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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. -
Under Capricorn Symposium Were Each Given a 30 Minute Slot to Deliver Their Paper and Respond to Questions
Papers based on the Symposium held at Kings College, University of London, 5th & 6th September, 2019 1 Introductory Note Speakers at the Under Capricorn Symposium were each given a 30 minute slot to deliver their paper and respond to questions. In preparing for this collection, all the papers have been revised and several have been considerably developed to provide additional context, argument and analysis. Apart from changes in format introduced to create a unified document (and in one or two cases to integrate images), the papers appear as the writers submitted them. The papers are arranged in the order of the symposium programme, with one exception. Bertrand Tavernier was unfortunately unable to attend and his paper is the first the reader will encounter. Papers that do not appear in this collection are marked by an asterisk in the programme. 2 Under Capricorn at 70 King’s College, University of London th th 5 and 6 September 2019 Day 1 5 September 9:00 - 9:30 Registration 9:30 - 10:00 Welcome & Introductions 10:00 - 10:30 An Overview of Under Capricorn Stéphane Duckett 10:30 - 11:00 Hitchcock and Ireland Charles Barr * 11:00 - 11:30 Bewitched, Bothered and Bewildered. A Fairy Tale of Old Ireland Richard Blennerhassett 11:30 - 12:00 Teas & Coffees 12:00 - 12:30 Under Capricorn and Helen de Guerry Simpson Ed Gallafent 12:30 - 1:00 Under Capricorn and The Paradine Case Douglas Pye 1:00 - 2:00 Lunch 2:00 - 2:30 “Between P & B- The Past and the Bottle” or Ingrid Bergman’s Acting and Opinions on Acting Tytti Soila 2:30 - 3:00 Under Capricorn -
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. -
ANNOUNCEMENT from the Copyright Office, Library of Congress, Washington, D.C
ANNOUNCEMENT from the Copyright Office, Library of Congress, Washington, D.C. 20559-6000 PUBLICATION OF FIFTH LIST OF NOTICES OF INTENT TO ENFORCE COPYRIGHTS RESTORED UNDER THE URUGUAY ROUND AGREEMENTS ACT. COPYRIGHT RESTORATION OF WORKS IN ACCORDANCE WITH THE URUGUAY ROUND AGREEMENTS ACT; LIST IDENTIFYING COPYRIGHTS RESTORED UNDER THE URUGUAY ROUND AGREEMENTS ACT FOR WHICH NOTICES OF INTENT TO ENFORCE RESTORED COPYRIGHTS WERE FILED IN THE COPYRIGHT OFFICE. The following excerpt is taken from Volume 62, Number 163 of the Federal Register for Friday, August 22,1997 (p. 443424854) SUPPLEMENTARY INFORMATION: the work is from a country with which LIBRARY OF CONGRESS the United States did not have copyright I. Background relations at the time of the work's Copyright Off ice publication); and The Uruguay Round General (3) Has at least one author (or in the 37 CFR Chapter II Agreement on Tariffs and Trade and the case of sound recordings, rightholder) Uruguay Round Agreements Act who was, at the time the work was [Docket No. RM 97-3A] (URAA) (Pub. L. 103-465; 108 Stat. 4809 created, a national or domiciliary of an Copyright Restoration of Works in (1994)) provide for the restoration of eligible country. If the work was Accordance With the Uruguay Round copyright in certain works that were in published, it must have been first Agreements Act; List Identifying the public domain in the United States. published in an eligible country and not Copyrights Restored Under the Under section 104.4 of title 17 of the published in the United States within 30 Uruguay Round Agreements Act for United States Code as provided by the days of first publication. -
Inventory to Archival Boxes in the Motion Picture, Broadcasting, and Recorded Sound Division of the Library of Congress
INVENTORY TO ARCHIVAL BOXES IN THE MOTION PICTURE, BROADCASTING, AND RECORDED SOUND DIVISION OF THE LIBRARY OF CONGRESS Compiled by MBRS Staff (Last Update December 2017) Introduction The following is an inventory of film and television related paper and manuscript materials held by the Motion Picture, Broadcasting and Recorded Sound Division of the Library of Congress. Our collection of paper materials includes continuities, scripts, tie-in-books, scrapbooks, press releases, newsreel summaries, publicity notebooks, press books, lobby cards, theater programs, production notes, and much more. These items have been acquired through copyright deposit, purchased, or gifted to the division. How to Use this Inventory The inventory is organized by box number with each letter representing a specific box type. The majority of the boxes listed include content information. Please note that over the years, the content of the boxes has been described in different ways and are not consistent. The “card” column used to refer to a set of card catalogs that documented our holdings of particular paper materials: press book, posters, continuity, reviews, and other. The majority of this information has been entered into our Merged Audiovisual Information System (MAVIS) database. Boxes indicating “MAVIS” in the last column have catalog records within the new database. To locate material, use the CTRL-F function to search the document by keyword, title, or format. Paper and manuscript materials are also listed in the MAVIS database. This database is only accessible on-site in the Moving Image Research Center. If you are unable to locate a specific item in this inventory, please contact the reading room. -
Dennis Brain Discography
DENNIS BRAIN ON RECORD A Comprehensive Discography Compiled by Robert L. Marshall Fourth Edition, 2011 FOREWORD This is the fourth, and no doubt final, revision of the “Comprehensive Inventory by Composer” section from my book, Dennis Brain on Record: A Comprehensive Discography of his Solo, Chamber and Orchestral Recordings, originally published in 1996, with a foreword by Gunther Schuller (Newton, Mass: Margun Music, Inc.). Most of the additions and corrections contained in the present list were brought to my attention by Dr. Stephen J. Gamble who, over the course of the past fifteen years, has generously shared his discographical findings with me. Although many of these newly listed items also appear in the discography section of the recently published volume Dennis Brain: A Life in Music, co-authored by Dr. Gamble and William C. Lynch (University of North Texas Press), it seemed useful nonetheless to make an updated, integral version of the “comprehensive” inventory available as well. There is one significant exception to the claim of “comprehensiveness” in the present compilation; namely, no attempt has been made here to update the information relating to Dennis Brain’s film studio activities. All the entries in that regard included here were already listed in the original publication of this discography. The total number of entries itemized here stands at 1,791. In the original volume it was 1,632. All the newly added items are marked in the first column with an asterisk after the composer’s name. (It will be interesting to see whether any further releases are still forthcoming.) The entries themselves have been updated in other respects as well. -
Ealing Studios with Major New Project Ealing: Light & Dark
BFI SHEDS NEW LIGHT ON EALING STUDIOS WITH MAJOR NEW PROJECT EALING: LIGHT & DARK London - Wednesday 19th September 2012 For the first time in a generation the BFI will present a major project celebrating the ŚŝƐƚŽƌŝĐŽƵƚƉƵƚŽĨŽŶĞŽĨƌŝƚĂŝŶ͛ƐďĞƐƚůŽǀĞĚĂŶĚŵŽƐƚŝŶĨůƵĞŶƚŝĂůƐƚƵĚŝŽƐǁŝƚŚĂƚǁŽ month retrospective at BFI Southbank Ealing: Light and Dark from 22 October to 30 December 2012. This is a chance to enjoy the great classics and comedies but also to discover the little known and unheralded more serious side of Ealing Studios during ƚŚĞ ϭϵϰϬ͛Ɛ ĂŶĚ ϱϬ͛Ɛ, with its rich vein of challenging, provocative and sometimes subversive films, often surprisingly radical in their implications. The project will include a national re-release of It Always Rains On Sunday (1947) and a new digital clean-up of the neglected They Came to a City, a major new book of essays Ealing Revisited, and special guests and events including an exhibition of ĂůŝŶŐ ƉŽƐƚĞƌƐ͕ ƐƚŝůůƐ ĂŶĚ ŵĞŵŽƌĂďŝůŝĂ ĚƌĂǁŶ ĨƌŽŵ ƚŚĞ &/ EĂƚŝŽŶĂů ƌĐŚŝǀĞ͛Ɛ ƌŝĐŚ holdings and a new collection in the BFI Mediatheques. A parallel season celebrating director Alexander Mackendrick will feature all of his Ealing films from October 22 to November 30 at BFI Southbank. Ealing Studios has a unique place in the history of British cinema and it has become a byword for a certain type of British whimsy and eccentricity. But the studio's films boasted a surprising variety. Many of the films of Ealing rank among the undisputed classics of the period, among them Dead of Night, The Blue Lamp, The Cruel Sea, The Man in the White Suit and Passport to Pimlico. -
Ealing: Light & Dark
BFI SHEDS NEW LIGHT ON EALING STUDIOS WITH MAJOR NEW PROJECT EALING: LIGHT & DARK London - Wednesday 19th September 2012 For the first time in a generation the BFI will present a major project celebrating the historic output of one of Britain’s best loved and most influential studios with a two month retrospective at BFI Southbank Ealing: Light and Dark from 22 October to 30 December 2012. This is a chance to enjoy the great classics and comedies but also to discover the little known and unheralded more serious side of Ealing Studios during the 1940’s and 50’s, with its rich vein of challenging, provocative and sometimes subversive films, often surprisingly radical in their implications. The project will include a national re-release of It Always Rains On Sunday (1947) and a new digital clean-up of the neglected They Came to a City, a major new book of essays Ealing Revisited, and special guests and events including an exhibition of Ealing posters, stills and memorabilia drawn from the BFI National Archive’s rich holdings and a new collection in the BFI Mediatheques. A parallel season celebrating director Alexander Mackendrick will feature all of his Ealing films from October 22 to November 30 at BFI Southbank. Ealing Studios has a unique place in the history of British cinema and it has become a byword for a certain type of British whimsy and eccentricity. But the studio's films boasted a surprising variety. Many of the films of Ealing rank among the undisputed classics of the period, among them Dead of Night, The Blue Lamp, The Cruel Sea, The Man in the White Suit and Passport to Pimlico. -
British Orchestral Music
BRITISH ORCHESTRAL MUSIC (Including Orchestral Poems, Suites, Serenades, Variations, Rhapsodies, Concerto Overtures etc) Written by Composers Born Between 1800 & 1910 A Discography Of CDs And LPs Prepared by Michael Herman Composers H-R PATRICK HADLEY (1899-1973) Born in Cambridge. He studied there with Cyril Rootham and Charles Wood and then at the Royal College of Music with Vaughan Williams and R.O. Morris. He taught at Cambridge and composed mostly vocal music. His most striking work is probably the symphonic ballad "The Trees so High" that is essentially a symphony with a vocal finale. He wrote a few short works for orchestra of which only "One Morning in Spring" has been published and recorded. Kinder Scout (1923) Rumon Gamba/BBC Philharmonic ( + Foulds: April, England, Goossens: By the Tarn, Fogg: Merock, Howell: Lamia, Cowen: Reverie, Bliss: Mêlée Fantasque and Vaughan Williams: Harnham Down) CHANDOS CHAN10981 (2019) One Morning in Spring (Rhapsody for Small Orchestra) (1942) Matthias Bamert/Philharmonia Orchestra ( + The Trees So High, La Belle Dame sans Merci, Lenten Meditations and Sainton: The Dream of the Marionette, Nadir and The Island) CHANDOS BEAR ESSENTIALS CHAN 24122 (2 CDs) (2005) (original CD release: CHANDOS CHAN 9539) (1997) Sir Adrian Boult/London Philharmonic Orchestra (rec. 1969) ( + Vaughan Williams: Symphony No. 6, Fantasia on a Theme by Thomas Tallis, Bax: Mediterranean and Berg: Lyric Suite) BBC LEGENDS BBCL 42562 (2009) Sir Adrian Boult/London Philharmonic Orchesra ( + Butterworth: The Banks of Green Willow, English Idylls Nos.1 and 2, A Shropshire Lad, Howells: Procession, Merry-Eye, Elegy, Music for a Prince and Warlock: An Old Song) LYRITA SRCD.245 (2007) (original LP release: LYRITA SRCS.106) (1979) CLEMENT HARRIS (1871-1897) Born in Wimbledon. -
Moma to OCNCLUDE PART ONE of BRITISH FILM RETROSPECTIVE
The Museum of Modern Art Department of Film 11 West 53 Street, New York, N.Y. 10019 Tel: 212-708-9400 Cable: MODERNART Telex: 62370 MODART #81 FOR IMMEDIATE RELEASE MoMA TO CONCLUDE PART ONE OF BRITISH FILM RETROSPECTIVE WITH POST-WAR FILMS OF EALING STUDIOS MICHAEL BALCON: THE PURSUIT OF BRITISH CINEMA, Part One of The Museum of Modern Art's massive survey of British film history, will be devoted in its final weeks to the post-war work of producer Michael Balcon at Ealing Studios. This section of the two-part series, shown in the Museum's Roy and Niuta Titus Theater 1, will conclude on February 5. The period after World War II was one of the most productive for Balcon, who, as the unofficial statesman and spokesman of the British film industry, worked tire lessly to help create an indigenous British cinema. The January and February pro grams at MoMA will include not only the celebrated Whisky Galore (known in the U.S. as Tight Little Island) but also three of Alec Guinness's most famous comedies, The Lavender Hill Mob, The Man in the White Suit, and The Ladykillers. Also among the best-known Ealings are the moving, almost pacific reminiscence of corvette duty during World War II, The Cruel Sea, and Alexander Mackendrick's poignant and unsen timental account of a deaf child's education, Mandy. From Basil Dearden come two thrillers: the popular police procedural The Blue Lamp, in which a young Dirk Bo- garde plays a murderous delinquent, and the lesser-known Pool of London, a shadowy dockside drama. -
The Fleapit Cinema Club
The Fleapit Cinema Club Twenty First Season September 2017 - April 2018 The Fleapit Cinema Club elcome to Season 21. Yes, The Fleapit has come of age! To celebrate we have the Wcustomary salmagundi of great films including, for the first time, three by the same director - the exceptional and, as you will see, exceptionally versatile, Basil Dearden. This started by us wanting to honour the late Roger Moore’s unique career by screening his favourite of the fifty-nine films he made - The Man Who Haunted Himself, a taught, Doppelgänger thriller and the last film directed by Dearden. Meanwhile, the much-requested historical drama Saraband for Dead Lovers found its slot. It is the film that changed the genre forever with, yes, Dearden at the helm. Finally, Victim, one of cinema’s great contributions to ending the ridiculous and shameful persecution and prosecution of homosexuals. Bogarde, of course gay himself, is imperious as the blackmailee and Dearden handles the story with fearless honesty and directness. Without prior knowledge no one could possibly guess all three of these landmark films were in the hands of a single director. Elsewhere we have the original silent film version of Chicago with, of course, accompaniment by Stephen Horne and percussionist Martine Pyne; two highly inventive, entertaining and very different thrillers from Italy and France; a great Mike Leigh; our first Saturday Night screening with a double bill marking Hammer’s diamond jubilee and much, much more... We are delighted The Fleapit Film Café, courtesy of The Courtyard, will again be serving supper before every Friday screening. -
Ealing's Colour Aesthetic: Saraband for Dead Lovers
Ealing’s Colour Aesthetic: Saraband for Dead Lovers Keith Johnston When Ealing’s first Technicolor film, Saraband for Dead Lovers (1948), was released in 1948, critics were divided over its merits both as a colour film and an Ealing production. In a summary of critical reviews of the film that appeared in The Cinema Studio,theDaily Worker claimed it had ‘seldom seen Technicolor used to such superb effect’, while the Daily Express regarded the Technicolor as ‘subdued’ and ‘gloomy’. The Daily Herald described the colour photography as ‘pictorially, a lesson to Hollywood’, yet the Daily Mail listed it as ‘lurid and ferocious’. Dilys Powell, in The Sunday Times, summed up both sides by noting that earlier audiences might have been excited ‘by the audacity of the colour-designing’ but these days they were unlikely to be ‘dazzled by it’ (C.A.W. 1948b: 16). Ealing Studios’ aesthetic approach was also questioned. The Evening Standard stated the combination of topic and budget had ‘overwhelmed’ the small studio, the Evening News noted that ‘the film leans towards the theatrical’ in place of the ‘preferred . more realistic treatment’, and many reviews mirrored the Daily Graphic’s commentary on spectacle overshadowing human character and narrative: ‘The film is rich in everything but emotional quality’ (C.A.W. 1948b: 16). In the years since its release, Saraband for Dead Lovers has continued to stand in opposition to the traditional view of Ealing’s black-and-white documentary-realist tradition. A period drama with lush, extravagant costumes and sets, the film is a melodramatic narrative of love and forbidden sexuality in seventeenth-century Hanover, filmed in striking Technicolor.