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Memory of the World; 2012 - unesdoc - Unesco

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on its release and it was deposited with <strong>the</strong> Imperial War<br />

Museum on <strong>the</strong> museum’s establishment in 1920, one<br />

<strong>of</strong> <strong>the</strong> earliest films to be so archived.<br />

However, alongside its value as a historical document<br />

on film is its importance in human and social history.<br />

The British army was largely a volunteer force, many<br />

<strong>of</strong> <strong>the</strong>m ‘pals’ regiments with strong links to <strong>the</strong>ir<br />

local areas, and troops from Britain and Ireland fought<br />

alongside those from <strong>the</strong> dominions, including Canada,<br />

Newfoundland, Australia, New Zealand and o<strong>the</strong>r<br />

countries <strong>of</strong> <strong>the</strong> Empire, including India; historians have<br />

claimed most families in Britain and large numbers<br />

overseas were affected directly by <strong>the</strong> battle. Against this<br />

background, <strong>the</strong> power <strong>of</strong> its imagery was such that <strong>the</strong><br />

film shaped and defined <strong>the</strong> picture <strong>of</strong> trench warfare, and<br />

by extension <strong>the</strong> First <strong>World</strong> War, in popular imagination<br />

not only in Britain but across <strong>the</strong> world.<br />

It has also seared <strong>the</strong> particular experience <strong>of</strong> <strong>the</strong> Battle<br />

<strong>of</strong> <strong>the</strong> Somme into <strong>the</strong> collective and cultural memory <strong>of</strong><br />

Britain and <strong>the</strong> now-Commonwealth countries. The battle<br />

still holds <strong>the</strong> record for <strong>the</strong> largest number <strong>of</strong> British<br />

losses on one day (more than 58,000 on <strong>the</strong> first day) and<br />

as one <strong>of</strong> <strong>the</strong> bloodiest military operations in history, with<br />

more than a million dead over its course.<br />

The film recorded front-line conditions for fighting<br />

men for <strong>the</strong> first time and <strong>the</strong> destruction visited on <strong>the</strong><br />

French landscape, so raising questions on <strong>the</strong> morality<br />

<strong>of</strong> depicting <strong>the</strong> reality <strong>of</strong> warfare and death, and <strong>of</strong><br />

trespassing on bereavement. The writer Arthur Conan<br />

Doyle, who himself would lose his son in <strong>the</strong> war, wrote<br />

to The Times on <strong>the</strong> subject on 4 September 1916: ‘The<br />

film is a monument to <strong>the</strong>ir devotion. The <strong>the</strong>atre is<br />

filled constantly with <strong>the</strong> relatives <strong>of</strong> <strong>the</strong> men portrayed,<br />

and I do not think <strong>the</strong>y feel <strong>the</strong>re is any desecration in<br />

<strong>the</strong> performance’.<br />

Within weeks <strong>of</strong> being shot, <strong>the</strong> film was being shown in<br />

<strong>the</strong> open air to troops in France still fighting in <strong>the</strong> battle,<br />

which lasted from 1 July to 18 November. One British<br />

<strong>of</strong>ficer admired it, declaring that though it lost something<br />

from <strong>the</strong> absence <strong>of</strong> sound, he could hear <strong>the</strong> real thing<br />

booming some distance away as he watched.<br />

Preserved trenches at <strong>the</strong> Newfoundland memorial<br />

on <strong>the</strong> Somme battlefield. �<br />

440 The Battle <strong>of</strong> <strong>the</strong> Somme

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