The Bioscope (Apr 1932)
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Breathtaking Stories of Extreme Filming. Read the Full Story on Page 6
The newspaper for BBC pensioners - with highlights from Ariel Heights, Camera, Action Breathtaking stories of extreme filming. Read the full story on page 6. June 2011 • Issue 4 Yes, Prime Lord Patten Minister back takes the helm Sounds better? on stage Page 2 Page 7 Page 12 NEWS • LifE aftEr auNtiE • CLaSSifiEdS • Your LEttErS • obituariES • CroSPEro 02 uPdatE froM thE bbC Patten takes helm at BBC Trust On 3 May, Lord Patten began his appointment as chairman of the BBC Trust – with an interesting first day spent taking questions from staff in a ringmain session. Quality First) should be all about and I hope we’ll be able to discuss options with the Executive during the summer.’ 2011 pay offer It is also apparent that the new chairman is ready and willing to deal with the – an update repercussions of the less popular decisions to be taken, and those which will not always Further to requests by the unions for all be accepted gladly by the licence fee payer. staff in bands 2-11 to be awarded a pay ‘I hope we won’t be talking about closing increase which is ‘substantially above services but, whatever we are talking about inflation’, the BBC has offered a 2% doing, if the Trust and the Executive are increase – which falls far short of the agreed it is the best way of using the money Retail Prices Index (RPI) figures on which then we have to stand by the consequences. If it is intended to be based (5.2% as at that involves answering thousands of emails, April 2011). -
BFI CELEBRATES BRITISH FILM at CANNES British Entry for Cannes 2011 Official Competition We’Ve Got to Talk About Kevin Dir
London May 10 2011: For immediate release BFI CELEBRATES BRITISH FILM AT CANNES British entry for Cannes 2011 Official Competition We’ve Got to Talk About Kevin dir. Lynne Ramsay UK Film Centre supports delegates with packed events programme 320 British films for sale in the market A Clockwork Orange in Cannes Classics The UK film industry comes to Cannes celebrating the selection of Lynne Ramsay’s We Need to Talk About Kevin for the official competition line-up at this year’s festival, Duane Hopkins’s short film, Cigarette at Night, in the Directors’ Fortnight and the restoration of Stanley Kubrick’s A Clockwork Orange, restored by Warner Bros; in Cannes Classics. Lynne Ramsay’s We Need To Talk About Kevin starring Tilda Swinton was co-funded by the UK Film Council, whose film funding activities have now transferred to the BFI. Duane Hopkins is a director who was supported by the UK Film Council with his short Love Me and Leave Me Alone and his first feature Better Things. Actor Malcolm McDowell will be present for the screening of A Clockwork Orange. ITV Studios’ restoration of A Night to Remember will be screened in the Cinema on the Beach, complete with deckchairs. British acting talent will be seen in many films across the festival including Carey Mulligan in competition film Drive, and Tom Hiddleston & Michael Sheen in Woody Allen's opening night Midnight in Paris The UK Film Centre offers a unique range of opportunities for film professionals, with events that include Tilda Swinton, Lynne Ramsay and Luc Roeg discussing We Need to Talk About Kevin, The King’s Speech producers Iain Canning and Gareth Unwin discussing the secrets of the film’s success, BBC Film’s Christine Langan In the Spotlight and directors Nicolas Winding Refn and Shekhar Kapur in conversation. -
Downloadable Text (Finkelstein and Mccleery 2006, 1)
A Book History Study of Michael Radford’s Filmic Production William Shakespeare’s The Merchant of Venice A thesis submitted in fulfilment of the requirements for the degree of MASTER OF ARTS of RHODES UNIVERSITY by BRYONY ROSE HUMPHRIES GREEN March 2008 ABSTRACT Falling within the ambit of the Department of English Literature but with interdisciplinary scope and method, the research undertaken in this thesis examines Michael Radford’s 2004 film production William Shakespeare’s The Merchant of Venice using the Book History approach to textual study. Previously applied almost exclusively to the study of books, Book History examines the text in terms of both its medium and its content, bringing together bibliographical, literary and historical approaches to the study of books within one theoretical paradigm. My research extends this interdisciplinary approach into the filmic medium by using a modified version of Robert Darnton’s “communication circuit” to examine the process of transmission of this Shakespearean film adaptation from creation to reception. The research is not intended as a complete Book History study and even less as a comprehensive investigation of William Shakespeare’s The Merchant of Venice . Rather, it uses a Shakespearean case study to bring together the two previously discrete fields of Book History and filmic investigation. Drawing on film studies, literary concepts, cultural and media studies, modern management theory as well as reception theories and with the use of both quantitative and qualitative data, I show Book History to be an eminently useful and constructive approach to the study of film. ii ACKNOWLEDGEMENTS I want to thank the Mandela Rhodes Foundation for the funding that allowed me to undertake a Master’s degree. -
Foreign Women Authors Under Fascism and Francoism
Foreign Women Authors under Fascism and Francoism Foreign Women Authors under Fascism and Francoism: Gender, Translation and Censorship Edited by Pilar Godayol and Annarita Taronna Foreign Women Authors under Fascism and Francoism: Gender, Translation and Censorship Edited by Pilar Godayol and Annarita Taronna This book first published 2018 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2018 by Pilar Godayol, Annarita Taronna and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-0665-7 ISBN (13): 978-1-5275-0665-7 This book is the result of work by the consolidated research group “Gender Studies Research Group: Translation, Literature, History and Communication” (GETLIHC) (2014 SGR 62) of the University of Vic– Central University of Catalonia (UVic-UCC) (C. de la Laura, 13, 08500, Vic, Spain), and the R&D project “Traducción y censura: género e ideología (1939-2000)” (ref. FFI2014-52989-C2-2-P), financed by the Ministry of Economy and Competitivity. This book is also the result of work by the research group “Archivio di Genere Carla Lonzi” of the University of Bari. TABLE OF CONTENTS Acknowledgments ..................................................................................... vii Introduction ................................................................................................. 1 Pilar Godayol and Annarita Taronna Part One: FASCISM (1922-1940) Notes on the Fascist Censorship ................................................................ 10 Annarita Taronna Chapter One .............................................................................................. -
We Need to Talk About Subsidy: Television and the UK Film Industry – a Thirty-Year Relationship
We Need To Talk About Subsidy: Television and the UK film industry – a thirty-year relationship. I want to conclude this panel by taking a broader perspective on the concept of film subsidy, as deployed by Film4 and BBC Films, respectively the film production arms of the UK’s major public broadcasters Channel 4 and the BBC. As well as indicating the distinctive features of this model within the economic structure of the UK film industry, the paper will offer some consideration of the kind of film product these interventions has tended to produce. It will conclude with an assessment of the strengths and weaknesses of what I want to call the cultural subsidy model of film production, and raise some general questions arising from the relationship between the film and television industries. In 2010, having been producing feature films in one form or another for twenty years, the BBC (the UK’s unique flagship PSB), produced its first explicit film strategy: ‘There are three principal public sector bodies which support film: BBC Films, Film4 (part of Channel 4) and UK Film Council (UKFC) (now merged with BFI)… This set up has provided the British film industry with stability and plurality which has been very important in the development and sustainability of the industry over the last decade’ (BBC Films Strategy, 2010). The confidence with which it trumpeted its own role in contributing ‘stability and plurality’ to the British film industry belied its protracted soul-searching about whether cinema was something the licence fee should really be spent on. Long-held anxiety within the Corporation that the licence levied on every household that owns a TV set should be spent on television content rather than movies the public has to pay again to see at the cinema, characterised the BBC’s ambivalence about following the film sponsorship model pioneered by Channel 4 from 1982. -
The Finance and Production of Independent Film and Television in the UK: a Critical Introduction
The Finance and Production of Independent Film and Television in the UK: A Critical Introduction Vital Statistics General Population: 64.1m Size: 241.9 km sq GDP: £1.9tr (€2.1tr) Film1 Market share of UK independent films in 2015: 10.5% Number of feature films produced: 201 Average visits to cinema per person per year: 2.7 Production spend per year: £1.4m (€1.6) TV2 Audience share of the main publicly-funded PSB (BBC): 72% Production spend by PSBs: £2.5bn (€3.2bn) Production spend by commercial channels (excluding sport): £350m (€387m) Time spent watching television per day: 193 minutes (3hrs 13 minutes) Introduction This chapter provides an overview of independent film and television production in the UK. Despite the unprecedented levels of convergence that characterise the digital era, the UK film and television industries remain distinct for several reasons. The film industry is small and fragmented, divided across the two opposing sources of support on which it depends: large but uncontrollable levels of ‘inward-investment’ – money invested in the UK from overseas – mainly from the US, and low levels of public subsidy. By comparison, the television industry is large and diverse, its relative stability underpinned by a long-standing infrastructure of 1 Sources: BFI 2016: 10; ‘The Box Office 2015’ [market share of UK indie films] ; BFI 2016: 6; ‘Exhibition’ [cinema visits per per person]; BFI 2016: 6; ‘Exhibition’ [average visits per person]; BFI 2016: 3; ‘Screen Sector Production’ [production spend per year]. 2 Sources: Oliver & Ohlbaum 2016: 68 [PSB audience share]; Ofcom 2015a: 3 [PSB production spend]; Ofcom 2015a: 8. -
Bibliography
BIBLIOGRAPHY PRIMARY SOURCES BY AGATHA CHRISTIE Christie, Agatha. An Autobiography [1977] (London: Harper, 2011). ———. The Big Four (London: Collins, 1927). ———. The Body in the Library [1942] (New York, London, Toronto: Harper, 2011). ———. “The Capture of Cerberus” [1941], in Agatha Christie ’ s Secret Notebooks : Fifty Years of Mysteries in the Making , ed. by John Curran (London: HarperCollins, 2009), 425-52. ———. “The Capture of Cerberus” [1947], in Herucle Poirot : The Complete Short Stories (London: HarperCollins, 1999), 831-51. ———. Cards on the Table [1936] (Glasgow: Fontana, 1969). ———. Cards on the Table : Marple Tie-In (London: HarperCollins, 2005). ———. A Caribbean Mystery (London: Book Club, 1964). ———. “The Case of the Discontented Soldier” [1934], in Parker Pyne Investigates (New York: William Morrow, 2012), 17-38. ———. “The Case of the Rich Woman” [1934], in Parker Pyne Investigates (New York: William Morrow, 2012), 87-104. ———. “The Cornish Mystery” [1923], in Poirot ’ s Early Cases (London: Harper, 2002), 57-80. ———. Crooked House [1949] (Glasgow: Fontana, 1990). ———. Curtain : Poirot ’ s Last Case [1975] (London: Harper, 2002). ———. Dead Man ’ s Folly [1956] (London: Collins, 1956). ———. Death on the Nile [1937] (New York, London, Toronto: Harper, 2011). © The Editor(s) (if applicable) and The Author(s) 2016 271 J.C. Bernthal, Queering Agatha Christie, DOI 10.1007/978-3-319-33533-9 272 BIBLIOGRAPHY ———. “The Double Clue” [1923], in Hercule Poirot : The Complete Short Stories (London: HarperCollins, 1999), 282-90. ———. Dumb Witness (London: Book Club, 1937). ———. Elephants Can Remember [1972] (London: HarperCollins, 2002). ———. Evil under the Sun [1941] (Glasgow, London: Fontana, 1988). ———. The Grand Tour (London: HarperCollins, 2012). ———. Hallowe ’ en Party [1969] (London: HarperCollins, 1994). -
North West Leicestershire District Council List of Local Heritage
North West Leicestershire District Council APPENDIX 1 List of Local Heritage Assets Recreational buildings Discussion document Disclaimer Please note that the inclusion of any building in this discussion document does not mean that the building or its grounds are open to the public. Many of these buildings are private homes or businesses, so please respect the occupiers’ privacy. Historic England has published a listing selection guide for Culture and entertainment buildings (2017). It has published guidance on Gentlemen’s clubs and masonic lodges as part of its selection guide for Commerce and exchange buildings (2017). The Council has adopted Criteria for identifying local heritage assets (2016). This discussion document examines the selection guides in a local context and offers recommendations for local listing. Cinemas According to Historic England, cinemas “emerged almost overnight” following the 1909 Cinematograph Act. In the late 1920s there was “major change” led by “the emergence of the large cinema chains”. Historic England advises that cinemas erected before 1914 are generally considered suitable for listing, subject to “a surviving exterior” and “particularly good decoration”. For later cinemas, “architectural quality and extent of alteration will be key considerations”. At Ibstock the ‘Palace’ was designed by Goddard & Wain and opened in December 1912. It is the only cinema in the district erected before 1914 and for this reason it is considered suitable for addition to the local list. At Ashby the former Wagon & Horses PH was altered in 1912 to form the ‘Lyric’; it closed in 1927 (Jones, 2012). The building is grade II listed. At Measham the ‘Empire’ was erected in 1932 on the site of an earlier cinema (Elliott, 1992); it does not exhibit “architectural quality” and it is not considered suitable for addition to the local list. -
Money Behind the Screen
Scanned from the collection of Richard Koszarski Coordinated by the Media History Digital Library www.mediahistoryproject.org Funded by a donation from David Pierce ( Digitized by the Internet Archive in 2013 ^ http://archive.org/details/nnoneybehindscreeOOfdli MONEY r.l.IIINI) IIIK SCRF.KN MONEY BEHIND THE SCREEN A Report prepared on behalf of the Film Council by F. D. Klingender and Stuart Legg With a preface by John Grierson 1937 LAWRENCE AND WISHART LONDON printed at The Farleigh Press (T.U. throughout) 17-39 Cavton St., London E.C.I — INTRODUCTIOX. This analysis of film finance may seem in parts to touch the realms of fantasy. Its rich figures and the spectacular flutters with fortune which lie behind (hem, are, however, as near as we can make it, the truth of the matter. The story itself was published in outUne in the January number of World Film Xews and not the least ardent of its readers was the intelligence section of one of the bipger banks concerned. Within a week came the news that the lavish credits till now advanced to the film industry, were to be brought under review. It may, therefore, be a useful moment to publish the full account from which the World Film Xews' story was taken. It is the work of the Film Council, a small research group, which a few enquiring members of the film industry set up some months ago to study the social aspects of the cinema. We felt a lack in the information trotted out, and often very ably, in the trade papers, fan magazines and film columns of the newspapers. -
Remove Frame
Welcome The “Big Yin” at the Apollo Hi, and welcome to the June 2004 Apollomemories newsletter. As well as being Scotland premier music venue in the 70’s and 80’s the Apollo also We have to begin with an apology for the hosted a number of successful stage shows lack of feedback we have been giving over (Hair, The Banana Splits etc) as well as the past couple of months. Unfortunately comedy performers. Scott’s laptop ended up in the repair shop for 9 weeks! All sorted now so we are Perhaps the most famous of these shows currently catching up on all your emails and was the record breaking run by Billy contributions. Connolly in 1975. Despite our wee problems the site has continued to do very well and we are now a regular top 10 Scottish website. Glasgow’s Miles Better Apollomemories contributor Stewart Aird sent us this little story of peace and love in the heart of the city: “The receipt below was given to me after I was ordered, by Glasgow district court, to pay for the main door which I "accidentally" smashed when being thrown through it by The highlights of the dozen sold out shows the bouncers during the Whitesnake were released on LP as “Get Right Intae /Magnum gig in October 1978. Him” and featured such classics as “The Janny Song”, “A Wee Swearie” and “Willies”. I was being thrown out for not clapping in The gatefold sleeve features a picture of time or not having enough dandruff coming Billy dressed as the Pope relieving himself in out my hair when headbanging or something one of the backstage wash hand basins! like that. -
Vol 51 No 5 ISSN 1479-0882 September / October 2017
Vol 51 No 5 ISSN 1479-0882 September / October 2017 The [ex ] Leicester Square, which has reopened after a £6.6m refurbishment – see Newsreel p28; photo 19 July by Allen Eyles The 28-seat at King’s Cross – see p26 last Bulletin; photo taken July 2017 Thanks you to all who rallied to my call for more articles and holiday snaps. I now have enough for this Bulletin and have had to hold some over. Please keep them coming as my stock will run out some day. Company limited by guarantee. Reg. No. 04428776. Registered address: 59 Harrowdene Gardens, Teddington, TW11 0DJ. Registered Charity No. 1100702. Directors are marked in list below. Full Membership (UK)..................................................................£29 Full Membership (UK under 25s)................................................£15 Overseas (Europe Standard & World Economy)........................£37 Overseas (World Standard).........................................................£49 Associate Membership (UK & Worldwide)..................................£10 Life Membership (UK only).................£450; aged 65 & over £350 Here is a picture of an Agapanthus just coming out in my garden. It Life Membership for Overseas members will be more than this; reminded me of an chandelier; turn the page upside down. There please contact the membership secretary for details. is a fine example [although probably a reproduction] in Wetherspoons All membership and subscription enquiries should be sent to in the former / in Holloway, north London. I have included the photo next to the plant so you can compare. In the last issue I told you we had been on holiday to Scotland. I forgot Items for possible inclusion in the bulletin should be sent to to mention that, when we were researching our route, we found that Google Streetview had captured the mobile cine- ma at Durness in Scotland. -
2Nd Glasgow Scout Group
2ND GLASGOW SCOUT GROUP 71 GLENCAIRN DRIVE GLASGOW G414PN 100% 30TH GLASGOW SCOUT GROUP 37 LAMMERMOOR AVENUE GLASGOW G523BE 100% 360 DEGREES FINANCE LTD 40 WASHINGTON STREET GLASGOW G38AZ 100% 360CRM LTD 80 ST VINCENT STREET GLASGOW 25% 3RD GLASGOW SCOUT GROUP 121 SHAWMOSS ROAD GLASGOW G414AE 100% 43RD GLASGOW SCOUT GROUP 4 HOLMHEAD ROAD GLASGOW G443AS 100% 4C DESIGN LIMITED 100 BORRON STREET GLASGOW 25% 4C DESIGN LTD 100 BORRON STREET GLASGOW 25% 50TH GLASGOW SCOUT GROUP 23 GARRY STREET GLASGOW G444AZ 100% 55 NORTH LTD 19 WATERLOO STREET GLASGOW G26AY 100% 55 NORTH LTD 19 WATERLOO STREET GLASGOW G26AY 100% 7 SEATER CENTRE (SCOTLAND) LTD 1152 TOLLCROSS ROAD GLASGOW G328HE 100% 72ND GLASGOW SCOUT GROUP 500 A CROW ROAD GLASGOW G117DW 100% 86TH/191 GLASGOW SCOUT GROUP 79 SANDA STREET GLASGOW G208PT 100% 965 LTD 965 DUKE STREET GLASGOW 100% 9TH GLASGOW SCOUT GROUP 99 THORNWOOD PLACE GLASGOW 100% A & E BROWN (PLUMBERS MERCHANTS) LTD 1320 SPRINGBURN ROAD GLASGOW G211UT 25% A & F MCKINNON LTD 391 VICTORIA ROAD GLASGOW G428RZ 100% A & G INVESTMENTS LLP 12 RENFIELD STREET GLASGOW 100% A & G INVESTMENTS LLP 12 RENFIELD STREET GLASGOW 100% A& L LTD 12 PLEAN STREET GLASGOW G140YH 25% A & M TRAINING LTD 28 ADAMSWELL STREET GLASGOW 100% A & P MACINTYRE LTD 213 CLARKSTON ROAD GLASGOW G443DS 25% A A MENZIES & CO 180 QUEEN MARGARET DRIVE GLASGOW G208NX 100% A A MOTORS LTD 7 MORDAUNT STREET GLASGOW 50% A ALEXANDER & SON (ELECTRICAL) LTD 9 CATHKINVIEW ROAD GLASGOW G429EH 25% A ALEXANDER & SON(ELECTRICAL) LTD 24 LOCHLEVEN ROAD GLASGOW G429JU 100% A B FRAMING