10 Mar 2009

I am a PhD student here at the NMM. I'm part of an Arts and Humanities-funded collaborative doctoral studentship scheme whereby the Museum co-supervises PhD students with a university, which in my case is the University of Sheffield. I'm currently working on a project entitled 'Post-war images of the oceanic cruise'. My primary source of visual material is the Museum's film archive, an often overlooked collection that features a wide range of stock footage and short film. Amongst the rows of tapes and reels are a number of promotional works designed to advertise cruising for the benefit of prospective passengers of P&O, Orient Line, Cunard and Union Castle vessels. I've been amazed at just how vibrant and engaging many of these short films are. Most originate from the 1960s and quietly reflect the changing times of the decade. Image removed. 38a Bus to Cape Town (1966) 38a Bus to Cape Town (1966) was sponsored by Union Castle and directed by John Karie. The film is narrated by Sid James, most famous for his role in the Carry On... films. Here, he takes on the guise of a disgruntled London bus driver so dissatisfied with the relentless hustle and bustle of the city that he escapes to South Africa aboard the Transvaal Castle. Upon arrival in Cape Town it is revealed that James has somehow retained his London bus and is able to journey around the quiet city streets. In an era of loosening colonial grip the sight of such a symbol of Britishness, within a South African city embroiled in the violent throws of independence, is faintly comical and rather jarring. Therefore 38a Bus to Cape Town stands as a fascinating visual document of the confused final breaths of a dying British rule. Image removed. World At Three (1966) World At Three (1966) was funded by P&O and directed by shlock-British film-maker Frederic Goode. The film has a jazz score by John Dankworth at its heart and features vocals by Cleo Laine. Cuts are made in time with the beats and hits of the music, while Laine's lyrics frequently mention the destinations which the Oriana and Canberra visit. The music sets the tone for a decidedly hip vision of life at sea, complete with late-night discos and Ray-Ban-wearing sailors. The film owes much to new cinematic trends coming from Europe and America and emulates the burgeoning 'swinging Sixties' depictions of British life that were perceivable in British features of the time.