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Issues of Image and Performance in the Beatles' Films
“All I’ve got to do is Act Naturally”: Issues of Image and Performance in the Beatles’ Films Submitted by Stephanie Anne Piotrowski, AHEA, to the University of Exeter as a thesis for the degree of Doctor of Philosophy in English (Film Studies), 01 October 2008. This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which in not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. (signed)…………Stephanie Piotrowski ……………… Piotrowski 2 Abstract In this thesis, I examine the Beatles’ five feature films in order to argue how undermining generic convention and manipulating performance codes allowed the band to control their relationship with their audience and to gain autonomy over their output. Drawing from P. David Marshall’s work on defining performance codes from the music, film, and television industries, I examine film form and style to illustrate how the Beatles’ filmmakers used these codes in different combinations from previous pop and classical musicals in order to illicit certain responses from the audience. In doing so, the role of the audience from passive viewer to active participant changed the way musicians used film to communicate with their fans. I also consider how the Beatles’ image changed throughout their career as reflected in their films as a way of charting the band’s journey from pop stars to musicians, while also considering the social and cultural factors represented in the band’s image. -
George Harrison
COPYRIGHT 4th Estate An imprint of HarperCollinsPublishers 1 London Bridge Street London SE1 9GF www.4thEstate.co.uk This eBook first published in Great Britain by 4th Estate in 2020 Copyright © Craig Brown 2020 Cover design by Jack Smyth Cover image © Michael Ochs Archives/Handout/Getty Images Craig Brown asserts the moral right to be identified as the author of this work A catalogue record for this book is available from the British Library All rights reserved under International and Pan-American Copyright Conventions. By payment of the required fees, you have been granted the non-exclusive, non-transferable right to access and read the text of this e-book on-screen. No part of this text may be reproduced, transmitted, down-loaded, decompiled, reverse engineered, or stored in or introduced into any information storage and retrieval system, in any form or by any means, whether electronic or mechanical, now known or hereinafter invented, without the express written permission of HarperCollins. Source ISBN: 9780008340001 Ebook Edition © April 2020 ISBN: 9780008340025 Version: 2020-03-11 DEDICATION For Frances, Silas, Tallulah and Tom EPIGRAPHS In five-score summers! All new eyes, New minds, new modes, new fools, new wise; New woes to weep, new joys to prize; With nothing left of me and you In that live century’s vivid view Beyond a pinch of dust or two; A century which, if not sublime, Will show, I doubt not, at its prime, A scope above this blinkered time. From ‘1967’, by Thomas Hardy (written in 1867) ‘What a remarkable fifty years they -
2 a Quotation of Normality – the Family Myth 3 'C'mon Mum, Monday
Notes 2 A Quotation of Normality – The Family Myth 1 . A less obvious antecedent that The Simpsons benefitted directly and indirectly from was Hanna-Barbera’s Wait ‘til Your Father Gets Home (NBC 1972–1974). This was an attempt to exploit the ratings successes of Norman Lear’s stable of grittier 1970s’ US sitcoms, but as a stepping stone it is entirely noteworthy through its prioritisation of the suburban narrative over the fantastical (i.e., shows like The Flintstones , The Jetsons et al.). 2 . Nelvana was renowned for producing well-regarded production-line chil- dren’s animation throughout the 1980s. It was extended from the 1960s studio Laff-Arts, and formed in 1971 by Michael Hirsh, Patrick Loubert and Clive Smith. Its success was built on a portfolio of highly commercial TV animated work that did not conform to a ‘house-style’ and allowed for more creative practice in television and feature projects (Mazurkewich, 1999, pp. 104–115). 3 . The NBC US version recast Feeble with the voice of The Simpsons regular Hank Azaria, and the emphasis shifted to an American living in England. The show was pulled off the schedules after only three episodes for failing to connect with audiences (Bermam, 1999, para 3). 4 . Aardman’s Lab Animals (2002), planned originally for ITV, sought to make an ironic juxtaposition between the mistreatment of animals as material for scientific experiment and the direct commentary from the animals them- selves, which defines the show. It was quickly assessed as unsuitable for the family slot that it was intended for (Lane, 2003 p. -
The Nation's Matron: Hattie Jacques and British Post-War Popular Culture
The Nation’s Matron: Hattie Jacques and British post-war popular culture Estella Tincknell Abstract: Hattie Jacques was a key figure in British post-war popular cinema and culture, condensing a range of contradictions around power, desire, femininity and class through her performances as a comedienne, primarily in the Carry On series of films between 1958 and 1973. Her recurrent casting as ‘Matron’ in five of the hospital-set films in the series has fixed Jacques within the British popular imagination as an archetypal figure. The contested discourses around nursing and the centrality of the NHS to British post-war politics, culture and identity, are explored here in relation to Jacques’s complex star meanings as a ‘fat woman’, ‘spinster’ and authority figure within British popular comedy broadly and the Carry On films specifically. The article argues that Jacques’s star meanings have contributed to nostalgia for a supposedly more equitable society symbolised by socialised medicine and the feminine authority of the matron. Keywords: Hattie Jacques; Matron; Carry On films; ITMA; Hancock’s Half Hour; Sykes; star persona; post-war British cinema; British popular culture; transgression; carnivalesque; comedy; femininity; nursing; class; spinster. 1 Hattie Jacques (1922 – 1980) was a gifted comedienne and actor who is now largely remembered for her roles as an overweight, strict and often lovelorn ‘battle-axe’ in the British Carry On series of low- budget comedy films between 1958 and 1973. A key figure in British post-war popular cinema and culture, Hattie Jacques’s star meanings are condensed around the contradictions she articulated between power, desire, femininity and class. -
Gb 1456 Thomas
GERALD THOMAS COLLECTION GERALD THOMAS COLLECTION SCOPE AND CONTENT Documents relating to the career of director GERALD THOMAS (Born Hull 10/12/1920, died Beaconsfield 9/11/1993). When Gerald Thomas died, his producer partner of 40 years Peter Rogers said: ‘His epitaph will be that he directed all the Carry On films.’ Indeed, for an intense 20-year period Thomas directed the Carry On gang through their innuendo laden exploits, and became responsible, along with Rogers, for creating one of the most enduring and endearing British film series, earning him his place in British popular culture. Thomas originally studied to become a doctor, before war service with the Royal Sussex Regiment put paid to his medical career. When demobilised in 1946, he took a job as assistant in the cutting rooms of Two Cities Films at Denham Studios, where he took Assistant Editor credits on Laurence Olivier’s Hamlet (1948) and the John Mills thriller The October Man (1947). In 1949, he received his first full credit as editor, on the Margaret Lockwood melodrama Madness of the Heart (1949). During this time Peter Rogers had been working as associate producer with his wife, producer Betty Box, on such films as It’s Not Cricket (1949) and Don’t Ever Leave Me (1949). It was Venetian Bird in 1952 that first brought Thomas and Rogers together; Thomas employed as editor by director brother Ralph, and Rogers part of the producer team with Betty Box. Rogers was keen to form a director/producer pairing (following the successful example of Box and Ralph Thomas), and so gave Gerald his first directing credit on the Circus Friends (1956), a Children’s Film Foundation production. -
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. -
Carry on Cabby, Gender, and the Local Industrial Power Nexus
Carry on Cabby, Gender, and the Local Industrial Power Nexus Kieron O’Hara More than 900 years have passed since the Norman Conquest, and it is sobering to think that so many centuries of English history, that the slow, beneficent growth of a society so traditional and stable, that the legacy of Shakespeare, Jonson, Dryden and the like-should have issued at last with “Carry On Camping,” which opened yesterday at neighborhood theaters.’ For no man Laughs at old jests ....’ 1. Introduction The Curry On films have for a long time held an important place in British popular culture, although a place not acknowledged in the litera- ture on popular culture as often ‘as one might think. A series of comedy films played by a large ensemble of comedy actors, with little or no claim to art, whose humor would fairly be described as basic, the Curry Ons have a felt Englishness3 about them, often described as analogous to fish and chips, or saucy seaside postcards. They have not endeared them- selves to critics or intellectuals: feminists and the right deplore their near-obsession with the breasts and bottoms of a series of buxom actresses (chiefly Barbara Windsor); the left detect reactionary views: particularly of working relationships, perhaps most in evidence in Kenneth Cope’s doctrinaire and obstructive shop steward in Curry On At Your Convenience. Even where the influence of the Curry Ons is acknowledged without prejudice, it is not generally the case that that influence can be seen as a good one. For example, Peter Hutchings rightly notes the importance of the Curry On tradition for Hitchcock’s Fren~y;~however, no-one would claim that Frenzy was the most politi- cally correct of Hitch’s pictures. -
Apex Publishing
Apex Publishing Ltd PO Box 7086, Clacton on Sea, Essex, CO15 5WN, United Kingdom Tel: 01255 428500 E-mail: [email protected] Website: www.apexpublishing.co.uk _______________________________________________________________________________________ BOOK EXTRACT Title: The Official Carry On Facts, Figures & Statistics Author: Kevin Snelgrove Foreword by: Alan Hume and Jack Douglas Publication Date: 21 March 2008 Page Extent: 150 ISBN: 1-906358-09-5 ISBN 13: 978-1-906358-09-9 Book Type: Hardback Classification: Television Price: £9.99 _______________________________________________________________________________________ A–Z Guide A is for Abroad (1972), Again Doctor (1969), At Your Convenience (1971), Again Christmas (1970) and And in My Lady’s Chamber (1975) = 5 B is for Behind (1975) = 1 C is for Cabby (1963), Camping (1968), Cleo (1964), Columbus (1992), Constable (1959), Cowboy (1965), Cruising (1962), Christmas (1969), Christmas (1972), Christmas (1973) and Christmas Classics (1983) = 11 D is for Dick (1974), Doctor (1967) and Don’t Lose Your Head (1966) = 3 E is for Emmannuelle (1978) and England (1976) = 2 F is for Follow that Camel (1967) = 1 G is for Girls (1973) = 1 H is for Henry (1970) = 1 J is for Jack (1963) = 1 L is for Loving (1970), LampPosts of the Empire (1975), London (1973/75) and Laughing with The Slimming Factory (1975) = 4 M is for Matron (1971) = 1 N is for Nurse (1958) and Norbert Smith – A Life (1989) = 2 O is for Orgy and Bess (1975) and One in the Eye for Harold (1975) = 2 R is for Regardless (1960) = -
Entertainment Memorabilia, 3 July 2013, Knightsbridge, London
Bonhams Montpelier Street Knightsbridge London SW7 1HH +44 (0) 20 7393 3900 +44 (0) 20 7393 3905 fax 20771 Entertainment Memorabilia, Entertainment 3 July 2013, 2013, 3 July Knightsbridge, London Knightsbridge, Entertainment Memorabilia Wednesday 3 July 2013 at 1pm Knightsbridge, London International Auctioneers and Valuers – bonhams.com © 1967 Danjaq, LLC. and United Artists Corporation. All Rights reserved courtesy of Rex Features. Entertainment Memorabilia Wednesday 3 July 2013 at 1pm Knightsbridge, London Bonhams Enquiries Customer Services The following symbol is used Montpelier Street Director Monday to Friday 8.30am to 6pm to denote that VAT is due on the hammer price and buyer’s Knightsbridge Stephanie Connell +44 (0) 20 7447 7447 premium London SW7 1HH +44 (0) 20 7393 3844 www.bonhams.com [email protected] Please see back of catalogue † VAT 20% on hammer price for important notice to bidders and buyer’s premium Viewing Senior Specialist Sunday 30 June Katherine Williams Illustrations * VAT on imported items at 11am to 3pm +44 (0) 20 7393 3871 Front cover: Lot 236 a preferential rate of 5% on Monday 1 July [email protected] Back cover: Lot 109 hammer price and the prevailing 9am to 4.30pm Inside front cover: Lot 97 rate on buyer’s premium Consultant Specialist Inside back cover: Lot 179 Tuesday 2 July W These lots will be removed to Stephen Maycock 9am to 4.30pm Bonhams Park Royal Warehouse Wednesday 3 July +44 (0) 20 7393 3844 after the sale. Please read the 9am to 11am [email protected] sale information page for more details. -
The Eagle 1960 (Easter)
THE EAGLE Printed in Great Britain by W. Jefferson & Son Ltd., Ely The Eagle Editorial Committee Mr LEE (Senior Editor), Mr HINSLEY (Treasurer), W. M. NEWMAN (Junior Editor), Dr STERN, N. WOOD , C. ADAM, D. N. L. RALPHS. A MAGAZINE SUPPORTED BY MEMBERS OF ST JOHN'S COLLEGE, CAMBRIDGE All contributions for the next issue of the Magazine should be sent FOR SUBSCRIBERS ONLY to The Editors, The Eagle, St John's College. The Editors will wel come assistance in making the College Notes, and the Magazine generally, as complete a record as possible of the careers of mem bers of the College. They will welcome books or articles dealing with the College and its members for review; and books published Maupygemons and Mash page 65 by members of the College for shorter notice. Ash before Oak 75 Inter-Racial Friction 78 Feminine Nature: a Praelection 89 The Restoration of Second Court II 91 College Chronicle 102 College Notes 126 The Library 133 Book Reviews 135 College Awards 141 VOL. LlX OCTOBER 1960 NO. 256 Maupygernons and Mash BY GLYN DANIEL Dr Daniel was Steward of the College from 1946 to 1955 and here discusses some of his problems and pleasures as Steward, and gives a portrait of Mr Sadler, who retires this year as Kitchen Manager after nearly half a century of service in the College. WHEN, after nearly five years away fr om the College in the Royal Air Force during the war, I came back in early 1946, I was surprised to be asked by the then Master, E. -
Yellow Submarine George Dunning, 1968
EL SUBMARINO AMARILLO Yellow submarine George Dunning, 1968 LA BANDA DE LOS CORAZONES PSICODÉLICOS El submarino amarillo es un film de animación producido por la King Features como extensión de la serie televisiva The Beatles, emitida en Estados Unidos entre 1965 y 1969. Siguiendo el esquema de la serie, que consistía en coger una canción de la banda y desarrollar cualquier historia sugerida por el título, el argumento del largometraje se compuso en base a dos composiciones de The Beatles. Yellow submarine cuenta la odisea de los cuatro músicos de Liverpool que se embarcan en un submarino amarillo para recorrer mares fantásticos poblados por monstruos y otras amenazas. Fue concebida y desarrollada principalmente por el escritor norteamericano Lee Minoff. Stg. Pepper cuenta la peripecia del grupo tras su llegada a Pimientalandia, donde deben rescatar mediante la música a una población férreamente sometida por un tirano azul. Es el resultado del parcheo, que no colaboración, de un número indeterminado de guionistas. En última instancia, parece que buena parte de las soluciones narrativas surgieron de la improvisación de los dibujantes. La génesis y elaboración del film se explican con más detalle en la segunda parte de este texto, titulada La sombra del submarino. Liberada de la presencia pueril y esperpéntica de los Beatles de carne y hueso, El submarino amarillo es una de las mejores expresiones del arte psicodélico. El término psicodelia es un neologismo compuesto por las raíces griegas ψυχή (psique=alma) y δήλη (dele=manifestación), lo que permite aplicarlo a todo intento de mostrar lo más recóndito de nuestra mente, algo imposible con las palabras y las figuras convencionales. -
The Eagle 1961 (Easter)
THE EAGLE October I 96 I Printed in Great Britain by W. Jefferson & Son Ltd., Ely The Eagle A MAGAZI NE SUP PORTED BY MEMBERS OF ' ST JOHN S COLLEGE, CAMBRIDGE FOR SUBSCRIBERS ONLY Editorial page 213 Poems : By Exchange Telegraph 215 To an Unknown God 215 c Trivium 216 Tiger Shooting-1961 217 Poems: The Chess Players 223 No Slow Foot Turns 223 When This Black Angel 223 On the Body of a Child Calcified at Pompeii 224 A Poem �or Someone Asleep 224 The Restoration of Second Court III 225 Poem: The Landlady 232 John Masefield and a Cake 234 Praelection: Rare Birds 238 A Thirteenth Century Sketch from the Old Chapel 239 College Chronicle 240 College Notes 255 Obituary 264 Book Reviews 266 College Awards 271 Editorial Committee ...... � ...... Mr LEE (Senior Editor), Mr HINSLEY (Treasurer), W. M. NEWMAN (') ::s ...... on 0 0 � CD (Junior Editor), Dr STERN, N. WOOD, C. ADAM, D. N. L. RALPHS, CD ...... .c >, ...... on D. I. MORPHET, R. L. NOBBS. ...... Cl) .j...J -I-' c.. 0 on CO CO '0 .c rJ Cl) [Il 0 ...... .j...J .c . ..... -I-' >, c.. All contributions for the next issue of the Magazine should be sent (/) � Q) .0 >, rJ .c to The Editors, The Eagle, St John's College. The Editors will wel '2 ...... ::s Q) E-< .c E '0 come assistance in making the College Notes, and the Magazine CO 0 -I-' :: 0 >, ell 0 generally, as complete a record as possible of the careers of mem ,..., 0 ...... ..... 0 '0 (/) 0 -I-' bers of the College.