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Martin Parr (b. 1952)

Birthplace:
Epsom, Surrey, England, UK

Born:
May 23, 1952

Biography from TheMovieDB

Martin Parr (born 23 May 1952) is a British documentary photographer, photojournalist and photobook collector. He is known for his photographic projects that take an intimate, satirical and anthropological look at aspects of modern life, in particular documenting the social classes of England, and more broadly the wealth of the Western world.  His major projects have been rural communities (1975–82), The Last Resort (1983–85), The Cost of Living (1987–89), Small World (1987–94) and Common Sense (1995–99).  Since 1994, Parr has been a member of Magnum Photos. He has had around 40 solo photobooks published, and has featured in around 80 exhibitions worldwide – including the international touring exhibition ParrWorld,[5] and a retrospective at the Barbican Arts Centre, London, in 2002.  The Martin Parr Foundation, founded in 2014, opened premises in his hometown of Bristol in 2017. It houses his own archive, his collection of British and Irish photography by other photographers, and a gallery. (Wikipedia)

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Film Performances

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Film Production

Cinematography:
1999  Think of England
2006  John Shuttleworth: It's Nice Up North

Director:
1997  United Kingdom
1999  Think of England
2003  Cinema16: British Short Films
2006  John Shuttleworth: It's Nice Up North
2011  Martin Parr's Black Country Stories: Teddy Grey's Sweet Factory
2011  Teddy Gray's Sweet Factory
2013  Martin Parr's Black Country Stories: Mark goes to Mongolia
2014  Martin Parr’s Black Country Stories: Tudor Crystal
2014  Martin Parr’s Black Country Stories: Turkey & Tinsel

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While much of the above data are retrieved directly from outside APIs and other such sources, data from American Film Institute (AFI) and British Film Institute (BFI) were manually entered the old fashioned way into a MySQL database. Re BFI I took the following liberties:

  • I added "runners up" to Top 10 lists, treating them as ties where applicable and numbering them accordingly at the bottom of each list.
  • Regarding those polls wherein "franchise" movies were submitted as one project until BFI's policy changed to regard them separately, I treated them as ties and renumbered the affected lists accordingly (e.g. the Godfather films).

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