By Ian MacKillop, Neil Sinyard
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Additional info for British Cinema in the 1950's: a celebration
When Anderson graduated in 1948, he and his friends continued to publish the journal from London until the beginning of 1952. Sequence was specialist, small-circulation (never more than 5,000 copies) MacKillop_03_Ch2 24 9/1/03, 9:28 am ………………………… Sequence and the rise of auteurism 25 and not very well known – when Charles Barr and his friends started writing in Movie at the beginning of the 1960s, they had never heard of it although they, of course, knew of Anderson and his writings for Sight and Sound.
19–23; March 1966, pp. 37–40. ‘Losey: Modesty and Eve’, Films and Filming (April 1966), pp. 26–33. ‘Losey: Puritan Maids’, Films and Filming (May 1966), pp. 28–33. ‘Two on a Tandem’, Films and Filming (July 1966), pp. 26–33. MacKillop_02_Ch1 21 9/1/03, 9:26 am 22 ………………………………………… ‘Brain Drains: Drifters, Avant-Gardes and Kitchen Sinks’, Cinema 3 (June 1969), pp. 48–53. A Mirror for England: British Movies from Austerity to Affluence (Faber & Faber, 1970). ‘Shoot Out in Dean Street’, Films and Filming (February 1972), pp.
François Truffaut, ‘A Certain Tendency of the French Cinema’  in Movies and Methods, ed. Bill Nichols (University of California Press, 1976), p. 234. Anderson, ‘Alfred Hitchcock’, Sequence 9 (Autumn 1949), pp. 113–24. Anderson, ‘Alfred Hitchcock’, p. 115. Anderson, ‘John Ford and They Were Expendable’, Sequence 11 (Summer 1950), pp. 18–31. Anderson, ‘John Ford’, p. 115. Anderson, ‘John Ford’, p. 31. Anderson, ‘The Quiet Man’, Sequence 14 (New Year 1952), pp. 18–31. John Ellis, ‘Art, Culture and Quality’, p.