Our Empire’s Fight for Freedom uses many, often lengthy, titles to re-contextualise and dramatise existing footage. In particular this issue emphasises the imperial response to the war – and the popular support for the Empire – and this is achieved primarily though the written text. For example, the film opens with a quote from the King’s message ‘to the Princes and people of India and his other self-governing Dominions’ in September 1914, in which the King talks of ‘the liberties of my Empire’. Before there has even been any film footage, the title explains that ‘India immediately sends a first instalment of two divisions to Europe to defend the Empire’. These opening titles thus emphasise the immediate response and support of the colonies and dominions, their concern to ‘defend the Empire’ and the role of the King in bringing together ‘my Empire’. The footage of Indian troops is contained within one very brief sequence, and yet through the titles – a later one reiterates that ‘India has already sent her first two divisions’ – Indian support for the war is emphasised.

The film next highlights the recruiting efforts in London – which includes a succession of ‘typical posters of the great recruiting campaign’ displayed on garden gates – before outlining the response of the individual dominions. A title notes here that ‘From the four corners of the world, Britain’s sons rallied to the flag to save the Empire and to crush German Kaiserism the would be God of the universe; the despoiler of nations; the enslaver of civilisation’. This certainly illustrates the ‘propaganda of hate’ that Reeves noted was particular to this series, but it also reiterates the dominions’ position in relation to Britain. The next title is headlined ‘The Empire’s loyalty’ as each country’s immediate support and response is outlined through the text. The titles indicate that Australia declared their support to the ‘last man and last shilling’, that New Zealand decided to send ‘every available man immediately’ and that General Botha made a ‘stirring successful appeal to South Africa’. Each country is introduced by familiar national images and a brief clip. Both Australia and Egypt are represented by scenes of celebration, as the troops enthusiastically wave hats and jump at the camera. In highlighting Egyptian support for the British war effort, a title explains that ‘Egyptians rally to the help of their benefactors’, adding that ‘Under careful British instructors they are quickly turned into efficient soldiers of Empire’. Again, this title illustrates both the British role in instructing and developing these foreign subjects, and the role of these colonial troops in serving the Empire.

Although the production and exhibition history of Our Empire’s Fight for Freedom is unclear, the series is indicative of the way in which titles are used to re-contextualise existing war footage, and in particular of the ways in which producers related official war material to the Empire. The film highlights imperial support from the Dominions, India and Egypt – there is no mention of the rest of Africa or the Caribbean – and emphasises the unquestioned immediacy of this response. While this series was not widely exhibited, presenting the war within an imperial context ensured that similar series, such as Sons of Our Empire, often played extensively overseas, bringing not only the footage of imperial troops in action, but also the messages of imperial co-operation and continued loyalty to a wider imperial audience.

Tom Rice (September 2009)