Ealing Studios' Australian Adventure
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Rats of Tobruk Head Credits
Chamun Productions present THE RATS OF TOBRUK Screen Play by Charles and Elsa Chauvel Copyright MCMXLIV An RKO Radio Pictures Release Title: This Picture has been made possible by the co-operation of the Australian Army and particularly by the special Army Detachments which gave such devoted service. Appreciation is also extended to The Royal Australian Navy - The Royal Australian Air Force and to the Department of Information. Photography George Heath Sound Jack Bruce L. J. Stuart Editing Gus Lowry Musical Direction Lindley Evans Associates Willie Redstone Charles MacKerras Settings Edmund Barrie Filmed at the studios of Commonwealth Film Laboratories Pty. Ltd. Panophonic Raycophone Recording - Australian made sound system - logo Special Designs Eric Thompson Assistants to Director Harry Freeman Roy Sebastian Unit Management George Barnes Commentary Written by Maxwell Dunn Extra Photography Army Film Unit Army Liaison Major G. K. Austin Asst. Army Liaison Lt. A. E. Dunbar, M.M. Lt. G. Woods Miss Garrick's Costumes Curzons Home Furnishings by Bebarfalds The Players: Grant Taylor Peter Finch Chips Rafferty Pauline Carrick Mary Gay and George Wallace Supported by Joe Valli John Sherwood Walter Pym Norman Blackler Gilbert Ellis Robert Carlyle Joe Anderson Toni Villa The incidents in this film are founded upon fact but the characters portrayed are fictitious. Produced and Directed by Charles Chauvel Rolling title (read by narrator): For eight months at Tobruk in 1941 fifteen thousand Australians and eight thousand British and Indian troops held a German army seven times their number and in seven times their armour. The Germans, understanding machines, but not these men, flung an insult to them in a name - "The Rats of Tobruk". -
Marion Grierson Transcription.Docx
COPYRIGHT: No use may be made of any interview material without the permission of the BECTU History Project (http://www.historyproject.org.uk/). Copyright of interview material is vested in the BECTU History Project (formerly the ACTT History Project) and the right to publish some excerpts may not be allowed. CITATION: Women’s Work in British Film and Television, Marian Grierson, http://bufvc.ac.uk/bectu/oral- histories/bectu-oh [date accessed] By accessing this transcript, I confirm that I am a student or staff member at a UK Higher Education Institution or member of the BUFVC and agree that this material will be used solely for educational, research, scholarly and non- commercial purposes only. I understand that the transcript may be reproduced in part for these purposes under the Fair Dealing provisions of the 1988 Copyright, Designs and Patents Act. For the purposes of the Act, the use is subject to the following: The work must be used solely to illustrate a point The use must not be for commercial purposes The use must be fair dealing (meaning that only a limited part of work that is necessary for the research project can be used) The use must be accompanied by a sufficient acknowledgement. Guidelines for citation and proper acknowledgement must be followed (see above). It is prohibited to use the material for commercial purposes and access is limited exclusively to UK Higher Education staff and students and members of BUFVC. I agree to the above terms of use and that I will not edit, modify or use this material in ways that misrepresent the interviewees’ words, might be defamatory or likely to bring BUFVC, University of Leeds or my HEI into disrepute. -
Darrol Blake Transcript
Interview with Darrol Blake by Dave Welsh on Tuesday the 21st of September 2010 Dave Welsh: Okay, this is an interview with Darrol Blake on Tuesday the 21st of September 2010, for the Britain at Work Project, West London, West Middlesex. Darrol, I wonder if you'd mind starting by saying how you got into this whole business. Darrol Blake: Well, I'd always wanted to be the man who made the shows, be it for theatre or film or whatever, and this I decided about the age of eleven or twelve I suppose, and at that time I happened to win a scholarship to grammar school, in West London, in Hanwell, and formed my own company within the school, I was in school plays and all that sort of thing, so my life revolved around putting on shows. Nobody in my family had ever been to university, so I assumed that when I got to sixteen I was going out to work. I didn't even assume I would go into the sixth form or anything. So when I did get to sixteen I wrote around to all the various places that I thought might employ me. Ealing Studios were going strong at that time, Harrow Coliseum had a rep. The theatre at home in Hayes closed on me. I applied for a job at Windsor Rep, and quite by the way applied to the BBC, and the only people who replied were the BBC, and they said we have vacancies for postroom boys, office messengers, and Radio Times clerks. -
The Representation of Reality and Fantasy in the Films of Powell and Pressburger: 1939-1946
The Representation of Reality and Fantasy In the Films of Powell and Pressburger 1939-1946 Valerie Wilson University College London PhD May 2001 ProQuest Number: U642581 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. uest. ProQuest U642581 Published by ProQuest LLC(2015). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. Microform Edition © ProQuest LLC. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 The Representation of Reality and Fantasy In the Films of Powell and Pressburger: 1939-1946 This thesis will examine the films planned or made by Powell and Pressburger in this period, with these aims: to demonstrate the way the contemporary realities of wartime Britain (political, social, cultural, economic) are represented in these films, and how the realities of British history (together with information supplied by the Ministry of Information and other government ministries) form the basis of much of their propaganda. to chart the changes in the stylistic combination of realism, naturalism, expressionism and surrealism, to show that all of these films are neither purely realist nor seamless products of artifice but carefully constructed narratives which use fantasy genres (spy stories, rural myths, futuristic utopias, dreams and hallucinations) to convey their message. -
Christopher Plummer
Christopher Plummer "An actor should be a mystery," Christopher Plummer Introduction ........................................................................................ 3 Biography ................................................................................................................................. 4 Christopher Plummer and Elaine Taylor ............................................................................. 18 Christopher Plummer quotes ............................................................................................... 20 Filmography ........................................................................................................................... 32 Theatre .................................................................................................................................... 72 Christopher Plummer playing Shakespeare ....................................................................... 84 Awards and Honors ............................................................................................................... 95 Christopher Plummer Introduction Christopher Plummer, CC (born December 13, 1929) is a Canadian theatre, film and television actor and writer of his memoir In "Spite of Myself" (2008) In a career that spans over five decades and includes substantial roles in film, television, and theatre, Plummer is perhaps best known for the role of Captain Georg von Trapp in The Sound of Music. His most recent film roles include the Disney–Pixar 2009 film Up as Charles Muntz, -
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. -
University of Huddersfield Repository
University of Huddersfield Repository Billam, Alistair It Always Rains on Sunday: Early Social Realism in Post-War British Cinema Original Citation Billam, Alistair (2018) It Always Rains on Sunday: Early Social Realism in Post-War British Cinema. Masters thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/id/eprint/34583/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ Submission in fulfilment of Masters by Research University of Huddersfield 2016 It Always Rains on Sunday: Early Social Realism in Post-War British Cinema Alistair Billam Contents Introduction ............................................................................................................................................ 3 Chapter 1: Ealing and post-war British cinema. ................................................................................... 12 Chapter 2: The community and social realism in It Always Rains on Sunday ...................................... 25 Chapter 3: Robert Hamer and It Always Rains on Sunday – the wider context. -
Newsletter December 2018
Est. May 1979 The Oaks Historical Society Inc. 43 Edward St The Oaks 2570 (PO Box 6016) T: (02) 4657 1796 Newsletter E: [email protected] DECEMBER 2018 www.wollondillymuseum.org.au In 1947 when Eileen Holohan (O’Brien) was just 18, she Chips Rafferty’s real name was John William Pilbean met movie star, Chips Rafferty. The photo shows her Goffage, born 26 March 1909 at Broken Hill. He died of face alight with admiration for the very tall Chips Raf- a heart attack at 62 in Sydney. ferty. She probably met him at a dinner dance following Sadly we lost Eileen O’Brien recently. Eileen lived at her completion of the film. The movie, A Bush Christmas, Moore Park property in Burragorang until being forced featured him in a villainous role when he played a horse from her Valley thief tracked by five kids spending Christmas in the home in the fifties Blue Mountains and the beautiful Burragorang Valley. when it was cleared The film opened in Sydney in December 1947 and ran and flooded, some- for eight weeks. Writer and director Ralph Smart, thing she always although born in Britain (to Australian parents), had resented. worked in Australia from 1940-45 making shorts for the Department of Information and Royal Australian Air Force. The film offered many exotic and curious Eileen is pictured with elements for British children. Aboriginal actor Neza one of the ponies she was so fond of. Saunders, did a great job in showing the children how to find and cook bush food. -
The Grierson Effect
Copyright material – 9781844575398 Contents Acknowledgments . vii Notes on Contributors . ix Introduction . 1 Zoë Druick and Deane Williams 1 John Grierson and the United States . 13 Stephen Charbonneau 2 John Grierson and Russian Cinema: An Uneasy Dialogue . 29 Julia Vassilieva 3 To Play The Part That Was in Fact His/Her Own . 43 Brian Winston 4 Translating Grierson: Japan . 59 Abé Markus Nornes 5 A Social Poetics of Documentary: Grierson and the Scandinavian Documentary Tradition . 79 Ib Bondebjerg 6 The Griersonian Influence and Its Challenges: Malaya, Singapore, Hong Kong (1939–73) . 93 Ian Aitken 7 Grierson in Canada . 105 Zoë Druick 8 Imperial Relations with Polynesian Romantics: The John Grierson Effect in New Zealand . 121 Simon Sigley 9 The Grierson Cinema: Australia . 139 Deane Williams 10 John Grierson in India: The Films Division under the Influence? . 153 Camille Deprez Copyright material – 9781844575398 11 Grierson in Ireland . 169 Jerry White 12 White Fathers Hear Dark Voices? John Grierson and British Colonial Africa at the End of Empire . 187 Martin Stollery 13 Grierson, Afrikaner Nationalism and South Africa . 209 Keyan G. Tomaselli 14 Grierson and Latin America: Encounters, Dialogues and Legacies . 223 Mariano Mestman and María Luisa Ortega Select Bibliography . 239 Appendix: John Grierson Biographical Timeline . 245 Index . 249 Copyright material – 9781844575398 Introduction Zoë Druick and Deane Williams Documentary is cheap: it is, on all considerations of public accountancy, safe. If it fails for the theatres it may, by manipulation, be accommodated non-theatrically in one of half a dozen ways. Moreover, by reason of its cheapness, it permits a maximum amount of production and a maximum amount of directorial training against the future, on a limited sum. -
Controlling the Ooldea/Yalata Aborigines, 1952-1982
The politics of space and mobility! controlling the Ooldea/Yalata Aborigines, 1952-1982 Maggie Brady Abstract In 1977 Isobel (Sally) White described the camp sites, spatial organisation and mobility of Pit- jantjatjara-speaking people at Yalata, a community 1000 kilometres northwest of Adelaide, South Australia. She remarked on the unusual living arrangements ofthat community, in which the entire Aboriginal population was periodically relocated from one Big Camp to another some where on the Yalata reserve, 4650 square kilometres of land running east-west along the Eyre Highiuay. In this article, I show that the unusual arrangement she described did not arise spon taneously, but was one of several last-ditch strategies designed to force Yalata people to remain well south of the dangerous and prohibited area of the Maralinga atomic testing site. White observed and described this state of affairs without knowing its origins. She and the people with luhom she lived up until the early 1970s could also not have imagined that resettlement in the spinifex country of the Great Victoria Desert zvould eventually take place, and that there would be a reclamation of the ivide-ranging mobility the people once had. In 1949 one hundred and thirty Aboriginal men, women and children from the United Aborigines' Mission (UAM) station at Ooldea Soak became actors in the feature film 'Bitter Springs'. Accompanied by their missionary carers, they travelled east by train from Ooldea, on the edge of the Great Victoria Desert in South Australia, to the film site at Warren's Gorge, near Quorn. There, for the director Ralph Smart of Ealing Studios, they acted out a fictional dispossession of their land, a dispossession which was already taking place in real life. -
Boxoffice Barometer (March 6, 1961)
MARCH 6, 1961 IN TWO SECTIONS SECTION TWO Metro-Goldwyn-Mayer presents William Wyler’s production of “BEN-HUR” starring CHARLTON HESTON • JACK HAWKINS • Haya Harareet • Stephen Boyd • Hugh Griffith • Martha Scott • with Cathy O’Donnell • Sam Jaffe • Screen Play by Karl Tunberg • Music by Miklos Rozsa • Produced by Sam Zimbalist. M-G-M . EVEN GREATER IN Continuing its success story with current and coming attractions like these! ...and this is only the beginning! "GO NAKED IN THE WORLD” c ( 'KSX'i "THE Metro-Goldwyn-Mayer presents GINA LOLLOBRIGIDA • ANTHONY FRANCIOSA • ERNEST BORGNINE in An Areola Production “GO SPINSTER” • • — Metrocolor) NAKED IN THE WORLD” with Luana Patten Will Kuluva Philip Ober ( CinemaScope John Kellogg • Nancy R. Pollock • Tracey Roberts • Screen Play by Ranald Metro-Goldwyn-Mayer pre- MacDougall • Based on the Book by Tom T. Chamales • Directed by sents SHIRLEY MacLAINE Ranald MacDougall • Produced by Aaron Rosenberg. LAURENCE HARVEY JACK HAWKINS in A Julian Blaustein Production “SPINSTER" with Nobu McCarthy • Screen Play by Ben Maddow • Based on the Novel by Sylvia Ashton- Warner • Directed by Charles Walters. Metro-Goldwyn-Mayer presents David O. Selznick's Production of Margaret Mitchell’s Story of the Old South "GONE WITH THE WIND” starring CLARK GABLE • VIVIEN LEIGH • LESLIE HOWARD • OLIVIA deHAVILLAND • A Selznick International Picture • Screen Play by Sidney Howard • Music by Max Steiner Directed by Victor Fleming Technicolor ’) "GORGO ( Metro-Goldwyn-Mayer presents “GORGO” star- ring Bill Travers • William Sylvester • Vincent "THE SECRET PARTNER” Winter • Bruce Seton • Joseph O'Conor • Martin Metro-Goldwyn-Mayer presents STEWART GRANGER Benson • Barry Keegan • Dervis Ward • Christopher HAYA HARAREET in “THE SECRET PARTNER” with Rhodes • Screen Play by John Loring and Daniel Bernard Lee • Screen Play by David Pursall and Jack Seddon Hyatt • Directed by Eugene Lourie • Executive Directed by Basil Dearden • Produced by Michael Relph. -
Ned Kelly and the Myth of a Republic of North-Eastern Victoria
Ned Kelly and the Myth of a Republic of North-Eastern Victoria Stuart E. Dawson Department of History, Monash University Ned Kelly and the Myth of a Republic of North-Eastern Victoria Dr. Stuart E. Dawson Creative Commons Attribution-NonCommercial-NoDerivs Published by Dr. Stuart E. Dawson, Adjunct Research Fellow, Department of History, School of Philosophical, Historical and International Studies, Monash University, Clayton, VIC, 3800. Published June 2018. ISBN registered to Primedia E-launch LLC, Dallas TX, USA. Copyright © Stuart Dawson 2018. The moral right of the author has been asserted. Author contact: [email protected] ISBN: 978-1-64316-500-4 Keywords: Australian History Kelly, Ned, 1855-1880 Kelly Gang Republic of North-Eastern Victoria Bushrangers - Australia This book is an open peer-reviewed publication. Reviewers are acknowledged in the Preface. Inaugural document download host: www.ironicon.com.au Creative Commons Attribution-NonCommercial-NoDerivs This book is a free, open-access publication, and is published under the Creative Commons Attribution- NonCommercial-NoDerivs licence. Users including libraries and schools may make the work available for free distribution, circulation and copying, including re-sharing, without restriction, but the work cannot be changed in any way or resold commercially. All users may share the work by printed copies and/or directly by email, and/or hosting it on a website, server or other system, provided no cost whatsoever is charged. Just print and bind your PDF copy at a local print shop! (Spiral-bound copies with clear covers are available in Australia only by print-on-demand for $199.00 per copy, including registered post.