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Proquest Dissertations
Early Cinema and the Supernatural by Murray Leeder B.A. (Honours) English, University of Calgary, M.A. Film Studies, Carleton University A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Cultural Mediations © Murray Leeder September 2011 Library and Archives Bibliotheque et 1*1 Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington OttawaONK1A0N4 OttawaONK1A0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-83208-0 Our file Notre reference ISBN: 978-0-494-83208-0 NOTICE: AVIS: The author has granted a non L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distribute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation. -
WLV Insider March 2015
WLV Insider March 2015 Welcome to the staff e-zine for the University of Wolverhampton. Each month, we’ll be bringing you the latest news, showcasing departments, celebrating staff successes and publicising events. There will also be competitions and giveaways. We want to give you the chance to tell colleagues about your successes and projects and are keen to have your input and ideas. Please email your information before the last week of each month to [email protected]. We look forward to hearing from you. Have your say on University building names New names are being sought for key buildings around campus – and staff and the rest of the University community are being encouraged to get their thinking caps on. The idea is to make finding the way around and giving directions easier. The buildings will keep their two letter prefix (such as MA), as well as gaining their new names. It is hoped that the whole University community – students, staff, governors and recent alumni – can get involved. At each stage a new name will be proposed, alongside the opportunity for people to make their own suggestions. Last year this exercise was carried out at the Walsall Campus and the suggestion scheme realised new names for: WA Building The Jerome K Jerome Building WN Building The Samuel Johnson Building WD Building The William Penny Brookes Building Now the University is looking for suggestions for names for some of the buildings at the City Campus and Telford Innovation Campus. Building prefix Current name Suggested new name CITY CAMPUS MA Marble reception The Wulfruna Building MX To be suggested by staff and students MK The Charles Wheeler Building TELFORD INNOVATION CAMPUS SC To be suggested by staff and students People can make suggestions using the form at: www.wlv.ac.uk/haveyoursay and there is also further guidance available on this webpage. -
Warnings As Boy Falls Seriously Ill After Swimming at Saltford
THE WEEK IN East Bristol & North East Somerset FREE Issue 534 18th July 2018 Read by over 40,000 people each week Warnings as boy falls seriously ill after swimming at Saltford With schools breaking up after a young boy from Rio Smith’s mum Shelley improving after picking up this week, young people in Warmley who swam at said her son, a pupil at the a bug from the water particular are being urged Saltford fell dangerously Sir Bernard Academy in which led to him being put to heed river safety advice ill. Oldland Common, is in insolation at Bristol Children’s Hospital. She said: “Rio has been very ill with a bug he picked up from the river at Saltford. It caused diarrhoea, vomiting, severe dehydration that caused his heart rate to double, resulting in him collapsing.” Continued on page 3 2 The Week in • Wednesday 18th July 2018 Warnings as boy falls seriously ill after swimming at Saltford Continued from page 1 We wish him a speedy schools and other schools Writing on Facebook she recovery from the illness, within our trust were also urged people to share his which it is suspected is a made aware of the boy’s story, while the mother of result of swimming in the illness so that they could 14-year-old Aaron Burgess, river at Saltford. take similar action. who drowned at Saltford "We have spoken to all our "At SBL, we had already Weir six years ago, also students about the health done some work on river issued an emotional and safety risks associated safety with students in message. -
Ealing Studios and the Ealing Comedies: the Tip of the Iceberg
Ealing Studios and the Ealing Comedies: the Tip of the Iceberg ROBERT WINTER* In lecture form this paper was illustrated with video clips from Ealing films. These are noted below in boxes in the text. My subject is the legendary Ealing Studios comedies. But the comedies were only the tip of the iceberg. To show this I will give a sketch of the film industry leading to Ealing' s success, and of the part played by Sir Michael Balcon over 25 years.! Today, by touching a button or flicking a switch, we can see our values, styles, misdemeanours, the romance of the past and present-and, with imagination, a vision of the" future. Now, there are new technologies, of morphing, foreground overlays, computerised sets, electronic models. These technologies affect enormously our ability to give currency to our creative impulses and credibility to what we do. They change the way films can be produced and, importantly, they change the level of costs for production. During the early 'talkie' period there many artistic and technical difficulties. For example, artists had to use deep pan make-up to' compensate for the high levels of carbon arc lighting required by lower film speeds. The camera had to be put into a soundproof booth when shooting back projection for car travelling sequences. * Robert Winter has been associated with the film and television industries since he appeared in three Gracie Fields films in the mid-1930s. He joined Ealing Studios as an associate editor in 1942 and worked there on more than twenty features. After working with other studios he became a founding member of Yorkshire Television in 1967. -
Xerox University Microfilms 300 North Zm (> Road Ann Arbor, Michigan 48106 75-3059
INFORMATION TO USERS This material was produoad from a microfilm copy of the original document. While the molt advanced technological meant to photograph and reproduce this document have been used, the quality it heavily dependent upon the quality of the original lubmitted. The following explanation of techniques it provided to help you understand markings or patterns which may appear on this reproduction. 1. The sign or "target" for pages apparently lacking from the document photographed is "Missing Pags(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand comer of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again - beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation. -
Introduction
Notes Introduction 1. The choice of literary fiction to the general exclusion of popular fiction is partly because the latter’s response to the Cold War has received some study, but also because study of the topic tends to overemphasise its source material. For example, see LynnDiane Beene paraphrased in Brian Diemert, ‘The Anti- American: Graham Greene and the Cold War in the 1950s’, in Andrew Hammond, ed., Cold War Literature: Writing the Global Conflict (London and New York: Routledge, 2006), p. 213; and David Seed, American Science Fiction and the Cold War: Literature and Film (Edinburgh: Edinburgh University Press, 1999), p. 192. 2. Caute, Politics and the Novel during the Cold War (New Brunswick and London: Transaction Publishers, 2010), p. 76. 3. Richard J. Aldrich, ‘Introduction: Intelligence, Strategy and the Cold War’, in Aldrich, ed., British Intelligence, Strategy and the Cold War, 1945–51 (London and New York: Routledge, 1992), p. 1. For useful summaries of the different schools of Cold War historiography, see S.J. Ball, The Cold War: An International History, 1947– 1991 (London and New York: Arnold, 1998), pp. 1–4; and Ann Lane, ‘Introduction: The Cold War as History’, in Klaus Larres and Lane, eds, The Cold War: The Essential Readings (Oxford and Malden: Blackwell, 2001), pp. 3–16. 4. Dwight D. Eisenhower quoted in John Lewis Gaddis, The Cold War, new edn (2005; London: Penguin, 2007), p. 123. In the mid-1940s, the US assertion that ‘in this global war there is literally no question, political or military, in which the United States is not interested’ was soon echoed by Vyacheslav Molotov’s claim that ‘[o]ne cannot decide now any serious problems of international relations without the USSR’ (quoted in Paul Kennedy, The Rise and Fall of the Great Powers: Economic Change and Military Conflict from 1500 to 2000, new edn (1987; New York: Vintage Books, 1989), p. -
Admission for All How Cinema and the Railways Shaped British Culture, 1895-1948
Admission for All How Cinema and the Railways Shaped British Culture, 1895-1948 Rebecca E Harrison UCL PhD in Film Studies Declaration I, Rebecca Harrison, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. Abstract My thesis examines the intersections between railway and cinema spaces to demonstrate how crucial these technologies were in altering life in Britain. The project focuses on the period between 1895 (the birth of film) and 1948 (when the railways were nationalised). Access to railways and cinemas was predicated on payment rather than birthright: in carriages and auditoriums, consumerism was—in theory—inclusive. The two technologies were thus crucial in transforming public space from one of privilege to one of mass consumption. I analyse three spaces: inside carriages, the interiors of auditoriums and the space onscreen to demonstrate how trains and moving images affected in material ways people’s experiences of modernity in everyday life. I also connect the intersections between the railway and cinema to a broader narrative about Britain’s democracy and industrial and political change in the period. This interdisciplinary thesis draws on a variety of fields including film theory, history, geography and sociology to provoke a reinvestigation of the cinema and the train in British culture. Archival research is central to the thesis, as primary sources create a material history of both the railway and cinema’s impacts on life in Britain. The project’s historical narrative is also interwoven with conceptual analysis. -
A Right Royal Visit See Pages 8-9 and Centre
THE BARROW HILL ENGINE SHED SOCIETY MAGAZINE Winter 2018 Price £2.50 Issue 58 A Right Royal Visit See pages 8-9 and centre MORE photos and stories INSIDE... Social Evenings 2019 See page 18-23 Celebrating with Pudsey New!!! The Roundhouse More awards for and Children in Need Crossword See page 38 the Roundhouse See pages 10-11 See page 9 OpeningOpening Shot...Shot... Incy Wincy spider climbed up the tender side... Photo: Russ Parrish Time for a team photo at the end of a fantastic night raising money for Children in Need. Photo: BBC Below: Meeting Pudsey Photo: Alexa Stott Darren Ward, Head of Drivers at EMT arranged for this photograph to be taken and entitled it “Barrow Hill CONTENTS Heroes”. He added “I like having Barrow Hill as an EMT depot! Here’s just a few of the heroes that made the magic happen every night during Derby Resignalling.” Photo: Richard Gennis Chairman’s Notes 4 Heritage Lottery Fund Update 6 Roundhouse News 8 - HRH The Duke of Gloucester Pays a Visit - Heritage Engineering Award Honour from IMechE - Children in Need - EMT Servicing Comes to a Successful Conclusion - East Midlands Trains Awards - A New Awards Cabinet Roundhouse Events 15 - Garden & Wildlife Friendly Fun Day - Halloween - First World War Commemorations - Christmas Science Fun Day - Rail Ale 2019 - 2019 Social Evenings Dave Darwin Remembers 24 The Collections Team 28 Historical Corner 30 Volunteers’ Report 34 Money Matters 36 And Finally... 38 FRONT COVER: The year continued with an BBC Children in Need and a number Amidst all the glamour of Royal visits and From the Manager archaeological dig of Long Row (to be of awards including the Institution of engineering accolades, a reminder of the Welcome.. -
The Wrecker (1929)
Saturday 19 March | 18:45 THE WRECKER Dir. Géza von Bolváry | UK | 1929 | 1h 8m With: Carlyle Blackwell, Benita Hume, Joseph Striker Accompanied live by Forrester Pyke Screening sponsored and made possible by Film Mobile Scotland and Bo’ness and Kinneil Railway Screening material courtesy of The Archive Film Agency Arnold Ridley, (Dad's Army's Private Godfrey and great-uncle of Star Wars VII's "Rey", Daisy Ridley) had an earlier and even more widespread success as a playwright who could be relied upon to fill theatres in the 1920s. The play that made his name, and is revived to this day, is The Ghost Train, a spooky mystery that cleverly uses stage sound and lighting effects to create the impression of a full-size train running across the back of the set. Keen to follow up his 1923 success with that play he wrote The Wrecker in 1924, which set much of the action of unmasking a terrorist at the highest echelons of British society in a fully-working signal-box, also a ground-breaking stage effect for its day. Although not the triumph Ghost Train had been, it did well enough and Gainsborough director Géza von Bolváry turned to it as film material in 1929 following a superbly moody adaptation of Ghost Train the previous year. Michael Balcon, head of Gainsborough Pictures, shared his morning commute from deepest Sussex to London in First Class with the head of Southern Railways. Balcon persuaded him to let Gainsborough shoot a costly train wreck on a working length of his track near Basingstoke, the same track Balcon would return to in 1937 with Will Hay for Oh Mr Porter. -
The American Stage Careers of Fredric March and Florence Eldridge. Vicki Jo Payne Parrish Louisiana State University and Agricultural & Mechanical College
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1995 The American Stage Careers of Fredric March and Florence Eldridge. Vicki Jo payne Parrish Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Parrish, Vicki Jo payne, "The American Stage Careers of Fredric March and Florence Eldridge." (1995). LSU Historical Dissertations and Theses. 6042. https://digitalcommons.lsu.edu/gradschool_disstheses/6042 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough,m a substandard r gins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. -
Book Reviews
Page 85 BOOK REVIEWS Stephen King, D uma Key London: Hodder & Stoughton, 2008 It is perhaps little wonder that creativity is a recurrent theme in Stephen King’s novels, given the sheer productivity of the man. It is tempting to think, perhaps, that like the protagonist in his latest offering, Duma Key, he is driven to produce work by mysterious dark forces. At almost six hundred pages Duma Key provides a tale to settle into for a couple of weeks (or perhaps a longhaul flight to Florida), but is largely focused on one location and a single character, who also fulfils the function of narrator. Regular King readers will be unsurprised to find that this narrator, Edgar Freemantle, bears more than a passing resemblance to King himself. It is not just tempting but irresistible to compare this story of injury and rehabilitation to King’s own welldocumented accident in 1999. Certainly, Freemantle’s recovery is portrayed with almost painful realism, and his character is generally compelling enough to draw the reader along on his journey to a ‘second life’. Although it is unfair to reduce Duma Key to a single ‘hook’ or gimmick, it can be described as an extended horror treatment of phantom limb syndrome. Freemantle is a building contractor whose pickup truck is crushed by a twelvestory crane, leaving him with brain damage, a shattered hip, and the loss of his right arm. The resulting tensions cause a split with his wife, and he becomes increasingly depressed and angry. He is wealthy, however, and on the advice of his therapist, rents a house in the Florida Keys which he calls ‘Big Pink’ and takes up painting with his good left arm. -
The Life and Work of Arnold Ridley
The life and work of Arnold Ridley 19th November 2009 - 30th April 2010 Mon-Fri, 10am-3pm, Theatre Collection foyer, 21 Park Row, Bristol. Arnold Ridley, OBE (1896-1984), the British playwright and actor, is probably best remembered as author of the play The Ghost Train, and for his roles of Private Godfrey in Dad's Army and Doughy Hood in the radio soap The Archers. This exhibition seeks to celebrate Arnold Ridley’s prodigious life and work by showcasing a small amount of the material from his archive, which is held in the Theatre Collection. ON WALL Playbill for The Ghost Train Theatre Royal, Brighton 22 June 1925 The Ghost Train opened at the Brighton Theatre Royal in 1925, marking the beginning of its first provincial tour, before transferring to St. Martin’s Theatre, London. Playbill for The Ghost Train St. Martin’s Theatre, London 23 Nov 1925 St. Martin’s Theatre was the London home of The Ghost Train for two years. After two rather average provincial tours it was at this time that the play became the great success it is known as today. Playbill for The Flying Fool Princes Theatre, London 14 September 1929 The Flying Fool was written by Arnold Ridley and Bernard Merivale who collaborated on many scripts. It ran at the Princes Theatre, London from 14 September until 2 November, 1929. Playbill for The Wrecker New Theatre, London December 1927 The follow-up train mystery to The Ghost Train was The Wrecker, which also opened at the Theatre Royal, Brighton in 1927 before transferring to the New Theatre, London.