was largely 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 mingle amongst them and see what was happening ask them what they were going to do that day and make some recordings in appropriate fashion and peace to hanford's 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 photographer even a very useful person for a film unit. and since at june i was a farmer studios locked in a field to kill a film i was working on at the time but we were up frustrated because we couldn't do much about this. peter hanford's was over on d.-day one of the 1st to land on may be.

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 senate of course movie but there's a absolutely no sound whatsoever. off the wall finish i. i went into the film business and i've made quite

a number of feature films my greatest success if you can call it success was 2 particular television series one was the st then we did a film show called the persuaders with tony curtis and roger moore. i was called up into the role of artillery actually and i was sent out to the middle east of the 7th tommy in the desert. i applied for a transfer to the army film unit and. i knew 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 no real problems with that equalities of the we went through sicily and the next place we had to go was to soon learn no which was

a bit dicey but fortunately it wasn't as bad as the danton's in europe in france. the funny thing about about making the seaborne landed nature always scared before you step on land and when you said that and you get a kind of a reassurance but then you were exposed so the next thing to do was to go and get cover. both to camera and used to work together film camera man which i did and still camera man 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 month's worth but apart from that there's very much like. being a soldier. and. i think

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

remember from the back of a landing barge when the stalls came down the men rush forward very good shot. and they must have been pretty tough on the. house for fortunately i miss that. you. know you. can never be wholly truthful and wholly objective. the human mind the human memory

isn't like that we remember things in a selective way. the more pressure where on the more stress one of the more our vision is narrow. and people will remember things differently depending only 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 oh i know from that connected member it isn't the same as individual memories added together. are i think that it's usually possible to identify the style of different cameraman cameramen have particular ways of doing things that have shots

that they particularly like they compose things in a particular way there is a sort of style that come and develop and i think that you can very often as a historian when you're looking at book make some deductions as to who might have shot it from the style of the work that you're saying. the 1st news really was issued by british movietone 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 vertical commentary mainly what the editors have done is they've blended or 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 lead saying if you look at look at the did you do what your book can chart indeed which is the 14th of june 19th 44 which is the german these are the kind of the d.-day landings the music the music and the editing is almost symphonic. copying. 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 of the writing if you like the audience's emotions and 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 on who. the tremendous responsibility looking at is. not to strike once more on his own enemy rama i mean here to do all is to be good gentleman. by the time that the not number of the 5th section had been set up of the army film photographic unit that the policy was the unit's 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 doesn't know neal 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 asked the men 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. 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 night normally 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 and u.s. marine corps cameraman of the landings that 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 try to capture all recalled the scenes that they

could to the best of their ability they couldn't record sound and all the cameraman 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 the sound of it or can only create an approximation of what really happened and sound is absolutely crucial to the impression of normandy beach or. the other thing is that there are only 7 cameraman stretched along quite long bit of beach they could only hear 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 now 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 even more historical documents need to be treated with care and one story and the detail which is a come from who shot it where when and why i can a more. else it could be. true of them and we all know that if you choose certain images over others if you read it in a certain way if you had certain sounds of music you can tell a completely different story the other the shows that are more compelling to our. should already did and i'm one of those who believe that if we need to have this

sort of educational approach towards the viewer that it is because. he said yesterday 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 is a battle to get this or like the theme of the buckyball it's clear that there are 2 aspects of the images captured by the cameraman filming the landing false work into all of it and later on the in lynn operation in the images as they were shot and then you have the way they are used for instance. and not going to show british or american soldiers execute germans who have surrendered.