report on the possible nationalisation of the film industry for the industry union ACTT, to helping Tony Rayns edit the short-lived film magazine Cinema Rising. Hartog's commitment to cinema included a passionate interest in the Third Cinema of Africa and Latin America. Whilst working at London's principal Third Cinema distributors, The Other Cinema, he was offered the post as consultant to the Frelimo Party government in Mozambique, which became independent in 1975. They wanted him to set up a state film industry. The principal result was an effective regular newsreel company, Kucha Kanema. On his return to the UK, Hartog initiated and inspired a collective of young feature filmmakers in Spectre Productions. They included Stephen Dwoskin, Anna Ambrose, Vera Neubauer, Phil Mulloy and Michael Whyte. The co-operative produced several low-budget features (usually with Hartog as producer) in its 15 years of operations. Hartog was active in the Independent Filmmakers' Association, a pressure-group that campaigned for an independent and innovative Channel 4. The success of that campaign led him to join John Ellis (media academic) and Keith Griffiths in founding the production company Large Door Ltd. It produced the channel's world cinema programme, Visions, for three years. Just before his death, Hartog completed Beyond Citizen Kane, his film on the development of TV in Brazil, concentrating on the role of Rede Globo, the largest media conglomerate in the country. The documentary is critical of the company's ties to the military dictatorship and likened the conglomerate's leader, Roberto Marinho, to the Citizen Kane figure of the 1941 American film for manipulation of news. During its development, Hartog had made signed agreements with various cultural and political groups in Brazil to give them the non-TV rights, in order to provide for wide distribution in the country. In addition, his company sold copies of the film in the UK at cost, and members of the Brazilian community bought copies to send to associates in Brazil. Hartog died during the final editing of the film, which Ellis completed, and before the programme was broadcast in 1993 in the UK. When the film was scheduled for its first public screening in Brazil in March 1994 at the Río de Janeiro Museum of Modern Art, Rede Globo went to court, obtaining an order for the posters and copy of the film to be confiscated by the military police. The company continued to try to prevent the film's