Like the French New Wave, where many of the filmmakers began as film critics and journalists, in Britain critical writing about the state of British cinema began in the 1950s and foreshadowed some of what was to come. Among this group of critic/documentary film makers was Lindsay Anderson who was a prominent critic writing for the influential Sequence magazine (1947–52), which he co-founded with Gavin Lambert and Karel Reisz (later a prominent director); writing for the British Film Institute's journal Sight and Sound and the left-wing political weekly the New Statesman. In one of his early and most well-known polemical pieces, Stand Up, Stand Up, he outlined his theories of what British cinema should become.