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man. 161044 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 evren asked by the services of the armies of film the parts of the operation overlord that were covered by the british troops between we stream and air among 3 sections that were named juno sword and gold. an armed barely protected their battle will be a battle of images that will serve the allied propaganda and will become part of

history. when reporting. first difficult scenes of em on jobs and better jobs making their final preparations before the attack seems taken a few hours before general eisenhower i was going to get a number one told us that the 2nd front and open. at the outbreak of the 2nd bout war in britain there was not a single a cameraman well all 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 importantly propaganda abroad the army film unit was created in november 1940 the people recruited to become a 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 the soldier could be trained to use a camera the cameraman was sent to pinewood studios for a tweak training 2 . so this is the divide camera used by most of the cameramen at normandy you either wind the camera like this you want to quote what mechanism.

on the other there is a gulf in up which means if you can go roughly the right speed that you pick up as well. so obviously it requires some skill by the cameraman to get a regular motion to make sure the film because pos the lens at the correct speed. when sergeant grant was coming in on the landing craft tank he noticed to the left of him that there was a landing craft that coming in that he got hit by shell was in flame because he had he'd been trying to pinewood 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 and then you have a mid shot and then you have

a closeup for interest and that automatically clip creates a very simple narrative and they were told always to think in story time on d.-day the album tubes were 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 real 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 film 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 video tape that they could just shoot whatever they liked so they always were thinking what should i shoot what was 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 wind over very badly wounded british soldiers because they

suspected it wouldn't be used by the news or in the. hands of his doing the landings we've been told well less than had been expected to know what we wanted received 1st aid on the beaches themselves and many us with the echoing to. the sound of the noise it was a case of getting hit right at the beginning of the battle for the beaches and then home again internet cover. the 1st cameraman to land was delusional those who came ashore at 745. and within 15 minutes others were coming. in grant landed with the command. police 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 way. 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 few d.-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 back quickly. to enter. in 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 1st photographer had noted down and it also meant that the interpretation of that flash graphic might not be thought through a photographer himself had originally not ascribe 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 are on our way to syria to see peace in office one of the very few ventured photographers sufi army film for traffic you know. who saw your service in fronts of 944. sir peter. how did the super icons work well this is a pre-war. it was a very good shabbos. you came into the war with professional training with a trade that is now

a robinson's burstall pretty sure yeah i was working at the war office when. he was. and i was working on a scale group of prisoners of war right i was in the. moral office i'll get myself transferred for myself in the army field to write unfinished occupied would sell i didn't get to cough only that. but about 4 months off to run his and when you came to from can you remember where you came ashore so there are more you could you came ashore at our own militias and what was the scene like when you 1st landed. a lot of. the poetry. and several.

sometimes rather more of them just exciting but i must say that you know i was so interested in the 3rd graphic because there were some people who just shot pictures like bang bang bang to try and compose everyone to. george talk reasserts. and these these pictures just. in. the seeds papers and that's. actually happening then and then. oh i did shoot. german and. that repeats. what's says up. but otherwise it was always action photography.

i joined about one year after the unit was formed it was for me not you 41 for training cameramen i was the 1st sound. after looking my large britta 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 you were going to what was going to come next and nothing was rehearsed we just. our job was to record it

and you never knew what you were going to what was going to come next and nothing was rehearsed we just went and shot whatever was available not 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 salty out of 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 we'll go down to where we could see some of our troops mingle among some and see what was happening asked them what they were going to do that day and make some recordings in appropriate fashion and people 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 and trash so having been trained in sound and having a great knowledge photography had a very useful person for a film unit. and 6 in june i was at pinewood studios lot to not feel what particular film i was working on at the time but we were frustrated because we couldn't do much about this. issue to hand 1st was over on d.-day one of the 1st to land on may beach. 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 an absolutely no sound whatsoever.

off the wall finish i. i went into the film business and i bade 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 for the 7th ahmadi 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 hama's 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 it quite easily and we went through sicily and the next place we had to go was 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 land an issue 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. 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 month's worth but apart from that there's very much like. being a soldier. and. i think you angles whatever you did 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 the last angle on the thing you just photograph one way or

possibly because 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 we were trying to film action. soldiers actually in that shouldn of guns firing. whatever we thought would be newsworthy we've filmed i've seen are you have 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. and it must have been pretty tough on the day.

this house for fortunately i miss that. no witness 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 where on the more stressed one of the more our vision is narrow. and people 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. i know from that collective memory isn't the same as dividual memories added together. and. i think that it's usually possible to identify the style of different government. 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

shot it from the style of the work that you're saying. the 1st news are that was issued by british maybe 10 years ago on the 8th of june so it's 2 days after 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 oh they've synchronized the scenes of the landings with beethoven's 5th symphony

c c. actually it's much more like the german approach to the news or lead saying if you look at look at the did you know it's a vulcan chart indeed which is the 14th of june 19th $44.00 which is the german these are the kind of old the d.-day landings the music the music and the editing is almost symphonic. i think we. can from the moment look on the front end. 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 mean come on down with admiral ramsey on who. tremendous responsibility larry at this moment. not to strike once more on his own enemy rama i mean here to do all is to be did gentleman . by the time that the knot number of the 5th section had been set up of the army film photographic unit the policy was the units policy was that there would be no re-enacting they would 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 all represent 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 no maybe 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 a beach show not only a 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 sinking sound is not an authentic or or truthful way to record actual sound basically you can only the sound 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 stretch along quite a long bit of beach they could only of record a certain perspective of what was 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 and juno 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 more stories and the detail which is a come from yet who shot it where when and why i came a more. of them and we all know that if you choose certain images over others if you edited in a certain way if you add certain sounds of music you can tell a completely different story the shoes that they're more likely to are. district f. it is 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. 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 all make. up why. it's

clear that there are 2 aspects of the images captured by the cameraman filming the landing. and later on in lynn operation in the images as they were shot and then you have the way they are used for instance. they're not going to show british or american soldiers execute germans who have surrendered they don't show that they all 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 street 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 going on vacation historical date voiced by moscow which only americans have begun a long awaited invasion by germany remains under guard matthew on the ground and even if they are trained in by chopper 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 that even if the young german units are watching the enemy's approach and transmit their position alert to do so they are 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. not of those that will do the place we did he kill them or it thought i was a little kid here we have the british press for instance the times a london newspaper i know of him if you go 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 viewers will not it will fall in with you 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 with a photograph 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 it create top. 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 and gauged in these operations canada also took an important part in these events of june 6th 1941 that we did eagerly food of going to fail not a word about the presence of french soldiers there were some who took part in the operations with the british commandos the famous keeper 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 on pages 4 and 5 we have very

interesting photographs. i look at those 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 when it is all would clear the planet will differ look you can't see the actual landing pictures are taken from the ships away from the shore. without showing a british or american soldiers fighting on the beaches it is simply cruel cruel supposed to be on the table the idea is to show that the landing is going well there's no mention of casualties or captured soldiers to question the discus of us who don't talk about what happened on omaha beach is it true it is probably a film about a book they don't talk about the 3000 casualties in this sort of lucky day back over. what they only saw the landing craft full of soldiers. they don't show the fights and the deaths nor the temporary american cemetery in omaha if it's a massive the operations are going well massively. the idea is to reassure the

populations and the political authority. and here we have a british magazine translated into french so and at french readers called ensemble the 1st issue came out in july $944.00 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 keeper commandos movie show their militia explaining minute by minute the 1st 2 hours of the landing forcibly tending dhoni said on public affair keep speaking minute by minute see due to the beach. but on the. basis of i want you. to come out. to the results of the 52 feet. tall. so you we.

like you see you see this as. a good. thing as. you don't see for us this week that. you suppose this you must outlaw through law and order all this to do. the evening of the 5th of june we boarded close to southampton and we made our way along the canal between the isle of wight and the coast in a way that they look. for quite a 1000000 and then 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 fired into too many crafts the 523 and the 527 where kiefer was just household and ship that was on shuttling to fail . our guys had spent the night in the bottom of the landing craft the sea was very rough many was sick the moral was low. many were seasick male will. not overrule point then usual as the sun rose we began to discern the coast i remember the fog that was something we were coming home all off you know we could see our land it was an emotional moment when you know a man. at 1st we didn't get hit at all but close to the shore the $527.00 gets hit by

a mortar shot right in the front of the craft in a deal be we were forced to jump into the water from the top of the landing craft. one of believe we lost a lot of men on the beach i lost one of my units the eventual unit you'll know. that's 15 men. until my. lucia. month law aboard the 523 we got very lucky we landed. i mean michel our mission was to get from the rallying point to the casino leave this school because he knew. they made their way without trouble on to the route to leone. thank you and while we were attacking

each and every bunker on the beach. syriac and ellen when i saw a british cameraman 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 camp. and the next morning the british troops completed the assault on the casino yet they told us this week.

on the morning of june 6th we had 10 killed and 36 answered who were evacuated to evacuate. the commandos or a volunteer unit. you could quit whenever you wanted to no questions asked. like kiefer has said before we already. know what to expect if some of you want to leave come and tell me i won't hold it against you. and nobody left. libya you know you go to war for your country you don't go to war for funny because war is a disaster. people die on each side you know and even when it's your enemy who dies or you're not with a happy seeing people die is not fun at all or the way or folded to. feel.

few. in grant george law the other reporter soldiers after the war have resumed their photographer and camera man for you. in 1905 peter hanford sound engineer received an oscar for his work on out of africa. and the day lesley evans dick lever barrow esmond o'neill were injured on the beach on the ground o'neill's camera kept rolling norman clegg landed on south beach with the 6 commando was killed several days later and come for the year. 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 and only 3 minutes was shown in the cinema. in the movie tone news narrating the events of d.-day. like o.t.c. robotic m.l. keep learning march to reality wait

a 2nd we want the whole picture out facts instead of make ideas shift deliver us. from one measure to reality to cryptocurrency to your topics for live in an ever changing digital world let's start with his allies ation their shift 15 d.w.a. are. in good shape in modern society the pressure to perform seems on the present but sometimes they cannot be ever ready. in for tests is a catastrophe for men and it's wrong to own economics you should talk about the increasingly common incidence of erectile dysfunction are focusing on this week. good shit in 30 minutes from.

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