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Battery Driven/ J I Any Two-Valve Set Becomes at Once a Fine Loud-Speaker 1
1 ” — ■ f • • * '• . A » Iludio Times, November 15, 1020. • SOUTHERN EDITION. / r‘ THE BROADCAST PROGRAMMES FOR NOVEMBER 17-23 2S ‘ 1 THE ! I IM E S THE JOURNAL OF Tm BRI®SH2BR0ftD©WTING CORPORATION • < m 2 NATION SHALL SPEAKTEACE UNTO NATION f Registered nt tl»c 1 Vol. 25. No. 320. LG.P.O. as a Ncwspnper.J NOVEMBER 15, 1929. Every Friday. TWO PENCE. i 1 LISTENERS’ DIARY OF THE WEEK I < In order that listeners, after a preliminary survey of the week’s programmes contained herein, may be able to make notes of items to which thev specially want to listen, we publish below a diary of the week, with the chief programmes already noted- further favourite items may be noted by the listener himself in the space provided. Sunday, November 17 Thursday, November 21 9.0 Chamber Music: Hans and Frida Kindler (5GB) 9.35 * The Republic of Austria : A Poster in Sound ' (London) I 1 9.5 Albert Sandler and the Park Lane Orchestra (London) 9.40 A. J. Alan : * A Joy Ride ’ (5GB) <1 I 1 < Monday, November 18 Friday, November 22 :> 2 9.0 From the Musical Comedies (5GB) S.o Fifth B.B.C. Symphony Concert (London) A 4 9.20 The Third National Lecture • Prof. G. M. Trevelyan (London) 10.15 f Intimate Snapshots ’ (5GB) ij < Tuesday, November 19 Saturday, November 23 * 9.40 Vaudeville and Alhambra Relay (London) 8.0 Two Short Plays (5GB) s 10.15 ‘ Typhoon ’ (5GB) 9.35 A Special Vaudeville Show (London) &s t < Wednesday, November 20 Don't forget your ‘ Radio Times' for November 22 S.15 * Typhoon,’ Conrad’s Story as a Play (London) < A MINIATURE MUSICAL DICTIONARY f: 10.40 A. -
Shail, Robert, British Film Directors
BRITISH FILM DIRECTORS INTERNATIONAL FILM DIRECTOrs Series Editor: Robert Shail This series of reference guides covers the key film directors of a particular nation or continent. Each volume introduces the work of 100 contemporary and historically important figures, with entries arranged in alphabetical order as an A–Z. The Introduction to each volume sets out the existing context in relation to the study of the national cinema in question, and the place of the film director within the given production/cultural context. Each entry includes both a select bibliography and a complete filmography, and an index of film titles is provided for easy cross-referencing. BRITISH FILM DIRECTORS A CRITI Robert Shail British national cinema has produced an exceptional track record of innovative, ca creative and internationally recognised filmmakers, amongst them Alfred Hitchcock, Michael Powell and David Lean. This tradition continues today with L GUIDE the work of directors as diverse as Neil Jordan, Stephen Frears, Mike Leigh and Ken Loach. This concise, authoritative volume analyses critically the work of 100 British directors, from the innovators of the silent period to contemporary auteurs. An introduction places the individual entries in context and examines the role and status of the director within British film production. Balancing academic rigour ROBE with accessibility, British Film Directors provides an indispensable reference source for film students at all levels, as well as for the general cinema enthusiast. R Key Features T SHAIL • A complete list of each director’s British feature films • Suggested further reading on each filmmaker • A comprehensive career overview, including biographical information and an assessment of the director’s current critical standing Robert Shail is a Lecturer in Film Studies at the University of Wales Lampeter. -
The Bioscope (Feb-May 1931)
LEO COMES ^ DIAMONDS! GRETA GARBO in INSPIRATION The best she’s ever done ! Oh baby, wait till they see her in silks and satins again in this up-to-the-minute man- and -woman story! With popular Robert Montgomery, Lewis Stone, Marjorie Rambeau. Directed by Clarence Brown. Another of tlx gems METRO - COLDWYN - MAYER are adding to MIN AND BILL (Dressier-Beery) NEW MOON (Tibbett-Moore) PAID (Joan Crawford) JENNY LIND (Grace Moore) REDUCING (Dr.ssic-Mo.an) MADAM SATAN <c«n b. j« mui.) BACHELOR FATHER d.„„, PASSION FLOWER (Kay Johnson-Charles Bickford) and still more to come TRADER DANCE, FOOLS, PARLOUR, BED- HORN DANCE ROOM AN a BATH Picture Daily: “Pre- “ Says Motion Picture Daily: “JOAN Says Motion Says Motion Picture Herald : A work of view audience near hysterical epic proportions. Many people will want CRAWFORD cones through with howls. Laugh panic.' Says to view the film a second or third time. another talker that has box-office Hollywood Reporter: “Box-office This film unquest onably excels anything written all over it. Its great from lirstto last. Ariot! BUSTER we have yet seen on the s cree A cture p KEATONS gold mine!'’ one sees once in a lifetime.” audience stuff. THE BIOSCOPE February 18, 1931 ' I v He has even eclipsed his OWN record for * speed in News Service. Mike is now a world champion. HAVE YOU SHOWN THIS WONDERFUL NEWS REEL? CAPTAIN CAMPBELL SMASHES ALL RECORDS FOR SPEED THE PRINCE AT JAMAICA THE ENGLAND v. IRELAND RUGBY MATCH o BOOK ’BUSMEN TAKE TO THE AIR Alu*. -
100 YEARS at the PHOENIX Archive of an Oxford Cinema 1913 – 2013
100 YEARS AT THE PHOENIX Archive of an Oxford Cinema 1913 – 2013 Hiu M Chan Dedicated to the Phoenix and Oxford with love This archive is part of a post-graduate research project and so is work-in-progress. While every effort has been made to weed out errors and inconsistencies – derived from the source material (newspaper microfi che archives) – some will have inevitably slipped through. If you spot any errors and omissions please get in touch via the website http://phoenixcentenary.wordpress.com and we will update the database. The publishers are not responsible for the verifi cation of the entries; that is my remit. Thank you. Hiu M Chan and the Phoenix Centenary Project Published in conjunction with the centenary of the Oxford Phoenix Picture, 57 Walton Street, Oxford OX2 6AE © Hiu M Chan, 2013 All right reserved No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form by any means, electronic or mechanical, without prior written permission of the author. ISBN 978-0-9567405-5-7 Design: Nick Withers Associate Editor: James Harrison Film lists typeset in Helvetica Neue Digitally printed and bound in England by Charlesworth Press, Wakefi eld, Yorkshire A special limited hardback edition was also published exclusively for use in the cinema on the 100th anniversary, 15th March 2013. For further details, research feedback, or to input any updates, corrections or amendments please contact: www.hiuandfi lm.com Oxfordfolio, 100A Cowley Road, Oxford OX4 1JE Preface 15th March 2013 marks the 100th anniversary of the Phoenix Picturehouse Cinema in Oxford. -
The Ciné “Never Sets…”: British Cinema As a Transatlantic
THE CINÉ “NEVER SETS…”: BRITISH CINEMA AS A TRANSATLANTIC CULTURAL COMMODITY, 1927-1938 By KAREN E. BEASLEY DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy at The University of Texas at Arlington May, 2016 Supervising Committee: Elisabeth A. Cawthon, Supervising Professor Imre J. Demhardt Sam W. Haynes ABSTRACT THE CINÉ “NEVER SETS…”: BRITISH CINEMA AS A TRANSATLANTIC CULTURAL COMMODITY, 1927-1938 Karen E. Beasley, PhD The University of Texas at Arlington, 2016 Supervising Professor: Elisabeth A. Cawthon This dissertation exemplifies how the application of a transatlantic commodity approach can broaden understanding of film as a mass medium, its business, and its cultural influences. By employing a more inclusive national cinema framework, this study is able to investigate sites of interaction between the British and Hollywood film industries as a two-way exchange as well as engage those sites at their peripheries, including those between the cultural product and its consumer throughout the broader Atlantic community. This dissertation focuses on the diversity of British audiences throughout a “British world” and the distribution and exhibition methods used to reach them. Based less on the profitability of internationally-exported British films, this British film history enlarges the frame to draw upon these transatlantic connections to adjust and provide a more comprehensive look at British Cinema of the 1930s. A British imperial film culture propagated cultural ties to the homeland through the government’s support of a domestic industry, the endeavors of British filmmakers to build a competitive and distinctively British film product, and the machinations of businessmen attempting to distribute this British output to consumers worldwide with a particular focus upon fellow British and English-speaking peoples, especially with the advent of sound motion pictures.