DOCSLIB.ORG

Dermot Crowley

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Dermot Crowley Dermot Crowley Agents Lindy King Associate Agent Joel Keating [email protected] 0203 214 0871 Assistant Tessa Schiller [email protected] Lucia Pallaris Assistant [email protected] Eleanor Kirby +44 (0) 20 3214 0909 [email protected] Roles Television Production Character Director Company PENNYWORTH (Series 2) Archbishop Potter Danny Cannon Warner Horizon / Epix LIAR (Series 2) Henry Neilson Chris Sweeney ITV HUNTED George Ballard Various Cinemax LUTHER (Series 1 - 5) Martin Schenk Various BBC HARD SUN Father Dennis BBC Chapman THE COLLECTION Edgar Stoddard Dearbhla Walsh | Pinewood Films Dan Zeff No.14 Ltd BORGIA King Ferdinand Film United D'Argon United Agents | 12-26 Lexington Street London W1F OLE | T +44 (0) 20 3214 0800 | F +44 (0) 20 3214 0801 | E [email protected] Production Character Director Company FATHER FIGURE Pat Various BBC 1 RAW Dan Kelly Charlie McCarthy Octagon Films Extensive credits include: MARGARET Airey Neave James Kent BBC NEW TRICKS Derek Bennett Julian Simpson Wall to Wall / BBC KINGDOM Mr. Matthews Edward Hall Sprout FOYLE'S WAR Henry Townsend Tristram Powell Greenlit HG WELLS: WAR WITH THE George Bernard Shaw James Kent Wall to Wall WORLD MIDSOMER MURDERS Peter Hatchard Renny Rye Bentley Productions BLEAK HOUSE Mr. Vholes Justin Chadwick BBC SPOOKS Eric Newland Justin Chadwick BBC TRIAL AND RETRIBUTION Dr. Taylor Asling Walsh La Plante Productions HELEN WEST Philip Carlton Justin Chadwick Arrowhead MURDER ROOMS Elkins Tim Fywell BBC A TOUCH OF FROST Bennet Roger Bamford ITV REBEL HEART Coyne John Strickland Picture Palace FALLING FOR A DANCER Neeley Scolard Richard Standeven BBC JONATHAN CREEK Norman Strangeson Sandy Johnson BBC1 FATHER TED Father Liam Declan Lowney C4 Deliverance HIDDEN CITY Sam Richard Johnson Hallmark HARD TIMES Father Grogan Tom Reeve Feature Productions Film Production Character Director Company BLACK 47 Judge Bolton Lance Daly Fastnet Films THE DEATH OF STALIN Kaganovich Armando Iannucci Main Journey A PROMINENT PATIENT Halifax Julius Sevcik In Film Praha THE LADY IN THE VAN Priest Nicholas Hytner BBC Films THE FOREIGNER McGrath Martin Campbell SR Media HERE Gerry Colum Eastwood MRS BROWN'S BOYS D'MOVIE PJ Ryan Ben Kellett Penalty Kick Films THE BEST OFFER Lambert Giuseppe Paco Cinematografica Tornatore United Agents | 12-26 Lexington Street London W1F OLE | T +44 (0) 20 3214 0800 | F +44 (0) 20 3214 0801 | E [email protected] Production Character Director Company HOLY WATER Father Grogan Tom Reeve Feature Productions BABEL Barth Alejandro Paramount González Iñárritu BEFORE YOU GO Father Cunningham Lewis Gilbert Arkangel Productions THE LEGEND OF BAGGER Dougal McDermott Robert Redford 20th Century Fox VANCE STAGGERED Dr. Barnet Martin Clunes Big Deal Pictures SON OF THE PINK PANTHER Sergeant Francois Blake Edwards United Artists / MGM Duval THE MARCH Roy Cox David Wheatley BBC THE MISADVENTURES OF MR Braintree Michael Tuchner LWT WILT LITTLE DORRIT Mr. Simpson Christine Edzard Sands Films THE DOCTOR AND THE DEVILS Mr. Webb Freddie Francis 20th Century Fox OCTOPUSSY Kamp John Glen United Artists STAR WARS: EPISODE VI - General Madine Richard Marquand Lucasfilm RETURN OF THE JEDI GIRO CITY Flynne Karl Francis Silverrealm Stage Production Character Director Company TRANSLATIONS Jimmy Jack Ian Rickson National Theatre MOTHER OF THE MAID Jacques Arc Matthew Penn Public Theater AFTERPLAY Andrey Joe Dowling Irish Repertory Theatre, New York THE NAP Danny Killeen Richard Wilson Sheffield Crucible EVERYMAN Death Rufus Norris National Theatre GREAT BRITAIN Paschal O'Leary Nicholas Hytner National Theatre THE CRIPPLE OF INISHMAAN Johnnypateenmike Garry Hynes Druid Irish and American (By Martin McDonagh) Tour HOUSE OF GAMES Joey Lindsay Posner Almeida Extensive credits include: BREAKFAST AT TIFFANY'S Joe Sean Mathias West End TWO MEN OF FLORENCE Giovanni Edward Hall Boston A CHRISTMAS CAROL Scrooge Michael Unger Princeton JUNO Joxer Gary Hynes Broadway United Agents | 12-26 Lexington Street London W1F OLE | T +44 (0) 20 3214 0800 | F +44 (0) 20 3214 0801 | E [email protected] Production Character Director Company TRANSLATIONS Jimmy Jack Gary Hynes Broadway STUFF HAPPENS Donald Rumsfeld Nicholas Hytner NT CALICO James Joyce Edward Hall West End SCENES FROM THE BIG Dave Black Peter Gill NT PICTURE THE WEIR Finbar Ian Rickson The Royal Court / The Gate, Dublin / Broadway DEALER'S CHOICE Stephen John Tillinger Manhattan Theatre Club DEALER'S CHOICE Stephen David Long Wharf Theatre, Esbjornson New Haven THE HOSTAGE Pat Michael RSC Bogdanov HIMSELF John Paul Unwin Southampton & Tour HARD LIFE Flann O'Brien Mike Bradwell Tricycle Theatre SUMERFOLK Pyotr Suslov Sam Mendes CFT Radio Production Character Director Company TONGUES OF FIRE Yeats Peter Kavanagh BBC Radio 4 TRANSLATIONS Kirsty Williams BBC Radio 4 United Agents | 12-26 Lexington Street London W1F OLE | T +44 (0) 20 3214 0800 | F +44 (0) 20 3214 0801 | E [email protected].
Load more

Recommended publications
  • Stage by Stage South Bank: 1988 – 1996
    Stage by Stage South Bank: 1988 – 1996 Stage by Stage The Development of the National Theatre from 1848 Designed by Michael Mayhew Compiled by Lyn Haill & Stephen Wood With thanks to Richard Mangan and The Mander & Mitchenson Theatre Collection, Monica Sollash and The Theatre Museum The majority of the photographs in the exhibition were commissioned by the National Theatre and are part of its archive The exhibition was funded by The Royal National Theatre Foundation Richard Eyre. Photograph by John Haynes. 1988 To mark the company’s 25th birthday in Peter Hall’s last year as Director of the National October, The Queen approves the title ‘Royal’ Theatre. He stages three late Shakespeare for the National Theatre, and attends an plays (The Tempest, The Winter’s Tale, and anniversary gala in the Olivier. Cymbeline) in the Cottesloe then in the Olivier, and leaves to start his own company in the The funds raised are to set up a National West End. Theatre Endowment Fund. Lord Rayne retires as Chairman of the Board and is succeeded ‘This building in solid concrete will be here by the Lady Soames, daughter of Winston for ever and ever, whatever successive Churchill. governments can do to muck it up. The place exists as a necessary part of the cultural scene Prince Charles, in a TV documentary on of this country.’ Peter Hall architecture, describes the National as ‘a way of building a nuclear power station in the September: Richard Eyre takes over as Director middle of London without anyone objecting’. of the National. 1989 Alan Bennett’s Single Spies, consisting of two A series of co-productions with regional short plays, contains the first representation on companies begins with Tony Harrison’s version the British stage of a living monarch, in a scene of Molière’s The Misanthrope, presented with in which Sir Anthony Blunt has a discussion Bristol Old Vic and directed by its artistic with ‘HMQ’.
    [Show full text]
  • Applause Magazine, Applause Building, 68 Long Acre, London WC2E 9JQ
    1 GENE WIL Laughing all the way to the 23rd Making a difference LONDON'S THEATRE CRITI Are they going soft? PIUS SAVE £££ on your theatre tickets ,~~ 1~~EGm~ Gf1ll~ G~rick ~he ~ ~ e,London f F~[[ IIC~[I with ever~ full price ticket purchased ~t £23.50 Phone 0171-312 1991 9 771364 763009 Editor's Letter 'ThFl rul )U -; lmalid' was a phrase coined by the playwright and humourl:'t G eorge S. Kaufman to describe the ailing but always ~t:"o lh e m Broadway Theatre in the late 1930' s . " \\ . ;t" )ur ul\'n 'fabulous invalid' - the West End - seems in danger of 'e:' .m :: Lw er from lack of nourishmem, let' s hope that, like Broadway - presently in re . \ ,'1 'n - it too is resilient enough to make a comple te recovery and confound the r .: i " \\' ho accuse it of being an en vironmenta lly no-go area whose theatrical x ;'lrJ io n" refuse to stretch beyond tired reviva ls and boulevard bon-bons. I i, clUite true that the season just past has hardly been a vintage one. And while there is no question that the subsidised sector attracts new plays that, =5 'ears ago would a lmost certainly have found their way o nto Shaftes bury Avenue, l ere is, I am convinced, enough vitality and ingenuity left amo ng London's main -s tream producers to confirm that reports of the West End's te rminal dec line ;:m: greatly exaggerated. I have been a profeSSi onal reviewer long enough to appreciate the cyclical nature of the business.
    [Show full text]
  • Movie Museum FEBRUARY 2009 COMING ATTRACTIONS
    Movie Museum FEBRUARY 2009 COMING ATTRACTIONS THURSDAY FRIDAY SATURDAY SUNDAY MONDAY VICKY CRISTINA IN BRUGES BOTTLE SHOCK ARSENIC AND IN BRUGES BARCELONA (2008-UK/Belgium) (2008) OLD LACE (2008-UK/Belgium) (2008-Spain/US) in widescreen in widescreen in widescreen in Catalan/English/Spanish w/ (1944) with Chris Pine, Alan with Cary Grant, Josephine English subtitles in widescreen with Colin Farrell, Brendan with Colin Farrell, Brendan Hull, Jean Adair, Raymond with Rebecca Hall, Scarlett Gleeson, Ralph Fiennes, Rickman, Bill Pullman, Gleeson, Ralph Fiennes, Johansson, Javier Bardem, Clémence Poésy, Eric Godon, Rachael Taylor, Freddy Massey, Peter Lorre, Priscilla Clémence Poésy, Eric Godon, Penelopé Cruz, Chris Ciarán Hinds. Rodriguez, Dennis Farina. Lane, John Alexander, Jack Ciarán Hinds. Messina, Patricia Clarkson. Carson, John Ridgely. Written and Directed by Written and Directed by Directed and Co-written by Written and Directed by Woody Allen. Martin McDonagh. Randall Miller. Directed by Martin McDonagh. Frank Capra. 12:30, 2:30, 4:30, 6:30 12:30, 2:30, 4:30, 6:30 12:30, 2:30, 4:30, 6:30 12:30, 2:30, 4:30, 6:30 & 8:30pm 5 & 8:30pm 6 & 8:30pm 7 12:30, 3, 5:30 & 8pm 8 & 8:30pm 9 Lincoln's 200th Birthday THE VISITOR Valentine's Day THE VISITOR Presidents' Day 2 for 1 YOUNG MR. LINCOLN (2007) OUT OF AFRICA (2007) THE TALL TARGET (1951) (1939) in widescreen (1985) in widescreen with Dick Powell, Paula Raymond, Adolphe Menjou. with Henry Fonda, Alice with Richard Jenkins, Haaz in widescreen with Richard Jenkins, Haaz Directed by Anthony Mann.
    [Show full text]
  • In Kindergarten with the Author of WIT
    re p resenting the american theatre DRAMATISTS by publishing and licensing the works PLAY SERVICE, INC. of new and established playwrights. atpIssuel 4,aFall 1999 y In Kindergarten with the Author of WIT aggie Edson — the celebrated playwright who is so far Off- Broadway, she’s below the Mason-Dixon line — is performing a Mdaily ritual known as Wiggle Down. " Tapping my toe, just tapping my toe" she sings, to the tune of "Singin' in the Rain," before a crowd of kindergarteners at a downtown elementary school in Atlanta. "What a glorious feeling, I'm — nodding my head!" The kids gleefully tap their toes and nod themselves silly as they sing along. "Give yourselves a standing O!" Ms. Edson cries, when the song ends. Her charges scramble to their feet and clap their hands, sending their arms arcing overhead in a giant "O." This willowy 37-year-old woman with tousled brown hair and a big grin couldn't seem more different from Dr. Vivian Bearing, the brilliant, emotionally remote English professor who is the heroine of her play WIT — which has won such unanimous critical acclaim in its small Off- Broadway production. Vivian is a 50-year-old scholar who has devoted her life to the study of John Donne's "Holy Sonnets." When we meet her, she is dying of very placement of a comma crystallizing mysteries of life and death for ovarian cancer. Bald from chemotherapy, she makes her entrance clad Vivian and her audience. For this feat, one critic demanded that Ms. Edson in a hospital gown, dragging an IV pole.
    [Show full text]
  • Before-The-Act-Programme.Pdf
    Dea F ·e s. Than o · g here tonight and for your Since Clause 14 (later 27, 28 and 29) was an­ contribution o e Organisation for Lesbian and Gay nounced, OLGA members throughout the country Action (OLGA) in our fight against Section 28 of the have worked non-stop on action against it. We raised Local Govern en Ac . its public profile by organising the first national Stop OLGA is a a · ~ rganisa ·o ic campaigns The Clause Rally in January and by organising and on iss es~ · g lesbians and gay e . e ber- speaking at meetings all over Britain. We have s ;>e o anyone who shares o r cancer , lobbied Lords and MPs repeatedly and prepared a e e eir sexuality, and our cons i u ion en- briefings for them , for councils, for trade unions, for s es a no one political group can take power. journalists and for the general public. Our tiny make­ C rre ly. apart from our direct work on Section 28, shift office, staffed entirely by volunteers, has been e ave th ree campaigns - on education , on lesbian inundated with calls and letters requ esting informa­ cus ody and on violence against lesbians and gay ion and help. More recently, we have also begun to men. offer support to groups prematurely penalised by We are a new organisation, formed in 1987 only local authorities only too anxious to implement the days before backbench MPs proposed what was new law. then Clause 14, outlawing 'promotion' of homosexu­ The money raised by Before The Act will go into ality by local authorities.
    [Show full text]
  • Satiric Representations of Violence in Martin Mcdonagh's the Beauty
    Hacettepe University Graduate School of Social Sciences Department of English Language and Literature British Cultural Studies SATIRIC REPRESENTATIONS OF VIOLENCE IN MARTIN McDONAGH’S THE BEAUTY QUEEN OF LEENANNE, A SKULL IN CONNEMARA AND THE LIEUTENANT OF INISHMORE İmren Yelmiş PhD Dissertation Ankara, 2014 SATIRIC REPRESENTATIONS OF VIOLENCE IN MARTIN McDONAGH’S THE BEAUTY QUEEN OF LEENANE, A SKULL IN CONNEMARA AND THE LIEUTENANT OF INISHMORE İmren Yelmiş Hacettepe University Graduate School of Social Sciences Department of English Language and Literature British Cultural Studies PhD Dissertation Ankara, 2014 iii ACKNOWLEDGEMENTS First and foremost, I would like to express my gratitude to my supervisor, Prof. Dr. A. Deniz Bozer for her motivation and patient guidance throughout the writing process of this dissertation. She has always been a “light” to me. This dissertation would not have been possible without her great guidance and support. I am extremely grateful to Prof. Dr. Burçin Erol, Prof. Dr. Belgin Elbir, Assoc. Prof. Dr. Huriye Reis and Asst. Prof. Dr. Şebnem Kaya for all their support and suggestions. I would like to thank Prof. Nicholas Grene, for accepting me to Trinity College, which gave me the opportunity to discuss my dissertation with him, to do research at Trinity College Library and to addend the Synge Summer School. I also would like to thank Patrick Lonergan, the academic director of the School, whose discussions on contemporary Irish drama contributed to my academic development. Moreover, I would like to express my thanks to Assoc. Prof. Dr. Gülşen Sayın, Res. Asst. Nazan Yıldız, Res. Asst. Hakan Yılmaz, Res. Asst.
    [Show full text]
  • Curriculum Vitae Dr. Richard Rankin Russell Professor of English
    1 Curriculum Vitae Dr. Richard Rankin Russell Professor of English Graduate Program Director Baylor University Education: Ph.D. in English Literature at the University of North Carolina at Chapel Hill (UNC), 2001 M.A. in English Literature, UNC, 1997 M. Phil. in English Literature (Modernism), University of Glasgow (Scotland), 1996 B.A., summa cum laude (4.0), British and American Literature, University of Memphis, 1994 Books: 1. Seamus Heaney: A Critical Introduction, University of Edinburgh Press; trade paperback distribution in North and South America by Oxford University Press. 297 pp. Fall 2016. Favorably reviewed in New Hibernia Review, Winter 2016. 2. Seamus Heaney’s Regions. University of Notre Dame Press, June 2014. 498 pp. Second printing, 2015. Favorably reviewed in Publisher's Weekly, The Oxonian, Irish Studies Review, Heythrop Journal, New Hibernia Review, Year’s Work in English Studies, and the Irish Literary Supplement. Winner of the Robert Penn Warren/Cleanth Brooks Award for outstanding book in literary criticism in the United States for 2014. Foreword Reviews 2014 INDIEFAB Book of the Year Award Finalist in History. 3. Editor, Bernard MacLaverty: New Critical Readings. Bloomsbury Academic, 2014. 191 pp. Favorably reviewed in Year’s Work in English Studies (2016). 4. Modernity, Community, and Place in Brian Friel’s Drama. Syracuse University Press, Irish Studies series, 2013. 318 pp. 2nd expanded edition forthcoming in paperback, 2019. Favorably reviewed in Choice, Irish University Review, Comparative Drama, Studies: An Irish Quarterly, Irish Studies Review, Modern Drama, Contemporary Theatre Review, New Hibernia Review, and Estudios Irlandeses. 5. Editor, Peter Fallon: Poet, Publisher, Editor, and Translator.
    [Show full text]
  • An Abstract of the Thesis Of
    AN ABSTRACT OF THE THESIS OF Nicolas Evans for the degree of Master of Arts in English presented on June 2, 2017. Title: (Mis)representation & Postcolonial Masculinity: The Origins of Violence in the Plays and Films of Martin McDonagh. Abstract approved: ______________________________________________________ Neil R. Davison This thesis examines the postmodern confrontation of representation throughout the oeuvre of Martin McDonagh. I particularly look to his later body of work, which directly and self-reflexively confronts issues of artistic representation & masculinity, in order to gain a more nuanced understanding of his earliest and most controversial plays. In part, this thesis addresses misperceptions regarding The Leenane Trilogy, which was initially criticized for the plays’ shows of irreverence and use of caricature and cultural stereotypes. Rather than perpetuating propagandistic or offensive representations, my analysis explores how McDonagh uses affect and genre manipulation in order to parody artistic representation itself. Such a confrontation is meant to highlight the inadequacy of any representation to truly capture “authenticity.” Across his oeuvre, this postmodern proclivity is focused on disrupting the solidification of discourses of hyper-masculinity in the vein of postcolonial, diasporic, and mainstream media’s constructions of masculinity based on aggression and violence. ©Copyright by Nicolas Evans June 2, 2017 All Rights Reserved (Mis)representation & Postcolonial Masculinity: The Origins of Violence in the Plays and Films of Martin McDonagh by Nicolas Evans A THESIS submitted to Oregon State University in partial fulfillment of the requirements for the degree of Master of Arts Presented June 2, 2017 Commencement June 2017 Master of Arts thesis of Nicolas Evans presented on June 2, 2017 APPROVED: Major Professor, representing English Director of the School of Writing, Literature, and Film Dean of the Graduate School I understand that my thesis will become part of the permanent collection of Oregon State University libraries.
    [Show full text]
  • James Riordan RESUME
    James Riordan TELEVISION Person Of Interest Guest Star CBS Limitless Co-Star CBS Public Morals Co-Star TNT Law & Order: SVU Co-Star NBC Boardwalk Empire Guest Star HBO The Blacklist Co-Star NBC Damages Recurring DirecTV Untitled Emmerich/Kloser Pilot Guest Star ABC All My Children Recurring ABC Gossip Girl Guest Star CW As The World Turns Recurring (3 years) CBS Law & Order (2 episodes) Guest Star NBC Law & Order: CI Guest Star NBC Loving Contract ABC FILM Choose Supporting IFC Midnight/Rob Ligato The Hoax Supporting Miramax/Lasse Hallstrom BROADWAY Present Laughter Henry, Morris – u/s St. James/M. von Stuelpnagel Jerusalem Frank Whitworth Music Box/Ian Rickson The Elephant Man (w/ Billy Crudup) Lord John/Will The Royale/Sean Mathias Dance Of Death (w/ Helen Mirren & Ian McKellen) Kurt - standby Broadhurst/Sean Mathias Noises Off! Lloyd/Freddie - standby Brooks Atkinson/Jeremy Sams OFF-BROADWAY (selected) Donogoo Lamendin (lead) Mint Theater Lovers Andy (lead) TACT/Beckett Theatre Our Leading Lady John Wilkes Booth MTC/Lynne Meadow, dir. The Countess John Ruskin (lead) Lambs Theater Christie In Love Constable Tom Circle In The Square REGIONAL THEATER (selected) His Girl Friday McCue Barrington Stage Company Present Laughter Morris Two River Theater The Seagull Trigorin The Cleveland Playhouse The Suicide Semyon Wilma Theater Humana Festival 2 Seasons Actors Theater of Louisville Real Dreams B.T. The Cleveland Playhouse Bovver Boys Gene The Cleveland Playhouse On The Waterfront Specs The Cleveland Playhouse TRAINING/SKILLS MFA Temple University; Dialects: British, Australian, Southern, Irish, Learns dialects quickly .
    [Show full text]
  • A True and Lonesome West: the Spaces of Sam Shepard and Martin Mcdonagh
    Georgia State University ScholarWorks @ Georgia State University English Theses Department of English Winter 12-18-2012 A True and Lonesome West: The Spaces of Sam Shepard and Martin McDonagh Sarah A. Dyne [email protected] Follow this and additional works at: https://scholarworks.gsu.edu/english_theses Recommended Citation Dyne, Sarah A., "A True and Lonesome West: The Spaces of Sam Shepard and Martin McDonagh." Thesis, Georgia State University, 2012. https://scholarworks.gsu.edu/english_theses/142 This Thesis is brought to you for free and open access by the Department of English at ScholarWorks @ Georgia State University. It has been accepted for inclusion in English Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. A TRUE AND LONESOME WEST: THE SPACES OF SAM SHEPARD AND MARTIN MCDONAGH by SARAH DYNE Under the Direction of Dr. Marilynn Richtarik ABSTRACT In this project, I explore how Sam Shepard and Martin McDonagh treat concepts of space (both on stage and within a larger context that expands beyond the theatre), and I seek to identify how underlying anxieties about a mythologized past become manifest in the relationships be- tween characters and landscapes by examining heterotopic and liminal elements in their scripts. Both playwrights are keenly aware of the mythological significance and accompanying re- strictions of their Western spaces not only within the borders of their own countries, but also on a global scale. INDEX WORDS: American West,
    [Show full text]
  • Hommage2020 Broschuere.Pdf
    20191227_LogobalkenA5HF_148x17_RZ.indd 1 27.12.19 16:26 70. Internationale Filmfestspiele Berlin EInE KlassE Für sIch hommagE an hElEn mIrrEn Victoria tritt als die elegante, coole und standfeste Krisenmanagerin, die Harry mit etwas blasierte Blondine an der Seite des einer Ohrfeige zur Besinnung bringt und bulligen Londoner Gangsters Harry auf, ihm sagt, was zu tun ist, als er die Nerven der versucht, sich mithilfe der amerika­ verliert; dann, nachdem er sich beruhigt nischen Mafia ein legales Leben aufzu­ hat, bietet sie ihm die starke Schulter zum bauen. Auf den ersten Blick folgt The Long Anlehnen. Good Friday (1980) damit der klassischen Rollenverteilung, die der Gangsterfilm seit Ein perfektes Beispiel für ein auf den Kopf seiner Erfindung vorgesehen hat – wäre gestelltes Klischee und die Art, wie Helen da nicht Helen Mirren, die den Namen ih­ Mirren neuen Frauen fi gu ren im Kino den rer Figur ernst nimmt. Denn Victoria ist Weg geebnet hat. Denn die Figur war ur­ alles andere als dekoratives Beiwerk: zu­ sprünglich von Regisseur John Macken­ nächst erweist sie sich als smarte und zie ganz eindimen sional angelegt – ein 1 Anhängsel. Sie sei am Set eine ziemliche wird Superintendent, aber nie ist sie wirk­ Nervensäge gewesen, sagte Helen Mirren lich so hart, wie sie sich gibt. Der Weg ist später, und musste sich und ihrer Figur steinig, sie wird angefeindet, ihr Privat­ einen zentralen Platz in der Geschichte leben leidet unter der Arbeit. Tennison erst erkämpfen. Die Rolle prägte Helen wurde zu dem Vorbild für weibliche Fern­ Mirrens weitere Arbeit: „Jetzt hört man sehdetek tive der Gegenwart, und sie hält auf mich.
    [Show full text]
  • Cowboy Cops and Black Lives Matter: Three Billboards Outside Ebbing, Missouri and the Great White West[Ern]
    Text Matters: A Journal of Literature, Theory and Culture Number 10 Literature Goes Pop / Literar(t)y Article 6 Matters 11-24-2020 Cowboy Cops and Black Lives Matter: Three Billboards Outside Ebbing, Missouri and the Great White West[ern] Debbie Olson Missouri Valley College, Marshall, MO Follow this and additional works at: https://digijournals.uni.lodz.pl/textmatters Part of the American Film Studies Commons, American Popular Culture Commons, and the Film and Media Studies Commons Recommended Citation Olson, Debbie. "Cowboy Cops and Black Lives Matter: Three Billboards Outside Ebbing, Missouri and the Great White West[ern]." Text Matters: A Journal of Literature, Theory and Culture, no.10, 2020, pp. 93-117, doi:10.18778/2083-2931.10.06 This Article is brought to you for free and open access by the Arts & Humanities Journals at University of Lodz Research Online. It has been accepted for inclusion in Text Matters: A Journal of Literature, Theory and Culture by an authorized editor of University of Lodz Research Online. For more information, please contact [email protected]. Text Matters, Number 10, 2020 http://dx.doi.org/10.18778/2083-2931.10.06 Debbie Olson Missouri Valley College, Marshall, MO Cowboy Cops and Black Lives Matter: Three Billboards Outside Ebbing, Missouri and the Great White West[ern] A BSTR A CT The racial framework of Martin McDonagh’s 2017 film Three Billboards Outside Ebbing, Missouri rests at the intersection of three persistent cultural myths—the Frontier Myth, the hero cowboy myth and the myth of white supremacy. There has been much criticism of the portrayal of black characters in the film, and particularly the lack of significant black characters in a film that sports a solid undercurrent of racial politics.
    [Show full text]