propaganda at home but also very important lay propaganda abroad the army film unit was created in november 1914 the people recruited to come cameraman well all men who had some form of military service the belief was held very strongly that to be a good cameraman you had 1st to be a good soldier and

a soldier could be trained to use a camera the cameraman was sent to pinewood studios for a tweak training. so this is the defraud camera used by the cameraman at normandy you either wind the camera. like this you want the clockwork mechanism. t. . so there is a governor which means if you can go roughly the right speed that you can go fuck as well. so obviously it requires some skill by the cameraman to get a regular motion to make sure the film goes past the lens at the correct speed. when sergeant grant was coming in on the landing craft tank he notice to the left

of him that there was a landing craft that coming in that we got hit by shell was in flame because he had he'd been trained upon which to keep this eye open he noticed this action off the side and he moved across and filmed the landing craft in flames. so what they were trying to do was have a very simple shot selection which had a narrative within it so you have 3 shots which is the 1st shot as an establishing shot establishing shot as a wide shot then you have a mid shot and then you have a closeup for interest and that automatically collect creates a very simple narrative and they were told always to think in story time on d.-day may have been troops well armed with all the latest weapons with rations for 2 days and a little french money not mr moore they went on with the spirit of victory and already the brilliant success of their work in the opening phase of the battle is well known. the other thing is the amount of film they had at normandy they had 10 rows of 100 feet of film which is about 10 minutes or so maybe

a little bit more about 12 minutes of film they didn't know when they were going to get more phone that in there they could be shot by the end of the day so see they had to be very careful about what they would shoot had to be very judicious very sensible they didn't have hours of videotape that they could just shoot whatever they liked so they always were thinking what should i shoot what is the most important thing for me to record here or so they had to consider how the film would be used so this is one of the reasons perhaps that cameraman didn't shoot scenes of dead british soldiers or willing to go badly wounded british soldiers because they suspected it wouldn't be used by the news related to my passion or his doing landings we've been telling well less than had been expected in a while when it received 1st aid on the beaches themselves and many of us with the echoing to. some of the maoist it was a case of getting hit right at the beginning of the battle for the beaches and then home again until i come up.

the 1st camera man to land was delusional those who came ashore at 745. and within 15 minutes others were coming. in grant landed with the command. center and it. there leslie as a nice. man sergeant christy. landed with the glider troops. others were deployed to cover juno and derek knight was based on one of the large landing craft and came ashore later quite a few who came ashore after the 1st wave.

jimmy map took the best known british photographs of the d.-day landings. and one of them was described by american forces at the time as the best image of d.-day. the thing about george law that struck me was that he he seemed to have an instinctive feel for how to maneuver around a battlefield he looked like the most unlikely person that you would find in a combat zone and he wore glasses. he wasn't

a very beefy person but he knew how to get himself to where he needed to be to take the photograph and he managed to do it with minimum of fuss. a 40 a day the photographers couldn't get too far out of contact with the beaches themselves because they had to get their films back to britain and the pressure was on to get that film that quickly. and they had to keep notes of who what where and when. and so they won't just photographers they were also a form of journalist once that data all came back with the photographs themselves censorship was applied now that meant that the water ordinances didn't necessarily

get all the facts the facts photographer had noted down and it also meant that the interpretation of that fetch graph might not be thought through for talk for himself that originally described to it. as a curator one of the things i'm required to do is to assess the significance of a photograph. first of all whether it is what it claims to be and then whether it. how far it goes in actually giving a true representation of the event that it claims to represent. we're on our way to see peace in all this one of the very few ventured in photography itself be on the film for traffic you know someone who sort

service in fronts of 944. surfie said. how did the super icons work well this is a prayer. it was a very good shabbos. you came into the war with professional training with a trade that is now a robinson's burstall. yeah i was working at the war office when. yes i was working on groups prisoners of war right i was in the. moral office all get us all transferred transferred myself in the army field to write the finished occupied wood so i didn't get the coffee only the. book

about 4 months off who would run his and when you came to france can you remember where you came ashore so they're among you kid who came ashore. and what was the scene like when you 1st landed. a lot of. the poetry is. unsellable. sometimes rather more of them just exciting but i must say that you know i was so interested in the 3rd 3rd graphic because there were some people who just saw pictures like. i used to try and compose everyone took. george talk reasserts. and these these pictures

just. in. like the seeds papers and that's. actually happening there and then. oh i did shoot. german. but only picture. was and were set up. but otherwise it was always action talk for. i joined about one year after the unit was formed it was for me not you 41 for training cameramen i was the 1st. i have to look in my live birth to see what's coming next. job is called sound camera operator

because the sound is photographic so the machine is called a camera not a recorder. our job was to record it and you never knew what we were going to what was going to come next and nothing was rehearsed we just went and shot whatever was available you know all that material was shipped back to pinewood studios and it's the job of the sound editor who's on the production to align the picture with the sound it's not the job of the sound recordist as such so they had quite a job sorting out our material we recorded over 100000 feet of sound effects the system was that we'd go to battle headquarters in the morning to find out whether it was likely to be any fighting and then we will a map of europe or

a large scale map will go down to where we could see some of our troops and mingle amongst them and see what was happening asked them what they were going to do that day and make some recordings in appropriate fashion. and peter had 1st job at the time he was a sound mixer before the war he was a very keen amateur photographer and that was his main interest so having been trained in sound and having a great knowledge photography for the very useful person for a film unit. 6 june i was a farmer studios locked in a field what particular film i was working on it's on but we were up frustrated because we couldn't do much about this. peter hanford was over on d.-day one of the 1st to land on may beaches.

the main aim was to get some troops on the ground and get the battle going and get well photographed you can mail it still there's a little bit of a scenario of course movie but there's an absolutely no sound whatsoever. off the wall finish. i went into the film business and i've made quite

a number of feature films. excess if you can call it that says it was 2 particular television series one was the st then we did the film show called the persuaders with tony curtis and roger moore. i was called up into the royal artillery actually and i was sent out to the middle east of the 7th army in the desert. i applied for a transfer to the army film unit and. only when the war was finished in north africa did i get the transfer and they transferred me back to cairo and within 2 weeks hammers back in. with one of the english regiments. we were landing in sicily and that was that was a piece of cake there was no hope no real problems with dad it quite easily and we went through sicily and the next place we had to go was too slow which was

a bit dicey but fortunately it wasn't as bad as the danton's in europe and france. the funny thing about about making the seaborne landed nature always scared before you step on land and when you settle down and you get a kind of a reassurance but then you are exposed so the next thing to do is to go and get cover. to camera and used to work together film camera man which i did and there's still camera man and we had there were a jeep. and we just drove around and the fortunate thing about being a film camera man is at the end of a day shooting you could pull back about 5 or 6 kilometers away from all the trouble and get a decent months for us but apart from that there's very much like. being a soldier and. i think

your angles whatever you did was was reflected by the condition in which you were filming i mean if there was bullets coming all over the place you want the sound up and trying to get them us angle on the thing you just photograph on way you possibly could we had to use our own judgment to what to film and what not to film . most obviously you don't go around film and dead. that's. a very negative way of doing things no we were trying to film action. soldiers actually in that shouldn't have guns firing. whatever we thought would be newsworthy we've filmed i've seen i yeah i've seen some of the footage. that they've filmed on the day yes it was very good there's one particular

shot i remember from the back of a landing barge when the doors came down the men rush forward very good shot. at it must have been pretty tough on the day. this house for fortunately i miss that. no records can ever be wholly truthful and wholly objective.

the human mind human memory isn't like that we remember things in a selective way. the more pressure wear on the more stressed one of the more i vision is narrow and people will remember things differently depending on the amount of time that has elapsed since the event so any event will have a whole series of individual memories people talk about these and put them together and they then form a collective. i know from that collective memory isn't the same as individual memories added together. eyeing think that it's usually possible to identify the style of different cameraman. cameramen have particular ways of doing things they have shots

that they particularly like they compose things in a particular way there is a sort of style that cameramen develop and i think that you can very often as a historian when you're looking at work make some deductions as to who might have sheltered from the style of the work that you're saying. the 1st news reel that was issued by british movie turn user on the 8th of june so it's 2 days off to the invasion it's unusual because the look the item covering the d.-day landings is actually the 2nd the last item so it's the climax is away in

a way of the film but it's strange because actually there's very little dog or very little commentary mainly what the edits is have done is they've blended oh they've synchronized the scenes of the landings with beethoven's 5th symphony. actually it's much more like the german approach to the news or that it's saying if you look at look at the did you do each of all can chart indeed which is the 14th of june 944 which is the german these are the kind of old d.-day landings the music the music and the editing is almost symphonic. nothing. like it came from the pub and. so it's obviously very emotive it's

a very powerful way of linking images with sound and you know many if you like the audiences emotions in a way the movie has adopted a similar technique in order to promote the success of d.-day and then on the 12th of june which is the next issue covers gives a much fuller account of the d.-day landings with a full commentary full explanation much more detail if you come on down with admiral ramsey who. my tremendous responsibility looking at this man. not to strike once more on his own enemy rama i meet him to do all is to be good gentleman. by the time that the knot number of the 5th section had been set up of the on the film photographic unit the policy was the units policy was that there would be no reenacting they'll be no faking so i know that when i watch the material at normandy i know that it's all real there's no reenactment taking place that doesn't mean to say that we don't get some impact upon the scene created by the presence of

the cameraman for example when you watch the film of desmond o'neill the real of him all of the commandos look at the camera they can't help looking the camera even though desmond they own sergeant grant us the man not to look at the camera when they were filming them because of course looking at the camera is the way you break the artifice of cinema in the british army there was an unwritten set of guidelines about how you present or represent the corpses you didn't show british dead or allied dead and you didn't show dead civilians or civilians in distress they knew that these scenes wouldn't be used by the news reels so given that they only had a very small amount of stock 10 rolls of film so about 10 to 12 minutes of film there was no point filming scenes that wouldn't have any use however there is one scene which is shot by i think it's a leather barrow on juno beach where he filmed some dead canadians of the longshore

regiment in the water just near the shore now if you didn't look very closely you wouldn't realise that this was a dead body it's very discreet it's a miniature your cameraman is about 10 feet away from the body and there's lots of other rubbish or flotsam and jetsam in the water so that's the only shot i've come across in all of the neat normandy coverage shot by the british cameraman that include scenes of a of a dead allied soldier. the americans covered it very differently they were much more candid so the film shot by us signal corps an us marine corps cameraman of the landings have each show not only dead american soldiers they also show american soldiers being shot obviously a combat record of what happened to d.-day is an authentic record it has great authenticity it was shot at the time who by men who were there at the time who familiar with the surroundings who tried to capture all recalled the scenes that

they could to the best of their ability they couldn't record sound and all the cameramen all the soldiers remarked on the fact that the noise as they approached the beaches was enormous it was a crescendo it was the biggest noise they'd ever heard and lot of the cameraman talked about how frustrated they were that they weren't able to record the sound and although the film was recorded mute and the editors would lay soundtracks on afterwards we know that post thinking sound is not an authentic or or truthful way to record actual sound basically you can only sound it it's a can only create an approximation of what really happened and sound is absolutely crucial to the impression of normandy beach and. the other thing is that there are only 7 cameraman stretched along quite a long bit of beach they could only of record a certain perspective or box happening. and i suppose the last thing i would say is

that of course although it was a very pure form of documentary their presence undoubtedly did in fact impact upon the surroundings to a certain extent so for example we have the soldiers looking at the camera and to a certain extent the soldiers acted in front of the camera one of the really interesting things i noticed about the soldiers in the landing craft tended to adopt a very brave nonchalant stature almost as if they're performing in front of the camera not all of the soldiers talks about how nervous they were when they approached the normandy beaches many of them felt sick some of them were sick and they were undoubtedly full of anticipation but none of the soldiers who were filmed by the cameraman on the on the in the boats as they approached the no many beaches convey any of that fair to the camera now returning to the combat film that was shot by the cameraman on sword in juneau and go beach we only ever see the perspective from the invading forces now that's an authentic record because in fact for a soldier you never see the enemy you only ever see the enemy dead or as

a captive so that's very authentic but it's not truthful because it was a battle involves 2 groups of men fighting each other. to do 2 more the dutch even more historical documents need to be treated with care the more the story and the details we didn't come from yet we shot it where when and why i came or more. of them and we all know that if you choose certain images over others if you edit diminish certain way if you add certain sounds of music you can tell a completely different story the other the shows that they're more likely to are. should is only did. i'm one of those who believe that if we need to have this sort

of educational approach towards the viewer that he does speak that the city's good they need to think that an image isn't something you just receive you need to analyze it. saw as you saw that it's a case or make. up why. it's clear that there are 2 aspects of the images captured by the cameraman filming the landing. and later on the in lynn operation the images as they were shot and then you have the way they are used for instance. not going to show british or american soldiers execute germans who have surrendered they don't show that. the. however they're going to shoot and show images glorifying the courage of the allied troops in the.

book you can see it through the choices that are made by the cameraman. yeah yeah. and all sweet and then those images are sent and edited with music and narration that serves and that's understandable in a time of war that serve the interest of their propaganda. was. i got one vacation is go work all day course by moscow bush and the americans and they got it all on the way they didn't but germany remains under guard on the common thief in the dark run in by. the events of june 6th 1904 from the middle of the night until the end of the day are told in a completely organized way it was essential for the german propaganda to never

present the events in a chaotic way and to use narrated sequences instead of possible dead even from the german units are watching the enemy's approach and transmit their position alert to do so they're going to use old images often videos of military drills and insert them in order to get a continuous progression from the middle. the night with the 1st commandos until the end of the operations of the 1st day. there are also images that were indeed shot on that day and that are authentic he says were out so. there's from nova scotia. the authenticity of these images was easy to verify because they provided a number of compelling element yet it could also see. for instance when you see the pictures of the canadian prisoners who were held at the art in the abbey you can

see the camera zooming in on the patches of the soldiers on the regiment number on their military papers so that any viewer would think what is true is that it could be fabricated since the canadians and americans could themselves verify that the prisoners were indeed there if you continue to get if you can i just you know i just like to get. all that up close we don't need a lot of time i was a kid here we have the british press for instance the times of london newspaper a full meal here you go yeah here we have the issue from june 7th 1944 nothing really stands out at 1st you just have this on the top right corner saying that the great assault has begun to feel is when i don't know when we do and you need to

open the paper not in 1st or 2nd page but all the way to page 8 above the crossword puzzle 6 will do so for the with a selection of 5 photos showing the different aspects of the landing on the one picture shows the allied fleet at dawn on june 6th 1944 this one here you can see all the ships stationed off the coast of normandy. here the defense system of the beaches it's interesting because you can see all the fortifications built on the beaches of it. and the 3 other pictures show the preparations that british troops boarding the ships about crossed the channel and the last one with canadian flag to show that the americans and british were not the only ones in gauged in these operations canada also took an important part in these events of june 6th 1941 over there. not a word about the presence of french soldiers there were some who took part in the operations with the british commandos the famous kieffer commandos here we have the

front page of the daily sketch from june 8th you can see the troops landing in normandy. this newspaper isn't bad shape but i'm pages 4 and 5 we have very interesting photographs. look at the 3 days after the landing here's what the british war reporters and probably some americans too they were taken from the american sections of the beach have decided to send to the newspaper. the planet a little difficult you can see the actual landing pictures are taken from the ships away from the shore without showing the british or american soldiers fighting on the beaches it is it will be crude. the idea is to show that the landing is going well there's no mention of casualties or captured soldiers just give us who they don't talk about what happened on omaha beach. they don't talk about the 3000 casualties in this sort of like he did back. when they only saw the landing craft full of soldiers i don't. they don't show the fights and the deaths nor the

temporary american cemetery in omaha it is a massive the operations are going well massively. the idea is to reassure the populations and the political authority. but and here we have a british magazine translated into french so and at french readers called ensemble the 1st issue came out in july 944 i ask you that it's almost it so what's interesting is that there are lots of pictures of the landing we all want to think with a commentary by our french soldier malise shohei who landed with the british troops within the french kiefer commandos move a show of a militia take explaining minute by minute the 1st 2 hours of the landing make a fuss about ending don't come although fall said uncle dick you fail keep speaking minute by minute say do for me as i did a whole full 12 inch. if

. you can keep. those asleep the. peace you. want to fall asleep when you. like you see you see us. doing good for. us if. you don't sleep well seriously think it's something serious stuff and. all this before. the evening of the 5th of june we boarded close to southampton. and we made our way along the canal between the our and the white and the coast that they will go. through quite

a 1000000 there the secret had been very well kept because there was a young soldier on board and he told me this is a big drill i told him the big drill is tomorrow in france his face turned completely white we were 177 divided into 2 lead the crafts the 523 and the 527 where kiefer was the last was home and she. was on shuffle to make you fail. equally plus our guys had spent the night in the bottom of the landing craft the sea was very rough many were sick the moral was low. many were seasick millwood. the one who pointed as the sun rose we began to discern the coast i remember the fog that was something we were coming home all. we could see our land it was an emotional moment you know.

at 1st we didn't get hit at all but close to the shore the 527 gets hit by a mortar shot right in the front of the craft in a deal the we were forced to jump into the water from the top of the landing craft . one of the early we lost a lot of men on the beach i lost one of my units the adventure unit you'll know is that's 15 men. until no. lucia must wonder why aboard the 523 we got very lucky we landed. i mean michel our mission was to get from the rallying point to the casino believe this crew because he knew. they made their

way without trouble on to the route to leo. while we were attacking each and every bunker on the beach. syriac and alan when i saw a british camera man called sergeant laws i found out his name later when i met him again he was filming on the route to leo mainly of the encounters between the french soldiers and the civilians. and the casino was an important objective because that was the point of command for all of the bunkers it was incapacitated thanks to the tanks of the key for commandos we were able to destroy the camerons and the next morning

the british troops completed the assault on the casino yet they told the list you'll need to be in the. shade. on the morning of june 6th we had 10 killed and 36 injured who were evacuated to recreate. the commandos were a volunteer unit to the table where you could hear of you could quit whenever you wanted to no questions asked less. like kiefer said before we boarded. you know what to expect. if some of you want to leave come and tell me i won't hold it against you. and nobody laughed. you know you go to war for your country i don't go to war for funny because war is a disaster. people die on each side and even when it's your enemy who dies you're not really happy seeing people die is not fun at all of the year folded to.

feel. few. in grant george lost the other reporters soldiers after the war have resumed their photographer and camera mantra. in 1985 peter hanford sound engineer received an oscar for his work on out of africa and the day leslie evans dick lover barrow is a minnow neo or injured on the beach on the ground o'neill's camera kept rolling

norman clegg landed on south beach with the 6th commando was killed several days later and come from view. on june 6th 1904 cameramen from the british army only had 80 minutes worth of film at the disposal they were able to shoot 40 minutes in only 3 minutes was shown in the cinema. movie tone news narrating the events of d.-day. play.

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