DOCSLIB.ORG

BFI Annual Review 2007-2008 2007-2008 BFI Annual Review 2007-2008 B There’S More to Discover About Film and Television Through the BFI

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
BFI Annual Review 2007-2008 2007-2008 BFI Annual Review 2007-2008 B There’S More to Discover About Film and Television Through the BFI BFI www.bfi.org.uk Annual Review Registered address: 21 Stephen Street, London, W1T 1LN A BFI Annual Review 2007-2008 2007-2008 BFI Annual Review 2007-2008 B There’s more to discover about film and television through the BFI. Our world-renowned archive, cinemas, festivals, films, Contents publications and learning resources are here to inspire you. Chair’s Report 3 Director’s Report 7 About the BFI 11 Summary of the BFI’s achievements › National Archive 15 › International Focus for Exhibition 21 › Distribution to Digital 27 2007-2008 – How we did 33 Financial Review 35 Appendices 41 CFront cover: BFIDracula Annual (1958) Review 2007-2008 BFI Annual Review 2007-2008 D Chair’s Report From its origins in the nineteenth century, This is a significant achievement but it is not cinema became the most influential – and enough. The rapid development of digital pervasive – art-form of the twentieth century. technology means we now have the opportunity The subsequent near-universal adoption of to multiply our impact, and to provide every television in the second half of the last century British citizen, no matter where they live, with engrained the moving image in our daily lives. greater access to the national archive. This, in And today, with the spread of the internet and the turn, will enable a new generation not just to development of cheap recording equipment, the watch work from previous eras but to create new moving image is entering a new phase – one in work for themselves and the future. We have – which anyone can create moving images to record albeit in a largely opportunistic way – created a and share their understanding of the world. major digital presence through such things as the development of downloads, our Screenonline The BFI is at the centre of this world: resource, our filmographic database and our YouTube channel. But we need to do much, › we already care for the world’s most significant much more, making more of the content we film and television archive, conserving, are already creating and repurposing it for restoring and making accessible an entire digital distribution. history of moving images while also using this material to tell stories of who we are and where Like most national collections, we face challenges we have come from; over the volume of materials we hold: our collection is not static but continues to grow, › we are the UK’s biggest distributor of cultural and the rate of growth is increasing rapidly. The cinema – serving over 800 venues across all capital cost of creating enough storage space is the nations and regions of the UK, as well as challenging, but in a world where fuel costs are managing one of the world’s most important rising exponentially we face a major problem DVD labels for cultural film; and in simply affording to keep this material in optimum storage conditions. If we do not, we › at our London home we create and programme risk the loss forever of irreplaceable cultural moving images which introduce a world of treasures. cinema and television to everyone who visits our venues, and which form the basis of touring programmes into every region of the UK, as well as providing education and other materials that contextualise and explain. The Wayward Cloud (2007) BFI Annual Review 2007-2008 3 Public funding in the arts is still to the BFI. Our online presence is set to grow disproportionately spent on the more traditional further based on the world’s largest filmographic art forms such as music and theatre, while database, while we have also been experimenting the moving image – the art-form that has far with using other online providers as channels for and away the biggest impact on every person the BFI’s distribution – our channel at YouTube, in Britain – is still something of a Cinderella. for example, provides access to archive material However, in the past year there has been for hundreds of thousands of users at near-zero progress. The BFI successfully secured £25 revenue cost to the BFI. million from Government to fund the BFI- led Strategy for UK Film Heritage, a UK-wide I joined the BFI as its new Chair almost at the end programme to conserve and make more of the financial year covered by this report. In accessible the UK’s moving image heritage. The the few months I have been in post I have been BFI is also hopeful of securing a £50 million impressed by the commitment and passion of capital contribution from Government for a new my fellow Governors and by the hard-work of the BFI’s dedicated staff. This organisation is The Long Day Closes (1992) National Film Centre on the Southbank. fortunate to be served by loyal people including In the past year the management team has driven many who are world leaders in their fields of through a significant change programme aimed expertise. In their hands, the nation’s priceless at both improving our financial position and moving image heritage is as safe as it can be. improving our service to the public. They have But much more needs to be done to secure it for negotiated a range of innovative partnerships the future and to ensure the public has access with commercial and other organisations to their archive. With reasonable support from which have already resulted in increases in the government, our ambitious strategy for the next investment in – and the impact of – areas as few years should see a step-change in what the diverse as book publishing, film sales and venue BFI can deliver and the impact we can achieve. catering. The relentless focus on improving the financial performance of the BFI IMAX has Greg Dyke resulted in a facility which now makes a net Chair, BFI Board of Governors From Here to Eternity (1953) contribution to the BFI rather than requiring a subsidy, while our DVD publishing operation is undergoing a remarkable renaissance in the range of titles it offers and the financial returns And our London public venues – split between As the costs spiral of operating a 1950s building BFI Southbank, BFI IMAX and the BFI at Stephen that was shoe-horned under a major road Street – are not ideal. Southbank has recently bridge, the Southbank spaces look increasingly benefited from some capital investment to marginalised while large sums of public money refurbish and develop its facilities, which are poured into other national cultural facilities. has resulted in a very substantial increase in And the BFI National Library, operating from audiences and the opportunity to offer free extremely constrained spaces at Stephen Street, public access to a part of the archive through the is unable to provide the facilities or environment new Mediatheque. But the Southbank cinemas expected of a modern research library. Despite themselves – state-of-the-art in the 1950s – the high quality of the BFI’s knowledge creation are nowhere near the standard that should be work, the split between these London facilities expected of Britain’s national cinemas. only adds to our problems in providing a coherent, integrated public offer. In the past year the management team has driven through a significant change programme aimed at improving the BFI’s financial position and its service to the public. 4 BFI Annual Review 2007-2008 BFI Annual Review 2007-2008 5 Director’s Report Several years of hard but successful work have A number of innovative partnerships have shifted us from a body whose course was set fair been successfully negotiated, including two of in the 1950s to one which is relevant for today’s particular importance: very different world. Over the last few years the BFI has become a leaner and nimbler operation, › the outsourcing of our major book publishing surviving on exactly the same level of public operations to Palgrave Macmillan in a deal funding it was receiving five years ago while that sees editorial control remaining with the delivering more opportunities for people from BFI. As a result, there should be many more ever-more diverse backgrounds to experience specialist books published each year which will the full range of world cinema. Through careful benefit from greater investment and a more marshalling of our resources we are achieving a powerful distribution network; and bigger impact than ever before. › the outsourcing of our overseas film The opening of the newly refurbished BFI distribution operations to HanWay Films, Southbank in March 2007 was a great success who will use the strength of their own sales for us. It combined the National Film Theatre operations to deliver wider distribution at site on London’s South Bank with the redundant lower cost. MOMI building to create a visitor destination which offers a broad programme of activities, The BFI has also worked enthusiastically with a events and opportunities to enjoy a wide range range of other bodies to further extend our reach. of previously disparate BFI activities, together Our fruitful relationship with the BBC led to a co- with pioneering access to the national archive. production The Lost World of Tibet, a documentary BFI Southbank is a prototype for a permanent and featuring stunning colour home movies shot in modern new National Film Centre: over 2007-08, Tibet in the 1940s and 50s. More than two million the first full year of operation, the number of people tuned in, and the DVD is selling well. users soared and exceeded our expectation. Through our partnership with JISC (Joint The other great success of the year was the Information Systems Committee) we will make decision by government to provide £25 million archive material available digitally across the to fund the UKFC / BFI-led Strategy for UK Screen whole of the UK.
Load more

Recommended publications
  • Copyrighted Material
    Index Academy Awards (Oscars), 34, 57, Antares , 2 1 8 98, 103, 167, 184 Antonioni, Michelangelo, 80–90, Actors ’ Studio, 5 7 92–93, 118, 159, 170, 188, 193, Adaptation, 1, 3, 23–24, 69–70, 243, 255 98–100, 111, 121, 125, 145, 169, Ariel , 158–160 171, 178–179, 182, 184, 197–199, Aristotle, 2 4 , 80 201–204, 206, 273 Armstrong, Gillian, 121, 124, 129 A denauer, Konrad, 1 3 4 , 137 Armstrong, Louis, 180 A lbee, Edward, 113 L ’ Atalante, 63 Alexandra, 176 Atget, Eugène, 64 Aliyev, Arif, 175 Auteurism , 6 7 , 118, 142, 145, 147, All About Anna , 2 18 149, 175, 187, 195, 269 All My Sons , 52 Avant-gardism, 82 Amidei, Sergio, 36 L ’ A vventura ( The Adventure), 80–90, Anatomy of Hell, 2 18 243, 255, 270, 272, 274 And Life Goes On . , 186, 238 Anderson, Lindsay, 58 Baba, Masuru, 145 Andersson,COPYRIGHTED Karl, 27 Bach, MATERIAL Johann Sebastian, 92 Anne Pedersdotter , 2 3 , 25 Bagheri, Abdolhossein, 195 Ansah, Kwaw, 157 Baise-moi, 2 18 Film Analysis: A Casebook, First Edition. Bert Cardullo. © 2015 John Wiley & Sons, Inc. Published 2015 by John Wiley & Sons, Inc. 284 Index Bal Poussière , 157 Bodrov, Sergei Jr., 184 Balabanov, Aleksei, 176, 184 Bolshevism, 5 The Ballad of Narayama , 147, Boogie , 234 149–150 Braine, John, 69–70 Ballad of a Soldier , 174, 183–184 Bram Stoker ’ s Dracula , 1 Bancroft, Anne, 114 Brando, Marlon, 5 4 , 56–57, 59 Banks, Russell, 197–198, 201–204, Brandt, Willy, 137 206 BRD Trilogy (Fassbinder), see FRG Barbarosa, 129 Trilogy Barker, Philip, 207 Breaker Morant, 120, 129 Barrett, Ray, 128 Breathless , 60, 62, 67 Battle
    [Show full text]
  • Of Time, Dissonance and the Symphonic-Poetic City Les Roberts, University of Liverpool
    Published in Eselsohren: Journal of the History of Art, Architecture and Urbanism, 2 (1-2): 87-104 (2015). Of Time, Dissonance and the Symphonic-Poetic City Les Roberts, University of Liverpool The „time‟ of Terence Davies‟s celebrated cine-poem Of Time and the City (2008) can in one sense be characterised as linear inasmuch as it accords with a biographical period – the 1940s to 1970s – that maps on to the history of a specific place: the port-city of Liverpool in the north west of England. The duration of the seventy-five minute film is thus homologous to that of the director‟s own time growing up on post-war Merseyside, from his birth in 1945 until 1973 when he moved away from the city. In other words, the film tells a story that unfolds as a linear narrative: a time-line of geobiographical memory. But the „time‟ of Of Time and the City also conveys a different temporal geography, one that works against the linearity of narrative form. Time in this other sense is poetically woven from the fluid and contingent temporalities of Terence Davies‟s Liverpool: a city reassembled from the excavatory fragments of an archaeology of memory. It is as fitting to describe Of Time and the City as a „symphony‟ as it is for other classics of the genre, such as Walter Ruttman‟s Berlin: Symphony of a Great City (1927) or Dziga Vertov‟s Man with a Movie Camera (1929). However, the film‟s rich orchestration of archival memory (around 85% of the film consists of archive material) and its dissonant poetics of everyday time map out the contours of what might better be described as a „symphonic-poetic city‟.
    [Show full text]
  • Annual Report and Accounts 2004/2005
    THE BFI PRESENTSANNUAL REPORT AND ACCOUNTS 2004/2005 WWW.BFI.ORG.UK The bfi annual report 2004-2005 2 The British Film Institute at a glance 4 Director’s foreword 9 The bfi’s cultural commitment 13 Governors’ report 13 – 20 Reaching out (13) What you saw (13) Big screen, little screen (14) bfi online (14) Working with our partners (15) Where you saw it (16) Big, bigger, biggest (16) Accessibility (18) Festivals (19) Looking forward: Aims for 2005–2006 Reaching out 22 – 25 Looking after the past to enrich the future (24) Consciousness raising (25) Looking forward: Aims for 2005–2006 Film and TV heritage 26 – 27 Archive Spectacular The Mitchell & Kenyon Collection 28 – 31 Lifelong learning (30) Best practice (30) bfi National Library (30) Sight & Sound (31) bfi Publishing (31) Looking forward: Aims for 2005–2006 Lifelong learning 32 – 35 About the bfi (33) Summary of legal objectives (33) Partnerships and collaborations 36 – 42 How the bfi is governed (37) Governors (37/38) Methods of appointment (39) Organisational structure (40) Statement of Governors’ responsibilities (41) bfi Executive (42) Risk management statement 43 – 54 Financial review (44) Statement of financial activities (45) Consolidated and charity balance sheets (46) Consolidated cash flow statement (47) Reference details (52) Independent auditors’ report 55 – 74 Appendices The bfi annual report 2004-2005 The bfi annual report 2004-2005 The British Film Institute at a glance What we do How we did: The British Film .4 million Up 46% People saw a film distributed Visits to
    [Show full text]
  • WITHIN the TIDES . . . Go, Make You Ready. HAMLET
    WITHIN THE TIDES . Go, make you ready. HAMLET to the PLAYERS. p. 3THE PLANTER OF MALATA CHAPTER I In the private editorial office of the principal newspaper in a great colonial city two men were talking. They were both young. The stouter of the two, fair, and with more of an urban look about him, was the editor and part-owner of the important newspaper. The other’s name was Renouard. That he was exercised in his mind about something was evident on his fine bronzed face. He was a lean, lounging, active man. The journalist continued the conversation. “And so you were dining yesterday at old Dunster’s.” He used the word old not in the endearing sense in which it is sometimes applied to intimates, but as a matter of sober fact. The Dunster in question was old. He had been an eminent colonial statesman, but had now retired from active politics after a tour in Europe and a lengthy stay in England, during which he had had a very good press indeed. The colony was proud of him. “Yes. I dined there,” said Renouard. “Young Dunster asked me just as I was going out of his office. It seemed to be like a sudden thought. And yet I can’t help suspecting some purpose behind it. He was very pressing. He swore that his uncle would be very pleased to see me. Said his uncle had mentioned lately that the granting to me of the Malata concession was the last act of his official life.” “Very touching.
    [Show full text]
  • Index to Volume 26 January to December 2016 Compiled by Patricia Coward
    THE INTERNATIONAL FILM MAGAZINE Index to Volume 26 January to December 2016 Compiled by Patricia Coward How to use this Index The first number after a title refers to the issue month, and the second and subsequent numbers are the page references. Eg: 8:9, 32 (August, page 9 and page 32). THIS IS A SUPPLEMENT TO SIGHT & SOUND Index 2016_4.indd 1 14/12/2016 17:41 SUBJECT INDEX SUBJECT INDEX After the Storm (2016) 7:25 (magazine) 9:102 7:43; 10:47; 11:41 Orlando 6:112 effect on technological Film review titles are also Agace, Mel 1:15 American Film Institute (AFI) 3:53 Apologies 2:54 Ran 4:7; 6:94-5; 9:111 changes 8:38-43 included and are indicated by age and cinema American Friend, The 8:12 Appropriate Behaviour 1:55 Jacques Rivette 3:38, 39; 4:5, failure to cater for and represent (r) after the reference; growth in older viewers and American Gangster 11:31, 32 Aquarius (2016) 6:7; 7:18, Céline and Julie Go Boating diversity of in 2015 1:55 (b) after reference indicates their preferences 1:16 American Gigolo 4:104 20, 23; 10:13 1:103; 4:8, 56, 57; 5:52, missing older viewers, growth of and A a book review Agostini, Philippe 11:49 American Graffiti 7:53; 11:39 Arabian Nights triptych (2015) films of 1970s 3:94-5, Paris their preferences 1:16 Aguilar, Claire 2:16; 7:7 American Honey 6:7; 7:5, 18; 1:46, 49, 53, 54, 57; 3:5: nous appartient 4:56-7 viewing films in isolation, A Aguirre, Wrath of God 3:9 10:13, 23; 11:66(r) 5:70(r), 71(r); 6:58(r) Eric Rohmer 3:38, 39, 40, pleasure of 4:12; 6:111 Aaaaaaaah! 1:49, 53, 111 Agutter, Jenny 3:7 background
    [Show full text]
  • Honorary Doctor of Letters Mr ZHANG Yimou
    Honorary Doctor of Letters Mr ZHANG Yimou Citation written and delivered by Professor LEE Chin-chuan Pro-Chancellor: Mr Zhang Yimou is one of the best-known and widely respected Chinese film directors. In 1987, he directed his first film, Red Sorghum, which proved an instant success, winning 12 coveted prizes both inside and outside China. Since then, almost every film he has directed has won critical acclaim, making Zhang the ‘‘best story-telling director’’ in China. Born in 1950 into a family labelled one of the ‘‘Five Black Categories’’, Zhang Yimou grew up in an environment of recrimination and discrimination. Upon finishing junior high school, he was sent to work in a Shaanxi village and later transferred to a cotton mill. Going through the tumult of the Cultural Revolution during his youth made him realize how insignificant an individual could be. At 18, without his family knowing, he sneaked into town and sold blood for five months in order to raise enough money to buy his first used camera. This experience later strengthened his determination to ‘‘overcome adversity and fight for his destiny’’. He believes that success only comes through hard work, persistence and self-confidence, while a person’s worth can only be proved by rising to the occasion. The Cultural Revolution ended in 1976 and two years later Zhang applied for the Beijing Film Academy. By then he was already 27 and without the prerequisite academic qualifications. He was almost rejected. By winning a petition to the Ministry of Culture, he was admitted to the Department of Cinematography and joined Chen Kaige, Tian Zhuangzhuang, and Zhang Junzhao, who would later establish the core of China’s Fifth Generation film directors.
    [Show full text]
  • Walpole Public Library DVD List A
    Walpole Public Library DVD List [Items purchased to present*] Last updated: 9/17/2021 INDEX Note: List does not reflect items lost or removed from collection A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Nonfiction A A A place in the sun AAL Aaltra AAR Aardvark The best of Bud Abbot and Lou Costello : the Franchise Collection, ABB V.1 vol.1 The best of Bud Abbot and Lou Costello : the Franchise Collection, ABB V.2 vol.2 The best of Bud Abbot and Lou Costello : the Franchise Collection, ABB V.3 vol.3 The best of Bud Abbot and Lou Costello : the Franchise Collection, ABB V.4 vol.4 ABE Aberdeen ABO About a boy ABO About Elly ABO About Schmidt ABO About time ABO Above the rim ABR Abraham Lincoln vampire hunter ABS Absolutely anything ABS Absolutely fabulous : the movie ACC Acceptable risk ACC Accepted ACC Accountant, The ACC SER. Accused : series 1 & 2 1 & 2 ACE Ace in the hole ACE Ace Ventura pet detective ACR Across the universe ACT Act of valor ACT Acts of vengeance ADA Adam's apples ADA Adams chronicles, The ADA Adam ADA Adam’s Rib ADA Adaptation ADA Ad Astra ADJ Adjustment Bureau, The *does not reflect missing materials or those being mended Walpole Public Library DVD List [Items purchased to present*] ADM Admission ADO Adopt a highway ADR Adrift ADU Adult world ADV Adventure of Sherlock Holmes’ smarter brother, The ADV The adventures of Baron Munchausen ADV Adverse AEO Aeon Flux AFF SEAS.1 Affair, The : season 1 AFF SEAS.2 Affair, The : season 2 AFF SEAS.3 Affair, The : season 3 AFF SEAS.4 Affair, The : season 4 AFF SEAS.5 Affair,
    [Show full text]
  • Jaycees Award Bowling Citations
    WEEK'S PLETE TELE ISION PROGRAMS UNDAY N RTH JERSEY'S ONLY WEEKLY PICTORIAL-. MAGAZINE News Highlights of ..!•'..i.... Clifton P''?:::...:?:?: ::-:-:.'::-.-: :.-........ :-:-....:.:-:-:::::'i:?.'5"::•'• •!:5'.-.:::..-.................-...-.-..:'..-..-:-:::.:-.', •., :.. iii!:::::::::::::::::::::::::::::::::.-:•!:i:i:i:i:i:.:i:i:l:i:i:!.'.-':i:i•:i.i:i:!:P'::'"' .........'-"':::::!:?:i:•::i:iii?ih-'::•:::•-Y::!:':i:::i:?:!-•:. -:i:::.::i.'.-:::::?.•:•.. • •..-:..-',, •......-'.:•'..................................... .......... '.'::................................. :..... ':::':::i:i•.•-•::'..:::::i.-"!.:i:!.'.................•::i•:•:•.__•L.,• .,,•.'........................... .........:::'.........:L::::• -:,.• .•:::.- ) East Paterson •:!i: :::::::::::::::::::::.:.......:.-.•i::.:::i .:?•i?:.•:'::....... :i:. 'i' .•:•:•:•:•:•:•:•:•:•:•:•:•:•:•:•:•:•:•:•.•:•:•:•:•:•*:::•:•:•:•:•:•:•:•::•.....•.•!:}!:•!.•{:::::::::::::::::::.:.:.:.:.:.:.:.:.::.:.:..:.:.•::}:.:•::•::..:.:.:..•:::•i•.........•:::::•:.:•:•,.•:!::•-...- ............' .:":.::::i!!.i:.'"•:/'}•:•"l?????: -: ß'!?!•??•:i-"- ..'." - :-•.:?:?:?:?:.::?:?:.'-.-:l--".-'.":.".'•i ::.:' ================================================================================================================================== :'. :::?:?::?:?:•..:-'.:.:'?:':'.-:?:?:?:?:?.".-:?:?:?:?•.':'%'?: Fir Lawn • '!!i{{•i•}iii!i!!i•i•!•''•' [i•:{•...................................... :::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: ...........:.$:•..... !::::{{{{i!:::•.: :• :::::::::::::::::::::::':":':'•i::::::
    [Show full text]
  • Gloria Swanson
    Gloria Swanson: An Inventory of Her Papers at the Harry Ransom Center Descriptive Summary Creator: Swanson, Gloria, 1899-1983 Title: Gloria Swanson Papers [18--]-1988 (bulk 1920-1983) Dates: [18--]-1988 Extent: 620 boxes, artwork, audio discs, bound volumes, film, galleys, microfilm, posters, and realia (292.5 linear feet) Abstract: The papers of this well-known American actress encompass her long film and theater career, her extensive business interests, and her interest in health and nutrition, as well as personal and family matters. Call Number: Film Collection FI-041 Language English. Access Open for research. Please note that an appointment is required to view items in Series VII. Formats, Subseries I. Realia. Administrative Information Acquisition Purchase (1982) and gift (1983-1988) Processed by Joan Sibley, with assistance from Kerry Bohannon, David Sparks, Steve Mielke, Jimmy Rittenberry, Eve Grauer, 1990-1993 Repository: Harry Ransom Center, University of Texas at Austin Swanson, Gloria, 1899-1983 Film Collection FI-041 Biographical Sketch Actress Gloria Swanson was born Gloria May Josephine Swanson on March 27, 1899, in Chicago, the only child of Joseph Theodore and Adelaide Klanowsky Swanson. Her father's position as a civilian supply officer with the army took the family to Key West, FL and San Juan, Puerto Rico, but the majority of Swanson's childhood was spent in Chicago. It was in Chicago at Essanay Studios in 1914 that she began her lifelong association with the motion picture industry. She moved to California where she worked for Sennett/Keystone Studios before rising to stardom at Paramount in such Cecil B.
    [Show full text]
  • Sundayiournal
    STANDING STRONG FOR 1,459 DAYS — THE FIGHT'S NOT OVER YET JULY 11-17, 1999 THE DETROIT VOL. 4 NO. 34 75 CENTS S u n d a yIo u r n a l PUBLISHED BY LOCKED-OUT DETROIT NEWSPAPER WORKERS ©TDSJ JIM WEST/Special to the Journal Nicholle Murphy’s support for her grandmother, Teamster Meka Murphy, has been unflagging. Marching fourward Come Tuesday, it will be four yearsstrong and determined. In this editionOwens’ editorial points out the facthave shown up. We hope that we will since the day in July of 1995 that ofour the Sunday Journal, co-editor Susanthat the workers are in this strugglehave contracts before we have to put Detroit newspaper unions were forcedWatson muses on the times of happi­until the end and we are not goingtogether any­ another anniversary edition. to go on strike. Although the compa­ness and joy, in her Strike Diarywhere. on On Pages 19-22 we show offBut four years or 40, with your help, nies tried mightily, they never Pagedid 3. Starting on Page 4, we putmembers the in our annual Family Albumsolidarity and support, we will be here, break us. Four years after pickingevents up of the struggle on the record.and also give you a glimpse of somestanding of strong. our first picket signs, we remainOn Page 10, locked-out worker Keiththe far-flung places where lawn signs— Sunday Journal staff PAGE 10 JULY 11 1999 Co-editors:Susan Watson, Jim McFarlin --------------------- Managing Editor: Emily Everett General Manager: Tom Schram Published by Detroit Sunday Journal Inc.
    [Show full text]
  • Complete Film Noir
    COMPLETE FILM NOIR (1940 thru 1965) Page 1 of 18 CONSENSUS FILM NOIR (1940 thru 1959) (1960-1965) dThe idea for a COMPLETE FILM NOIR LIST came to me when I realized that I was “wearing out” a then recently purchased copy of the Film Noir Encyclopedia, 3rd edition. My initial plan was to make just a list of the titles listed in this reference so I could better plan my film noir viewing on AMC (American Movie Classics). Realizing that this plan was going to take some keyboard time, I thought of doing a search on the Internet Movie DataBase (here after referred to as the IMDB). By using the extended search with selected criteria, I could produce a list for importing to a text editor. Since that initial list was compiled almost twenty years ago, I have added additional reference sources, marked titles released on NTSC laserdisc and NTSC Region 1 DVD formats. When a close friend complained about the length of the list as it passed 600 titles, the idea of producing a subset list of CONSENSUS FILM NOIR was born. Several years ago, a DVD producer wrote me as follows: “I'd caution you not to put too much faith in the film noir guides, since it's not as if there's some Film Noir Licensing Board that reviews films and hands out Certificates of Authenticity. The authors of those books are just people, limited by their own knowledge of and access to films for review, so guidebooks on noir are naturally weighted towards the more readily available studio pictures, like Double Indemnity or Kiss Me Deadly or The Big Sleep, since the many low-budget B noirs from indie producers or overseas have mostly fallen into obscurity.” There is truth in what the producer says, but if writers of (film noir) guides haven’t seen the films, what chance does an ordinary enthusiast have.
    [Show full text]
  • 1. Title: 13 Tzameti ISBN: 5060018488721 Sebastian, A
    1. Title: 13 Tzameti ISBN: 5060018488721 Sebastian, a young man, has decided to follow instructions intended for someone else, without knowing where they will take him. Something else he does not know is that Gerard Dorez, a cop on a knife-edge, is tailing him. When he reaches his destination, Sebastian falls into a degenerate, clandestine world of mental chaos behind closed doors in which men gamble on the lives of others men. 2. Title: 12 Angry Men ISBN: 5050070005172 Adapted from Reginald Rose's television play, this film marked the directorial debut of Sidney Lumet. At the end of a murder trial in New York City, the 12 jurors retire to consider their verdict. The man in the dock is a young Puerto Rican accused of killing his father, and eleven of the jurors do not hesitate in finding him guilty. However, one of the jurors (Henry Fonda), reluctant to send the youngster to his death without any debate, returns a vote of not guilty. From this single event, the jurors begin to re-evaluate the case, as they look at the murder - and themselves - in a fresh light. 3. Title: 12:08 East of Bucharest ISBN: n/a 12:08pm on the 22 December 1989 was the exact time of Ceausescu's fall from power in Romania. Sixteen years on, a provincial TV talk show decides to commemorate the event by asking local heroes to reminisce about their own contributions to the revolution. But securing suitable guests proves an unexpected challenge and the producer is left with two less than ideal participants - a drink addled history teacher and a retired and lonely sometime-Santa Claus grateful for the company.
    [Show full text]