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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 -
Spring 2011 Issn 1476-6760
Issue 65 Spring 2011 Issn 1476-6760 Christine Hallett on Historical Perspectives on Nineteenth-Century Nursing Karen Nolte on the Relationship between Doctors and Nurses in Agnes Karll’s Letters Dian L. Baker, May Ying Ly, and Colleen Marie Pauza on Hmong Nurses in Laos during America’s Secret War, 1954- 1974 Elisabetta Babini on the Cinematic Representation of British Nurses in Biopics Anja Peters on Nanna Conti – the Nazis’ Reichshebammenführerin Lesley A. Hall on finding female healthcare workers in the archives Plus Four book reviews Committee news www.womenshistorynetwork.org 9 – 11 September 2011 20 Years of the Women’s History Network Looking Back - Looking Forward The Women’s Library, London Metropolitan University Keynote Speakers: Kathryn Gleadle, Caroline Bressey Sheila Rowbotham, Sally Alexander, Anna Davin Krista Cowman, Jane Rendall, Helen Meller The conference will look at the past 20 years of writing women’s history, asking the question where are we now? We will be looking at histories of feminism, work in progress, current areas of debate such as religion and perspectives on national and international histories of the women’s movement. The conference will also invite users of The Women’s Library to take part in one strand that will be set in the Reading Room. We would very much like you to choose an object/item, which has inspired your writing and thinking, and share your experience. Conference website: www.londonmet.ac.uk/thewomenslibrary/ aboutthecollections/research/womens-history-network-conference-2011.cfm Further information and a conference call will be posted on the WHN website www.womenshistorynetwork.org Editorial elcome to the spring issue of Women’s History This issue, as usual, also contains a collection of WMagazine. -
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. -
Of Australia's First Woman Sculptor and Her War Memorials
In Memoriam: World War I memorials by the Australian sculptor Margaret Baskerville (1861-1930). Margaret A. Rose, FAHA, FRHistS Margaret Francis Ellen (“Nell”) Baskerville was born in Melbourne, Victoria in 1861 and was one of the first Australian-born women artists to become a professional sculptor. This brief illustrated account of her war memorials is based on my study of her work and that of her husband and fellow sculptor C. Douglas Richardson, which was published for the Brighton (now Bayside) City Council collection of their paintings and sculpture under the title Victorian Artists. Margaret Baskerville (1861-1930) and C. Douglas Richardson (1853-1932) in 1988. Several memorials to the fallen were commissioned and completed by sculptors as well as by stonemasons in Australia in the aftermath of the “Great War”. Many are recorded, and some are illustrated, in the numerous editions of Sacred Places: War Memorials in the Australian Landscape by K.S. Inglis, assisted by Jan Brazier, of 1998, as well as – more recently – on websites such as those for the “Monument Australia” and “Victorian Heritage” databases. As Inglis has noted, the majority of the war memorials unveiled in the public spaces of Australian towns following World War I had been for – and had illustrated – the male soldiers who had fought and fallen in battle. Amongst the memorials built and unveiled following World War I were, however, also two by the Australian sculptor Margaret Baskerville (1861-1930) for the British nurse Edith Louisa Cavell. Cavell (born in Norfolk, England in 1865) had trained as a nurse in London under a friend of Florence Nightingale (Matron Eva Luckes), had taken up work in Belgium and been executed there at dawn on 12 October 1915 by order of the German Military Governor of Brussels for having assisted in the escape of allied soldiers, and despite the fact that she had tended the wounded of both sides. -
Nurse-Martyr-Heroine: Representations of Edith Cavell in Interwar Britain, France and Belgium
This is a repository copy of Nurse-Martyr-Heroine: Representations of Edith Cavell in Interwar Britain, France and Belgium. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/136299/ Version: Accepted Version Article: Fell, AS and Sternberg, C (2018) Nurse-Martyr-Heroine: Representations of Edith Cavell in Interwar Britain, France and Belgium. Journal of War & Culture Studies, 11 (4). pp. 273-290. ISSN 1752-6272 https://doi.org/10.1080/17526272.2018.1530524 © 2018 Informa UK Limited, trading as Taylor & Francis Group. This is an Accepted Manuscript of an article published by Taylor & Francis in Journal of War & Culture Studies on 16 Oct 2018, available online: http://www.tandfonline.com/10.1080/17526272.2018.1530524. Uploaded in accordance with the publisher's self-archiving policy. Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Nurse-Martyr-Heroine: Representations of Edith Cavell in Interwar Britain, France and Belgium Alison S. -
British Women Surgeons and Their Patients, 1860–1918
Downloaded from https://www.cambridge.org/core. IP address: 170.106.40.40, on 02 Oct 2021 at 06:58:02, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/19ED55AFB1F1D73AF0B101C74ECF9E87 Downloaded from https://www.cambridge.org/core. IP address: 170.106.40.40, on 02 Oct 2021 at 06:58:02, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/19ED55AFB1F1D73AF0B101C74ECF9E87 British Women Surgeons and their Patients, 1860–1918 When women agitated to join the medical profession in Britain during the 1860s, the practice of surgery proved both a help (women were neat, patient and used to needlework) and a hindrance (surgery was brutal, bloody and distinctly unfeminine). In this major new study, Claire Brock examines the cultural, social and self-representation of the woman sur- geon from the second half of the nineteenth century until the end of the Great War. Drawing on a rich archive of British hospital records, she investigates precisely what surgery women performed and how these procedures affected their personal and professional reputation, as well as the reactions of their patients to these new phenomena. Also pub- lished as open access, this is essential reading for those interested in the history of medicine. British Women Surgeons and their Patients, 1860– 1918 provides wide-ranging new perspectives on patient narratives and women’s participation in surgery between 1860 and 1918. This title is also available as Open Access. claire brock is Associate Professor in the School of Arts at the University of Leicester. -
WAR SIRENS: HOW the SHEET MUSIC INDUSTRY SOLD WORLD WAR I a THESIS in Musicology Presented to the Faculty of the University Of
WAR SIRENS: HOW THE SHEET MUSIC INDUSTRY SOLD WORLD WAR I A THESIS IN Musicology Presented to the Faculty of the University of Missouri-Kansas City in partial fulfillment of the requirements for the degree MASTER OF MUSIC By KRISTIN GRIFFEATH B.M, Lawrence University Conservatory of Music, 2003 M.M., University of Arizona, 2008 D.M.A., University of Missouri-Kansas City, 2011 Kansas City, Missouri 2011 ©2011 KRISTIN GRIFFEATH ALL RIGHTS RESERVED WAR SIRENS: HOW THE SHEET MUSIC INDUSTRY SOLD WORLD WAR I Kristin Griffeath, Candidate for the Master of Music Degree University of Missouri-Kansas City, 2011 ABSTRACT During World War I the U.S. Committee on Public Information (CPI) sponsored a national culture of war in posters, speeches, and films. Against this war-soaked cultural backdrop, the sheet music industry echoed the pervasive messages of the CPI, often using images of women to appeal to the American people. Connections between sheet music and CPI poster themes reflect the cultural dominance of war messages, and themes from various CPI-sponsored materials recur as motifs in the era’s sheet music. The sheet music covers, lyrics, and musical cues reinforced prototypical roles for women during the war (from angelic nurses to flirtatious tomboy recruits) as established in the poster art, revealing a gendered cultural code. By purchasing sheet music and carrying it into their homes, American citizens literally bought into the war propaganda, heeding the siren call of the female imagery in CPI advertising to invest materially and emotionally in the war effort. Analysis of cover art, titles, lyrics, and musical examples highlights the use of archetypal images of women from poster and advertising traditions, suggesting that the sheet music industry was an unofficial partner of the CPI. -
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. -
DISAMBIGUATION by Ian Sales Ganymede Ganymede May Refer To
DISAMBIGUATION by Ian Sales Ganymede Ganymede may refer to: • Ganymede: a Trojan prince in Greek mythology • Ganymede: Jupiter’s largest moon, named for the mythological character • Ganymede: the name used by Rosalind when she is disguised as a man in Shakespeare’s As You Like It • Ganymede: the eighth of the Short S.26 ‘G’ Class Empire flying boats flown by Imperial Airways, which disappeared in 1940 while en route to Australia § Ganymede (flying boat) Ganymede (G-AFCP) was the name given to the fifth Short S.26 ‘G’ Class Empire flying boat to enter service with Imperial Airways. It first flew in October 1939 on Imperial Airway’s route to Australia. During its fifth such trip, it disappeared somewhere between Koepang and Darwin over the Timor Sea. Among the thirty-eight passengers onboard was popular British actress Anna Irwin. Various attempts to discover the resting-place of the Ganymede, the most notable by Amelia Earhart in 1947, have all proven fruitless. § Short S.26 The Short S.26 ‘G’ Class was a large transport flying boat with non-stop transatlantic capability intended for commercial service. Ten aircraft were ordered by Imperial Airways. The S.26 was designed as an enlarged Short ‘C’ Class Empire flying boat. Powered by four 1,400 hp (1,044 kW) Bristol Hercules sleeve valve radial engines, the Short S.26s (or “Golden Boats”) were designed with the capability of crossing the Atlantic without refuelling, although initially they flew Imperial Airways’ South Africa and Australia routes alongside the ‘C’ Class flying boats. Each aircraft had a name beginning with ‘G’: Golden Hind, Golden Fleece, Golden Horn, Golden Eagle, Ganymede, Galatea, Galahad, Geronimo, Gideon, and Gloriana. -
Edith Cavell Was Killed by the German Army on 12 October 1915. She Was A
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by LJMU Research Online Edith Cavell was killed by the German army on 12 October 1915. She was a 49-year-old British nurse working in Brussels who had hitherto attracted little attention and, if she had not been executed, it is likely she would have become one of many forgotten figures serving behind the lines of the First World War's Western Front. In death Cavell took on significance far beyond her relatively humble life: a martyr; a symbol of German beastliness; a heroine ranked in her profession next to Florence Nightingale; and a cause from which propaganda could emanate. A statue of her stands in St Martin’s Place, London, King Albert of Belgium conferred on her the Cross of the Order of Leopold, the French made her a Chevalier of the Legion of Honour and the transporting of her remains for reburial in Norfolk in 1919 had Britons lining the streets like a state funeral. Cavell’s legacy has endured. Her words on the eve of her execution – ‘I realise that patriotism is not enough. It is not enough to love one's own people. One must love all men and hate none.’(Clark-Kennedy, 1965: 221) – have become a testament to the folly of war; and in 2015 the Royal Mint produced a £5 coin to commemorate the centenary of her death after nearly 110,000 people signed a petition asking for her to be commemorated (Simpson, 2014). Horne and Kramer (2001: 311) wrote that this modern admiration had its roots in public reaction a century earlier, a response stoked by a need to justify the suffering inflicted by the First World War and intensified by propaganda published by newspapers: The British acquired their own martyr in the person of Edith Cavell. -
Mapping the British Biopic: Evolution, Conventions, Reception and Masculinities
Mapping the British Biopic: Evolution, Conventions, Reception and Masculinities Matthew Robinson A thesis submitted in partial fulfilment of the requirements of the University of the West of England, Bristol for the degree of Doctor of Philosophy Faculty of Arts, Creative Industries and Education, University of the West of England, Bristol June 2016 90,792 words Contents Abstract 2 Chapter One: Introduction 3 Chapter Two: Critical Review 24 Chapter Three: Producing the British Biopic 1900-2014 63 Chapter Four: The Reception of the British Biopic 121 Chapter Five: Conventions and Themes of the British 154 Biopic Chapter Six: This is His Story: ‘Wounded’ Men and 200 Homosocial Bonds Chapter Seven: The Contemporary British Biopic 1: 219 Wounded Men Chapter Eight: The Contemporary British Biopic 2: 263 Homosocial Recoveries Chapter Nine: Conclusion 310 Bibliography 323 General Filmography 355 Appendix One: Timeline of the British Biopic 1900-2014 360 Appendix Two: Distribution of Gender and Professional 390 Field in the British Biopic 1900-2014 Appendix Three: Column and Pie Charts of Gender and 391 Profession Distribution in British Biopics Appendix Four: Biopic Production as Proportion of Total 394 UK Film Production Previously Published Material 395 1 Abstract This thesis offers a revaluation of the British biopic, which has often been subsumed into the broader ‘historical film’ category, identifying a critical neglect despite its successful presence throughout the history of the British film industry. It argues that the biopic is a necessary category because producers, reviewers and cinemagoers have significant investments in biographical subjects, and because biopics construct a ‘public history’ for a broad audience. -
United States in WWI 100 Years Later
THE UNITED STATES IN WORLD WAR I 1917 - 1918 100 YEARS LATER 2017 - 2018 WW1 A Newspaper in Education Supplement to 100 THE UNITED STATES YEARS WORLD WAR ONE CENTENNIAL COMMISSION INTRODUCTION World War I is central to American and world history but few Americans are aware of its impor- tance. For a variety of reasons, World War I has a ONLINE RESOURCES much fainter imprint on the American conscious- This Education Guide is ness than our other two great wars: the Civil War supplemented with tools and World War II. and lessons for further We have a sharply defined sense of the Civil study, available at the web- War, because of its place in our history and our site for the U.S. World War I ability to walk its battlefields. We have a vivid Centennial Commission. mind’s eye of World War II, because of its moral These resources include clarity and the national triumph it represents, as lessons plans, activities, well as the presence of living veterans in our so- videos, photo galleries, ar- ciety. Both wars have also been frequently and ticles and other tools. The richly depicted in popular film. headings on our online di- IN COLLABORATION WITH: Not so World War I. It is distant in time, it was fought overseas, news cov- rectory of resources corre- erage was less immediate, ambivalence surrounded the reasons for the war spond to the page or section and its aftermath, and U.S. forces fought for a relatively brief period of time. headings of this guide. But in that short period, Americans fought with the same tenacity they did in We also encourage you to World War II, and they died at a rate surpassed only in the Civil War.