(2021) James J. Clauss Department of Classics
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NOTE TO USERS This reproduction is the best copy available. UMI' The Spectacle of Gender: Representations of Women in British and American Cinema of the Nineteen-Sixties By Nancy McGuire Roche A Dissertation Submitted in Partial Fulfillment of the Requirements for the Ph.D. Department of English Middle Tennessee State University May 2011 UMI Number: 3464539 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. UMT Dissertation Publishing UMI 3464539 Copyright 2011 by ProQuest LLC. All rights reserved. This edition of the work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 The Spectacle of Gender: Representations of Women in British and American Cinema of the Nineteen-Sixties Nancy McGuire Roche Approved: Dr. William Brantley, Committees Chair IVZUs^ Dr. Angela Hague, Read Dr. Linda Badley, Reader C>0 pM„«i ffS ^ <!LHaAyy Dr. David Lavery, Reader <*"*%HH*. a*v. Dr. Tom Strawman, Chair, English Department ;jtorihQfcy Dr. Michael D1. Allen, Dean, College of Graduate Studies Nancy McGuire Roche Approved: vW ^, &v\ DEDICATION This work is dedicated to the women of my family: my mother Mary and my aunt Mae Belle, twins who were not only "Rosie the Riveters," but also school teachers for four decades. These strong-willed Kentucky women have nurtured me through all my educational endeavors, and especially for this degree they offered love, money, and fierce support. -
From Real Time to Reel Time: the Films of John Schlesinger
From Real Time to Reel Time: The Films of John Schlesinger A study of the change from objective realism to subjective reality in British cinema in the 1960s By Desmond Michael Fleming Submitted in total fulfilment of the requirements of the degree of Doctor of Philosophy November 2011 School of Culture and Communication Faculty of Arts The University of Melbourne Produced on Archival Quality Paper Declaration This is to certify that: (i) the thesis comprises only my original work towards the PhD, (ii) due acknowledgement has been made in the text to all other material used, (iii) the thesis is fewer than 100,000 words in length, exclusive of tables, maps, bibliographies and appendices. Abstract The 1960s was a period of change for the British cinema, as it was for so much else. The six feature films directed by John Schlesinger in that decade stand as an exemplar of what those changes were. They also demonstrate a fundamental change in the narrative form used by mainstream cinema. Through a close analysis of these films, A Kind of Loving, Billy Liar, Darling, Far From the Madding Crowd, Midnight Cowboy and Sunday Bloody Sunday, this thesis examines the changes as they took hold in mainstream cinema. In effect, the thesis establishes that the principal mode of narrative moved from one based on objective realism in the tradition of the documentary movement to one which took a subjective mode of narrative wherein the image on the screen, and the sounds attached, were not necessarily a record of the external world. The world of memory, the subjective world of the mind, became an integral part of the narrative. -
Ordeal by Innocence Pdf, Epub, Ebook
ORDEAL BY INNOCENCE PDF, EPUB, EBOOK Agatha Christie | 320 pages | 07 Apr 2003 | HarperCollins Publishers | 9780007154913 | English | London, United Kingdom Ordeal by Innocence PDF Book Mickey Argyll 3 episodes, Understanding in treatment of adopted children, but not altogether tactful on the color question: Tina's always the dark horse The victim was Jacko's own mother, and to make matters worse, he died in prison. The first quibble I had concerned the issue of adoption. There is ingenuity, of course, but it lacks a central focus. The solution has also been radically altered. Forgot your password? I read the novel quickly because I was so anxious to learn the solution. Before he left, he offered a lift to a hitchhiker from the side of the road and never saw him again. The Radio Times reported that viewer feedback was positive although some had commented that the programme was confusing due to its forwards and backwards time jumps. Add the first question. Technically, her writing is impressive. The Conners. She, in turn, reveals to him that Kirsten is his biological mother and Leo his father, which causes him to flee the house. Language: English. Jacko was a crook, but he didn't deserve to die for a murder he did not commit. Kirsten Lindstrom 3 episodes, Anthony Boyle I just read pneumonia and Doctor in the synopsis and was immediately sold. He's never had a problem using people, including his family, so since he KNOWS who the killer is, which is made plain at the end of the book, why didn't he speak out against him or her? Despite a massive manhunt, she was not found for eleven days. -
Resisting Hollywood Dominance in Sixties British Cinema : the NFFC/Rank Joint Financing Initiative
This is a repository copy of Resisting Hollywood Dominance in Sixties British Cinema : The NFFC/Rank Joint Financing Initiative. White Rose Research Online URL for this paper: https://eprints.whiterose.ac.uk/94238/ Version: Published Version Article: Petrie, Duncan James orcid.org/0000-0001-6265-2416 (2016) Resisting Hollywood Dominance in Sixties British Cinema : The NFFC/Rank Joint Financing Initiative. Historical Journal of Film, Radio and Television. ISSN 1465-3451 https://doi.org/10.1080/01439685.2015.1129708 Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Historical Journal of Film, Radio and Television ISSN: 0143-9685 (Print) 1465-3451 (Online) Journal homepage: http://www.tandfonline.com/loi/chjf20 Resisting Hollywood dominance in sixties British cinema: the NFFC/rank joint financing initiative Duncan Petrie To cite this article: Duncan Petrie (2016): Resisting Hollywood dominance in sixties British cinema: the NFFC/rank joint financing initiative, Historical Journal of Film, Radio and Television, DOI: 10.1080/01439685.2015.1129708 To link to this article: http://dx.doi.org/10.1080/01439685.2015.1129708 © 2016 The Author(s). -
WOODFALL – SEASON LISTINGS Look Back in Anger UK 1958. Dir
WOODFALL – SEASON LISTINGS Look Back in Anger UK 1958. Dir Tony Richardson. With Richard Burton, Claire Bloom, Mary Ure, Gary Raymond. 98min. Digital. PG. A Park Circus release John Osborne’s bristling dialogue provides explosive ammunition for Burton’s portrayal of the archetypal ‘angry young man’. Shot by the great Oswald Morris, the film opens with an extraordinary scene set in a jazz club. Trumpeter Jimmy Porter (Burton) – a disillusioned, college-educated bloke, raging against the Establishment – works by day on a sweet stall in the market. His downtrodden, middle-class wife suffers the brunt of his tirades, but when he vents his anger by having an affair with her best friend it causes untold misery for everyone he knows. Tony Richardson’s feature debut is the epitome of the kitchen-sink drama that spawned a new genre of British social-protest films and heralded the liberated swinging sixties. Apposite for current times and still uncomfortably compelling. FROM MON 2 APR Member Salon: Look Back in Anger TRT 60min Our monthly discussion series for Members and their guests takes a closer look at Woodfall Film’s influential first production, directed by Tony Richardson and one of the first British new wave films. Join your fellow Members to discuss the film’s portrayal of class, masculinity and Britishness, and how those themes are represented in modern British cinema. This is a free event for Members and guests who have attended a screening of Look Back in Anger. Tickets to this screening are at the special price of £6. Further places to the Salon will be released on a first come, first served basis to Members and guests on the day. -
RUMON GAMBA CHAN 10323 BOOK.Qxd 15/9/06 12:02 Pm Page 2
CHAN 10323 Booklet cover.qxd 15/9/06 11:55 am Page 1 CHANDOS CHAN 10323 RUMON GAMBA CHAN 10323 BOOK.qxd 15/9/06 12:02 pm Page 2 The Film Music of Francis Chagrin (1905–1972) premiere recordings (except track 1) 1 Overture from ‘Helter Skelter’ 6:34 From ‘An Inspector Calls’ (arranged and orchestrated by Philip Lane) 2 Portrait of Eva 3:25 Photograph courtesy of Nicolas Chagrin From ‘The Colditz Story’ 3:31 (arranged by Philip Lane) 3 Prelude 2:00 4 Finale 1:31 Suite from ‘Greyfriars Bobby’ 11:42 (arranged by Philip Lane) 5 Main Titles and Opening Scene 3:50 6 Bobby escapes to Edinburgh 5:22 7 Finale 2:30 From ‘The Four Just Men’ 3:05 (edited by Philip Lane) 8 Theme 1:28 9 Main Titles 1:37 10 ‘The Hoffnung Symphony Orchestra’ 5:19 (arranged by Philip Lane) Francis Chagrin 3 CHAN 10323 BOOK.qxd 15/9/06 12:02 pm Page 4 Four Orchestral Episodes from ‘The Intruder’ 11:11 (edited by Philip Lane) The Film Music of Francis Chagrin 11 Preamble 1:48 12 Conflagration 3:21 Francis Chagrin described himself as ‘Rumanian popular songs. When he had saved enough, he 13 Pursuit at night 3:58 by birth, British by nationality and cosmopolitan enrolled in 1933 at the École normale for two 14 Vindication 2:04 by inclination’. He was born Alexander Paucker years, where his teachers included Paul Dukas in Bucharest on 15 November 1905 to wealthy and Nadia Boulanger. He began writing From ‘Easy Money’ Jewish parents who expected their son to take modest film scores, but sensing that war was (edited by Philip Lane) his rightful place in the family business. -
Allusions to Shakespeare in Films and TV
The Shape of a Language ISSN 2283-8759 DOI 10.13133/2283-8759-2 pp. 83-106 (December 2016) CORE Metadata, citation and similar papers at core.ac.uk Provided by Archivio della ricerca- Università di Roma La Sapienza The Shape of a Language ISSN 2283-8759 pp. 83-106 (2016) “Danes Do It Melancholy”: Allusions to Shakespeare in Films and TV Irene Ranzato Introduction This contribution could only be possible in the age of ‘post-theatrical’ Shakespearean films, a period that Shakespeare film studies conven- tionally identify as starting in 1989 (the year of Kenneth Branagh’s Henry V)1, a year that marks the start of a cinematic production characterised by a mainstream postmodernism which “encour- ages a predominantly American film idiom to function as a global currency”2 . The focus of this article is, however, not adaptations of Shake- spearean plays per se, but source-text allusions to Shakespeare and to Shakespeare’s plays, which in either an overt or covert form are con- tained in dramatic dialogues and in visual elements in US-produced films and television shows, a form of intertextuality in which refer- ences to Shakespeare in audiovisual texts have multiplied. After a theoretical framing of the significance and import of allu- sions, this contribution will thus look into the ways Shakespeare has been ‘alluded to’ and explicitly quoted in a number of meaningful examples from American mainstream films and TV shows, with the 1 As Robert Shaughnessy notes, Lynda E. Boose and Richard Burt, editors of the com- prehensive collection Shakespeare, The Movie (London-New York, Routledge, 2001 [1997]), symptomatically dropped most essays which focused on Shakespeare films released prior to 1989 when editing the second volume, Shakespeare, The Movie II (London-New York, Routledge, 2003). -
English S24. British New Wave Film Steve Dillon Office Hours: Tuesday
English s24. British New Wave Film Steve Dillon Office hours: Tuesday 9-10 and by appointment Pettigrew 307 Course Description: This course studies significant achievements in British cinema from the late 1950s to the early 1970s. Many national cinemas underwent a liberating change in the 1960s, usually called by the name, “New Wave.” British cinema in the 60s is not as influential as the French New Wave (nouvelle vague) exemplified by Godard, Truffaut, Rivette, Chabrol, and others. Yet there are many important and interesting British films from this period, by directors such as Joseph Losey, Lindsay Anderson, and John Schlesinger. In this course we will look at films by auteurs such as Michael Powell, “kitchen sink” films by Jack Clayton and Karel Reisz, “swinging London” films by Richard Lester and Nicolas Roeg, in addition to masterpieces by foreign artists such as Stanley Kubrick and Michelangelo Antonioni. Schedule M April 26 Robert Hamer, Kind Hearts and Coronets (1949) T 27 Mike Hodges, Get Carter (1971) W 28 Michael Powell, Peeping Tom (1960) Th 29 Joseph Losey, The Servant (1963) M May 3 Richard Lester, A Hard Day’s Night (1964) T 4 Richard Lester, The Knack. And How to Get It (1965) W 5 Nicolas Roeg, Performance (1970) Th 6 Michelangelo Antonioni, Blow-Up (1966) M May 10 Jack Clayton, Room at the Top (1958) T 11 Karel Reisz, Saturday Night and Sunday Morning (1960) W 12 John Schlesinger, Billy Liar (1963) Th 13 Desmond Davis, Girl With Green Eyes (1964) F 14 (Final Project Proposals Due) M May 17 Stanley Kubrick, Dr. -
Introduction
Notes Introduction 1 . Kristina Jaspers, ‘Zur Entstehungsgeschichte und Funktion des Storyboards’, in Katharina Henkel, Kristina Jaspers, and Peter Mänz (eds), Zwischen Film und Kunst: Storyboards von Hitchcock bis Spielberg (Bielefeld: Kerber, 2012), p. 15. We are indebted to Julia Knaus for all translations from the original German of this book. 2 . Jean-Claude Carrière, The Secret Language of Film , trans. Jeremy Leggatt (London: Faber, 1995), p. 150. 3 . Nathalie Morris, ‘Unpublished Scripts in BFI Special Collections: A Few Highlights’, Journal of Screenwriting 1.1 (2010), pp. 197–198. 4 . Fionnuala Halligan, Movie Storyboards: The Art of Visualizing Screenplays (San Francisco: Chronicle, 2013), p. 9. 5 . Alan David Vertrees, Selznick’s Vision: Gone with the Wind and Hollywood Filmmaking (Austin: University of Texas Press, 1997), pp. 67, 117. 6 . See Steven Price, A History of the Screenplay (Basingstoke: Palgrave, 2013). 7 . Katharina Henkel and Rainer Rother, ‘Vorwort’, in Katharina Henkel, Kristina Jaspers, and Peter Mänz (eds), Zwischen Film und Kunst: Storyboards von Hitchcock bis Spielberg (Bielefeld: Kerber, 2012), p. 8. 8 . Vincent LoBrutto, The Filmmaker’s Guide to Production Design (New York: Allworth, 2002), p. 62. 9 . Halligan, p. 8. 10 . John Hart, The Art of the Storyboard: Storyboarding for Film, TV, and Animation (Boston: Focal Press, 1999), p. 5. 11 . Steven Maras, Screenwriting: History, Theory and Practice (London: Wallflower, 2009), p. 120. 12 . Maras, p. 123. 13 . Kathryn Millard, ‘The Screenplay as Prototype’, in Jill Nelmes (ed.), Analysing the Screenplay (London: Routledge, 2011), p. 156. Millard develops related arguments in ‘After the Typewriter: The Screenplay in a Digital Era’, Journal of Screenwriting 1.1 (2010), pp. -
Copyright by Bronwen Lara Wickkiser 2003
Copyright by Bronwen Lara Wickkiser 2003 The Dissertation Committee for Bronwen Lara Wickkiser certifies that this is the approved version of the following dissertation: The Appeal of Asklepios and the Politics of Healing in the Greco-Roman World Committee: _________________________________ Lesley Dean-Jones, Supervisor _________________________________ Erwin Cook _________________________________ Fritz Graf _________________________________ Karl Galinsky _________________________________ L. Michael White The Appeal of Asklepios and the Politics of Healing in the Greco-Roman World by Bronwen Lara Wickkiser, B.A., M.A. Dissertation Presented to the Faculty of the Graduate School of the University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2003 ACKNOWLEDGEMENTS My work has benefited immeasurably from the comments and suggestions of countless individuals. I am grateful to them all, and wish to mention some in particular for their extraordinary efforts on my behalf. First and foremost, Lesley Dean-Jones, whose wide-ranging expertise guided and vastly enhanced this project. Her skill, coupled with her generosity, dedication, and enthusiasm, are a model to me of academic and personal excellence. Also Erwin Cook, Karl Galinsky, and L. Michael White, unflagging members of my dissertation committee and key mentors throughout my graduate career, who have shown me how refreshing and stimulating it can be to “think outside the box.” And Fritz Graf who graciously joined my committee, and gave generously of his time and superb insight. It has been an honor to work with him. Special thanks also to Erika Simon and Jim Hankinson who encouraged this project from the beginning and who carefully read, and much improved, many chapters. -
Letter from the Chairclassics Rate, and Very Successful Job Placement, Philological Association, and Winning Fame Given the State of the Market
Online Version Princeton NEWSLETTER OF THE DEPARTMENT OF CLASSICS Spring 2013 Letter from the ChairClassics rate, and very successful job placement, Philological Association, and winning fame given the state of the market. for his blogs. Michael Flower has been pro- The overall assessment of the under- moted to Lecturer with the rank of Profes- graduate program is extremely positive, sor, an exalted title shared with Nobel lau- leaving the impression that undergradu- reates, ambassadors, foundation heads and ate majors are very well cared for: they that crowd. Joshua Katz’s extraordinary are well advised, they work hard, are well teaching has been honored with a Cotsen taught, and they are generally quite happy Faculty Fellowship, to develop new courses and free to explore other curricular and and train graduate students over the next extra-curricular interests. They also go on three years. Brent Shaw has just published to land good jobs and to be accepted in fine another long, weighty and magisterial graduate programs in an impressive array book, the second in two years. But pride of fields. of place is reserved for the equally prolific Consider the above condensation to be Bob Kaster and his book on the Appian passed to you sub rosa, with the immortal Way, which has won 4.3 stars on Ama- caveat of my mentor, Francis Urquhart, zon.com and a reader’s recommendation “You might very well think that; I couldn’t that it is (hint) “a great gift for the Latin possibly comment.” teacher or budding classicist.” Ted Champlin, Chair Were there any criticisms? I couldn’t Many more details about the faculty’s o resume. -
Ascsa Ar 53 (1933-1934)
AMERICAN SCHOOL . OF CLASSICAL STUDIES AT ATHENS Fifty-Second Annual Report 1932-1933 Fifty-Third Annual Report 1933-1934 Fifty-Fourth Annual Report 1934·1935 Fifty-Fifth Annual !Report 1935-1936 AMERICAN SCHOOL OF CLASSICAL STUDIES AT ATHENS FOUNDED 1881 Incorporated under the Laws of Massachusetts, 1886 Fi£ty-second Annual Report -- 1932-1933 Fifty-third Annual Report -- 1933-1934 Fifty-fourth Annual Report ---- 1934-1935 Fifty-fifth Annual Report --- 1935-1936 ARTICLES OF INCORPORATION PREFACE COMMONWEALTH OF MASSACHUSETTS The Annual Reports of the Managing Committee of the American School of Classical Studies at Athens have been published as follows: BE IT KNOWN THAT WHEREAS James R. Lowell, T. D. Woolsey, Charles Eliot Reports 1 (1881-i882) -15 ( 1895-1896) were published by the Managing Norton, William M. Sloane, B. L. Gildersleeve, William W. Goodwin, Henry Drisler, Committee of the School. (The first, second, and third annual reports were re Frederic J. de Peyster, John Williams White, Henry G. Marquand and Martin Brim printed in 1886 and published in one pamphlet.) mer, have associated themselves with the intention of forming a corporation under Reports 16 (1896-1897) -27 (1907-1908) were printed in the American the name of the Journal of Archaeology, 2nd series, Vols. I-XII; usually, but not always, as part of a supplement. · Reports 28 ( 1908-1909) -47 ( 1927-1928) were printed in the Bulletins of the TRUSTEES OF THE AMERICAN SCHOOL OF CLASSICAL STUDIES Archaeological Institute of America, Vols. I-XIX (Vol. II contains no report). AT ATHENS, In 1928 the Institute ceased to publish these Bulletins and for eleven years, 1928-1938, there were no published reports of the Managing Committee.