Africa's Big Five and Other Wildlife Filmmakers

Jean Hartley

Description

Jean Hartley, born in Kenya, is acknowledged as being the first to legitimise �fixing� for wildlife film crews. Over the last 25 years, she has worked on over a thousand films, the vast majority being about wildlife and nature. She features five of the great film makers who all started their careers in Kenya in the1950s, legends whom she is proud to call personal friends. Watching all of their films, and many more, she became fascinated by the history of film making in Kenya and determined to find out when it all started. In this insightful book, she traces the roots of wildlife film back a hundred years, drawing on accounts of the original film makers and the professional hunters who guided those early safaris. She tracks the changes from those grainy, speeded up, silent films through to the technologically perfect High Definition and 3D films that are being made today.

Sujets

• History

Informations

• Publié par: Twaweza Communications
• Date de parution: 01 novembre 2010
• Nombre de lectures: 0
• EAN13: 9789966151049
• Langue: English
• Poids de l'ouvrage: 5 Mo

Extrait

AFRICA’S BIGFIVE AND OTHER WILDLIFE FILM MAKERS A RICA’S B G FIVE AND OTHER WILDLIFE FILM MAKERS

JEAN HARTLEY

JEAN HARTLEY FOREWORD BY RICHARD LEAKEY

AFRICA’S BIG FIVE

AND OTHER WILDLIFE FILMMAKERS

A CENTENARY OF WILDLIFE FILMING IN KENYA

JEAN HARTLEY

FOREWORD BY RICHARD LEAKEY

All rights reserved. No part of this publication may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system, without permission in writing from the publisher.

© Copyright Twaweza Communications & Jean Hartley, 2010

Published in 2010 by: Twaweza Communications Ltd. P.O. Box 66872 - 00800 Westlands Twaweza House, Parklands Road Mpesi Lane, Nairobi Kenya website: www.twawezacommunications.org Tel: +(254) 020 375 2009 Fax: +(254) 020 375 3941

Design and Layout by Catherine Bosire Cover design by Mia Collis

ISBN:9966-7244-9-4

Printed by Kolbe Press, P.O. Box 468 - 00217 Limuru, Kenya

‘But it is certainly a sacrilege to tamper with natural history. I appeal to you, film authors and fellow-producers. Before you produce or write animal films, consult authentic and authoritative books that have been written by men who have spent many years acquiring first hand personal knowledge of the primeval forests, the deserts and the jungle.’

– Joseph Delmont,Wild Animals on the Films(1925).

Table of Contents

Acknowlegements ........................................................................ vii Foreword ....................................................................................... ix

Introduction ................................................................................... 1 My Early Years ............................................................................... 5 The Beginning of Viewfinders, 1988 ........................................... 7 The Start of Widlife Filming, 1909 ........................................... 18 Africa’s Big Five .......................................................................... 64 Other Special People ................................................................... 90 The Television Era ....................................................................... 99 Bibliography ............................................................................... 111 Appendix .................................................................................... 118 Index ........................................................................................... 160

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Acknowledgements

Many people have been very kind in helping me research this book. Some have lent me books or given me links to the internet, most have trawled their memories, and many have dug out bits of their own family history including photographs, press cuttings, books, and even copies of films. Some have even spent time in libraries overseas, coming up with obscure articles and information. I thank them all, and couldn’t have even scratched the surface of the subject without them.

Matt Aeberhard, Alison Aitken, Gus Akerheilm, Tony Archer, Jen and the late Des Bartlett, Peter Bassett, William Beinart, Caroline Brett, Andres Bifani, Jeffrey Boswall, Derek Bouse, Richard Brock, Monty and Barbara Brown, Cindy Buxton, Bob and Heather Campbell, Brian and Sheila Carr Hartley, Roy and Judy Carr Hartley, Gus Christie, Pat Cottar, Jack Couffer, Sophie Darlington, Michel de la place Toulouse, Mark Deeble and Victoria Stone, Tony and Rose Dyer, Mohinder Dhillon, Mark Fletcher, Sara Ford, Laurie Gwyther, John Heminway, Pascal Imperator, Brian Jackman, Colin Jackson, Kibaara Kaugi, Ned Kelly, Derek Kilkenny-Blake, Rudi Kovanic, Wolfgang Knoepfler, Charles Lagus, Richard Leakey, Brian Leith, David Maingi, Rick and Sally Mann, Hugh Maynard, Katie McKeown, Steve Miller, Steve Mills, Bud Morgan, Patrick Morris, Dr Bitange Ndemo, Andrew Nightingale, Ivo Nightingale, Barry Paine, Mary Plage, Jenny Pont, Nigel Pope, Reinhard Radke, Alan Root, Monty Ruben, Bob Ryan, Warren Samuels, Ian Saunders, Keith Scholey, Daphne Sheldrick, Simon Trevor, Tanya Trevor-Saunders, Barbara Tyack, Evert van den Bos, Heather Wallington, Adrian Warren.

I would also like to thank Professor Kimani Njogu and his team, my publishers, without whom this book would never have seen the light

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