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Anne Rees Mogg
A length of time (1970/71) is an affectionately indulgent 20 minute black and white film about Anthony Bruegger, Anne's nephew.

This is an adolescent monologue/journal, which celebrates the moment when the 20-year-old first feels able to stand up and say 'this is me', including footage of his first euphoric stock-car race.

Between these early films and Grandfather's Footsteps (1983), there were three substantial, half-hour, films which Anne regarded as a trilogy. They are Real Time (1974), Sentimental Journey (1977), and Living Memory (1980).

Real Time is the most densely autobiographical. Of all her films, this is where her obsessive delving through the family looking-glass most literally determines the form of the film. There are subtitled sections: a flicker-book chronology of her photographed image; a reconstructed childhood scene; sections on family likeness, images of her mother and her father, and then [after a mock television interlude of kittens eating], a relaxed road-movie sequence which suddenly opens into an important soliloquy. Sentimental Journey is a scripted seminar and collaboration with some of her students, proposing definitions for the making of a film, and gathering its ingredients by anecdotes, visual and verbal. Living Memory is a physical journey variously by light aircraft, car and foot, circling the landscape of her family home. It is built around (in her own words) 'a ragbag of quotations', another threading of beads on a string. The importance to her film-making of words, in many different forms, gathers momentum through the three films, and in this and other senses Grandfather's Footsteps forms a fourth part.

From this main body of her (unfinished) work, we can build some idea of the poetic form of film-making she envisaged, and of the mind and philosophy behind it.

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