Annual Report and Accounts 2004/2005

Total Page:16

File Type:pdf, Size:1020Kb

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 the London Lesbian and Gay by the bfi on the big screen Film Festival website increased by 46% Institute champions while online ticketing grew four-fold moving image culture Up 8% 40,500 Admissions to the bfi NFT increased more People used our library and research than eight per cent on the previous year viewing, catalogue and stills service in all its richness and were the highest for 13 years Over 3,000 78,50 and diversity, across films were screened across the UK – Sight & Sound sales topped 278,150 from rare silent comedies to cult movies and archive television screenings the UK, for the benefit 12 million 33,000 Well over 12 million viewers watched Books and educational resources of as wide an audience a bfi film on the small screen were sold by bfi Publishing 50 Countries 12,000 as possible, to create The 48th London Film Festival screened The bfi Archive, the largest and one more than 180 feature films and 100 shorts of the busiest in the world, dealt with from over 50 countries in 364 screenings – 12,000 print loans and encourage debate. with over half completely sold out 66,000 copies 4,000 28 bfi titles were released on Screenonline user registrations more than DVD and 266,000 copies sold doubled to almost 4,000 schools and libraries across the UK The bfiannual report 004-005 The bfi annual report 2004-2005 3 Director’s foreword The number of films made available by thebfi last year is astonishing – some 3,000 titles booked and screened in cinemas, film societies and arts venues, released on DVD, presented in festivals or as stand-alone large event screenings. This is an inspiring contribution to the richness of film culture in this country. Most of these films simply wouldn’t have been available otherwise. The bfi depends on public funding to survive, because it provides public value. Much is being debated around the notion of public value and how this cultural currency can be measured and explained in terms as easy to manage as commercial ‘profit’ value. Commercial organisations aim to maximise shareholder value. We aim to maximise public value. Diversity and access Around 450 films were released commercially in the UK during 2004–2005, most of them contemporary. Some will be enjoyed and vanish; some are destined to become the stuff of legacy. But the economics dictate that overall diversity is limited. The bfi acts as provocateur, by weaving original and different films into this offering: films that have not yet found an audience, perhaps by first-time, first-seen directors, many of which appear in the Festivals programme; films from other parts of the world yet to find distribution in the UK, and emerging new experimental films such as many of those in Resfest or Antenna. An area of our programming for which we are known internationally, and which often involves working with other international archives, is the large number of retrospective seasons of celebrated film-makers. They are popular because there is a thirst to see much-loved classic films, and to discover lesser-known titles which, seen in context, give audiences a deeper understanding of a film-maker’s oeuvre. Such choice brings enjoyment to viewers, but it also nurtures personal, social and global understanding, promotes tolerance and enriches lives artistically. A very important part of the diversity of film we exhibit and distribute comes from the National Film & Television Archive, almost certainly the most significant archive of moving image in the world. Film archives exist within a rapidly-evolving dynamic. The volume of film and TV production is forcing archivists to question much more closely what they preserve and how. Film is very vulnerable and digital systems are not yet sufficiently time-proofed to provide a reliable storage method. And yet digital technology does seem to promise tantalisingly easy methods of distribution. Growing public interest in heritage film is causing rights owners to re-value their back catalogues, with the predicted result that in the future they will be more likely to invest in safeguarding new releases for future generations. The NFTVA embraces this fast-changing world by adopting a three-fold plan: firstly, to invest in state-of-the-art storage systems; next to develop curatorial expertise; and lastly to promote greater access by the public to the Archive. 4 The bfi annual report 004-005 The bfi annualannual reportreport 2004-2005004-005 55 The bfi’s strategy places emphasis on the need to safeguard the future of the National Film Theatre, which is approaching the end of its estate life. Some would argue it has passed it. Such a plan must respond to the expectations of today’s audiences, 50 years since the NFT first opened in a very different world. Our response is to create a staging post, a rehearsal room – bfi Southbank – where we can actively demonstrate a commitment to reaching new audiences in new, very 21st-century, ways. Through our actions we will amplify the argument for a new National Film Centre to provide a national focus for film in Britain and to demonstrate its international scope and ambition. Our plans for exhibition/distribution and the Archive are symbiotic. One cannot succeed without the other. But there is another important magic ingredient to stimulate curious minds: education. Lifelong learning, research and debate The bfi has lifelong learning at its core. Education can be as simple as the film notes provided for every screening at the NFT, or the contextual material on bfi DVDs, through to more complex debates in Sight & Sound, and the reservoirs of information to be found by visiting any one of our websites or the National Film & Television Library. These facilities have a growing impor- tance. The 20th century was the first to be recorded by moving image – this changed forever the way history is understood and remembered. We would argue that, just as no child should leave school without knowing how to read and write, so in today’s society critical skills for understanding the moving image should be an essential educational entitlement. Many film-makers can cite an influence, or pivotal moments in their lives when the experience of watching cinema shaped their thinking and provided an inspirational spark that led them to pursue a career in film, television or other creative industries. A broad spectrum of films can aid community cohesion, and build understanding of other diverse cultures, as we temporarily see the world through different eyes. The film and television industry is still so young compared to, say, painting or sculpture, that it sometimes struggles to command cultural authority, yet no one questions the impact it has on our lives – which is why it is important that the bfi exists, and why we must constantly seek to examine and improve the public value we bring to all our audiences. Amanda Nevill - director, British Film Institute 01 BONNIE AND CLYDE (1967/ dir Arthur Penn); 02 CARAVAGGIO (1986/ dir Derek Jarman); 03 DOGVILLE (2003/dir Lars Von Trier); 04 GHOST DOG : THE WAY OF THE SAMURAI (1999/dir Jim Jarmusch); 05 IF… (1968/dir Anderson Lindsay); 06 LE CERCLE ROUGE (1970/ dir Jean-Pierre Melville); 07 REPULSION (1965/dir Roman Polanski); 08 PERFORMANCE (1970/dirs Donald Cammell, Nicolas Roeg); 09 I VITELLONI (1953/dir Federico Fellini); 10 Sight & Sound cover (Audrey Tautou); (1970/ dirs Donald Cammell, Nicolas Roeg); 11 SOLARIS (1972/ dir Andrei Tarkovsky); 12 MUJERES AL BORDE DE UN ATAQUE DE NERVIOS (1988/ dir Pedro Almodovar) 6 The bfi annual report 2004-2005 The bfi annual report 004-005 7 The bfi’s cultural commitment The bfi’s work explores cinema, television and other related moving-image materials in a way that reflects the cultural, historical and aesthetic diversity of those media. The bfi is concerned not only to introduce audiences to work that is new or for some other reason unfamiliar, but also to facilitate a reappraisal of acknowledged classics; it aims not only to encourage innovation and experiment, but also to foster and reward curiosity and a desire to learn more about past achievements.
Recommended publications
  • Aardman in Archive Exploring Digital Archival Research Through a History of Aardman Animations
    Aardman in Archive Exploring Digital Archival Research through a History of Aardman Animations Rebecca Adrian Aardman in Archive | Exploring Digital Archival Research through a History of Aardman Animations Rebecca Adrian Aardman in Archive: Exploring Digital Archival Research through a History of Aardman Animations Copyright © 2018 by Rebecca Adrian All rights reserved. Cover image: BTS19_rgb - TM &2005 DreamWorks Animation SKG and TM Aardman Animations Ltd. A thesis submitted in partial fulfilment of the requirements for the degree of Master of Arts in Media and Performance Studies at Utrecht University. Author Rebecca A. E. E. Adrian Student number 4117379 Thesis supervisor Judith Keilbach Second reader Frank Kessler Date 17 August 2018 Contents Acknowledgements vi Abstract vii Introduction 1 1 // Stop-Motion Animation and Aardman 4 1.1 | Lack of Histories of Stop-Motion Animation and Aardman 4 1.2 | Marketing, Glocalisation and the Success of Aardman 7 1.3 | The Influence of the British Television Landscape 10 2 // Digital Archival Research 12 2.1 | Digital Surrogates in Archival Research 12 2.2 | Authenticity versus Accessibility 13 2.3 | Expanded Excavation and Search Limitations 14 2.4 | Prestige of Substance or Form 14 2.5 | Critical Engagement 15 3 // A History of Aardman in the British Television Landscape 18 3.1 | Aardman’s Origins and Children’s TV in the 1970s 18 3.1.1 | A Changing Attitude towards Television 19 3.2 | Animated Shorts and Channel 4 in the 1980s 20 3.2.1 | Broadcasting Act 1980 20 3.2.2 | Aardman and Channel
    [Show full text]
  • Collection Adultes Et Jeunesse
    bibliothèque Marguerite Audoux collection DVD adultes et jeunesse [mise à jour avril 2015] FILMS Héritage / Hiam Abbass, réal. ABB L'iceberg / Bruno Romy, Fiona Gordon, Dominique Abel, réal., scénario ABE Garage / Lenny Abrahamson, réal ABR Jamais sans toi / Aluizio Abranches, réal. ABR Star Trek / J.J. Abrams, réal. ABR SUPER 8 / Jeffrey Jacob Abrams, réal. ABR Y a-t-il un pilote dans l'avion ? / Jim Abrahams, David Zucker, Jerry Zucker, réal., scénario ABR Omar / Hany Abu-Assad, réal. ABU Paradise now / Hany Abu-Assad, réal., scénario ABU Le dernier des fous / Laurent Achard, réal., scénario ACH Le hérisson / Mona Achache, réal., scénario ACH Everyone else / Maren Ade, réal., scénario ADE Bagdad café / Percy Adlon, réal., scénario ADL Bethléem / Yuval Adler, réal., scénario ADL New York Masala / Nikhil Advani, réal. ADV Argo / Ben Affleck, réal., act. AFF Gone baby gone / Ben Affleck, réal. AFF The town / Ben Affleck, réal. AFF L'âge heureux / Philippe Agostini, réal. AGO Le jardin des délices / Silvano Agosti, réal., scénario AGO La influencia / Pedro Aguilera, réal., scénario AGU Le Ciel de Suely / Karim Aïnouz, réal., scénario AIN Golden eighties / Chantal Akerman, réal., scénario AKE Hotel Monterey / Chantal Akerman, réal., scénario AKE Jeanne Dielman 23 quai du commerce, 1080 Bruxelles / Chantal Akerman, réal., scénario AKE La captive / Chantal Akerman, réal., scénario AKE Les rendez-vous d'Anna / Chantal Akerman, réal., scénario AKE News from home / Chantal Akerman, réal., scénario, voix AKE De l'autre côté / Fatih Akin, réal., scénario AKI Head-on / Fatih Akin, réal, scénario AKI Julie en juillet / Fatih Akin, réal., scénario AKI L'engrenage / Fatih Akin, réal., scénario AKI Solino / Fatih Akin, réal.
    [Show full text]
  • Film Is GREAT, Edition 2, November 2016
    ©Blenheim Palace ©Blenheim Brought to you by A guide for international media The filming of James Bond’s Spectre, Blenheim Palace, Oxfordshire visitbritain.com/media Contents Film is GREAT …………………………………………………………........................................................................ 2 FILMED IN BRITAIN - British film through the decades ……………………………………………………………………………………….. 9 - Around the world in British film locations ……………………………………………….…………………........ 15 - Triple-take: Britain's busiest film locations …………………………………………………………………….... 18 - Places so beautiful you'd think they were CGI ……………………………………………………………….... 21 - Eight of the best: costume dramas shot in Britain ……………………………………………………….... 24 - Stay in a film set ……………………………………………………………………………………………………………...... 27 - Bollywood Britain …………………………………………………………………………………………………………….... 30 - King Arthur's Britain: locations of legend ……………………………………………………………………...... 33 - A galaxy far, far away: Star Wars in Britain .…………………………………………………………………..... 37 ICONIC BRITISH CHARACTERS - Be James Bond for the day …………………………………………………………………………………………….... 39 - Live the Bridget Jones lifestyle ……………………………………………………………………………………..... 42 - Reign like King Arthur (or be one of his knights) ………………………………………………………….... 44 - A muggles' guide to Harry Potter's Britain ……………………………………………………………………... 46 FAMILY-FRIENDLY - Eight of the best: family films shot in Britain ………………………………………………………………….. 48 - Family film and TV experiences …………………….………………………………………………………………….. 51 WATCHING FILM IN BRITAIN - Ten of the best: quirky
    [Show full text]
  • Tape ID Title Language Type System
    Tape ID Title Language Type System 1361 10 English 4 PAL 1089D 10 Things I Hate About You (DVD) English 10 DVD 7326D 100 Women (DVD) English 9 DVD KD019 101 Dalmatians (Walt Disney) English 3 PAL 0361sn 101 Dalmatians - Live Action (NTSC) English 6 NTSC 0362sn 101 Dalmatians II (NTSC) English 6 NTSC KD040 101 Dalmations (Live) English 3 PAL KD041 102 Dalmatians English 3 PAL 0665 12 Angry Men English 4 PAL 0044D 12 Angry Men (DVD) English 10 DVD 6826 12 Monkeys (NTSC) English 3 NTSC i031 120 Days Of Sodom - Salo (Not Subtitled) Italian 4 PAL 6016 13 Conversations About One Thing (NTSC) English 1 NTSC 0189DN 13 Going On 30 (DVD 1) English 9 DVD 7080D 13 Going On 30 (DVD) English 9 DVD 0179DN 13 Moons (DVD 1) English 9 DVD 3050D 13th Warrior (DVD) English 10 DVD 6291 13th Warrior (NTSC) English 3 nTSC 5172D 1492 - Conquest Of Paradise (DVD) English 10 DVD 3165D 15 Minutes (DVD) English 10 DVD 6568 15 Minutes (NTSC) English 3 NTSC 7122D 16 Years Of Alcohol (DVD) English 9 DVD 1078 18 Again English 4 Pal 5163a 1900 - Part I English 4 pAL 5163b 1900 - Part II English 4 pAL 1244 1941 English 4 PAL 0072DN 1Love (DVD 1) English 9 DVD 0141DN 2 Days (DVD 1) English 9 DVD 0172sn 2 Days In The Valley (NTSC) English 6 NTSC 3256D 2 Fast 2 Furious (DVD) English 10 DVD 5276D 2 Gs And A Key (DVD) English 4 DVD f085 2 Ou 3 Choses Que Je Sais D Elle (Subtitled) French 4 PAL X059D 20 30 40 (DVD) English 9 DVD 1304 200 Cigarettes English 4 Pal 6474 200 Cigarettes (NTSC) English 3 NTSC 3172D 2001 - A Space Odyssey (DVD) English 10 DVD 3032D 2010 - The Year
    [Show full text]
  • Guide to the Papers of the Capri Community Film Society
    Capri Community Film Society Papers Guide to the Papers of the Capri Community Film Society Auburn University at Montgomery Archives and Special Collections © AUM Library Written By: Rickey Best & Jason Kneip Last Updated: 2/19/2008 TABLE OF CONTENTS Content Page # Collection Summary 2 Administrative Information 2 Restrictions 2-3 Index Terms 3 Agency History 3-4 1 of 64 Capri Community Film Society Papers Scope and Content 5 Arrangement 5-10 Inventory 10- Collection Summary Creator: Capri Community Film Society Title: Capri Community Film Society Papers Dates: 1983-present Quantity: 6 boxes; 6.0 cu. Ft. Identification: 92/2 Contact Information: AUM Library Archives & Special Collections P.O. Box 244023 Montgomery, AL 36124-4023 Ph: (334) 244-3213 Email: [email protected] Administrative Information Preferred Citation: Capri Community Film Society Papers, Auburn University Montgomery Library, Archives & Special Collections. Acquisition Information: The collection began with an initial transfer on September 19, 1991. A second donation occurred in February, 1995. Since then, regular donations of papers occur on a yearly basis. Processed By: Jermaine Carstarphen, Student Assistant & Rickey Best, Archivist/Special Collections Librarian (1993); Jason Kneip, Archives/Special Collections Librarian. Samantha McNeilly, Archives/Special Collections Assistant. 2 of 64 Capri Community Film Society Papers Restrictions Restrictions on access: Access to membership files is closed for 25 years from date of donation. Restrictions on usage: Researchers are responsible for addressing copyright issues on materials not in the public domain. Index Terms The material is indexed under the following headings in the Auburn University at Montgomery’s Library catalogs – online and offline.
    [Show full text]
  • R[`C Cv[ZX >`UZ¶D W`Tfd ` H`^V
    ( E8 F F F ,./0,1 234 #)#)* .#,/0 +#,- < 8425?O#$192##618 46$8$+2#$218?7.2123*7$#2 6+@218$16+2694 234$3)9(17 5476354)5612# 6+ +6194$+6$)+ 9461$@6+4 72#$1#7)84$1$6 6##6##$16826847*2 9766*2+$96<$163 24+6)1 4>2+656.$?6> 66 39 )+* " ,,- & G6 # 2 6 ! %% 2# # 5 46 R! #$ O P R 12 234$ ment issue during the Covid 12 234$ sacrifice anyone to meet his Pradesh gets seven Ministers, era and gave enough fodder to 12 234$ the pandemic. Apart from political and governance objec- including Annupriya Patel of n dropping four top level the foreign media to inflict health, Dr Vardhan also held n a major Cabinet overhaul, tives. Aapna Dal (S), an NDA ally IUnion Ministers — Ravi heavy damage on the Modi e was always at the front- two Ministries — science and Iseen as a mid-term appraisal Despite the slogans of and Gujarat has five represen- Shankar Prasad, Prakash Government . Hline shielding the Modi led technology and earth sciences. of his Ministers and resetting “sabka sath sabka vikash,” the tations in the council of Javadekar, Harsh Vardhan, " The others axed a couple of Government’s Covid-19 man- The resignation is seen by Government’s profile post- Cabinet reshuffle has been Ministers. Karnataka is up by Ramesh Pokhriyal “Nishank” ! # hours before the oath-taking agement and Covid-19 vacci- the Government’s critics as an Covid-19 for the next three- based on caste consideration at four Ministers which includes and eight other Ministers — ceremony of new inductions, nation policy, but it did not admission that the pandemic year term, the Prime Minister every level.
    [Show full text]
  • Filmography Dilip Kumar – the Substance and the Shadow
    DILIP KUMAR: THE SUBSTANCE AND THE SHADOW Filmography Year Film Heroine Music Director 1944 Jwar Bhata Mridula Anil Biswas 1945 Pratima Swarnlata Arun Kumar 1946 Milan Meera Mishra Anil Biswas 1947 Jugnu Noor Jehan Feroz Nizami 1948 Anokha Pyar Nargis Anil Biswas 1948 Ghar Ki Izzat Mumtaz Shanti Gobindram 1948 Mela Nargis Naushad 1948 Nadiya Ke Par Kamini Kaushal C Ramchandra 1948 Shaheed Kamini Kaushal Ghulam Haider 1949 Andaz Nargis Naushad 1949 Shabnam Kamini Kaushal S D Burman 1950 Arzoo Kamini Kaushal Anil Biswas 1950 Babul Nargis Naushad 1950 Jogan Nargis Bulo C Rani 1951 Deedar Nargis Naushad 1951 Hulchul Nargis Mohd. Shafi and Sajjad Hussain 1951 Tarana Madhubala Anil Biswas 1952 Aan Nimmi and Nadira Naushad 1952 Daag Usha Kiran and Nimmi Shankar Jaikishan 1952 Sangdil Madhubala Sajjad Hussain 1953 Footpath Meena Kumari Khayyam 1953 Shikast Nalini Jaywant Shankar Jaikishan 1954 Amar Madhubala Naushad 1955 Azaad Meena Kumari C Ramchandra 1955 Insaniyat Bina Rai C Ramchandra 1955 Uran Khatola Nimmi Naushad 1955 Devdas Suchitra Sen, Vyjayanti S D Burman Mala 1957 Naya Daur Vyjayantimala O P Nayyar 1957 Musafir Usha Kiran, Suchitra Salil Chaudhury Sen 1 DILIP KUMAR: THE SUBSTANCE AND THE SHADOW 1958 Madhumati Vyjayantimala Salil Chaudhury 1958 Uahudi Meena Kumari Shankar Jaikishan 1959 Paigam Vyjayantimala, B Saroja C Ramchandra Devi 1960 Kohinoor Meena Kumari Naushad 1960 Mughal-e-Azam Madhubala Naushad 1960 Kala Bazaar (Guest Appearance) 1961 Gunga Jumna Vyjayantimala Naushad 1964 Leader Vyjayantimala Naushad 1966 Dil Diya Dara Liya
    [Show full text]
  • FIRST CENTURY AVANT-GARDE FILM RUTH NOVACZEK a Thesis
    NEW VERNACULARS AND FEMININE ECRITURE; TWENTY- FIRST CENTURY AVANT-GARDE FILM RUTH NOVACZEK A thesis submitted in partial fulfilment of the requirements of the University of Westminster for the degree of Doctor of Philosophy March 2015 Acknowledgements Thanks to Chris Kraus, Eileen Myles and Rachel Garfield for boosting my morale in times of great uncertainty. To my supervisors Michael Mazière and Rosie Thomas for rigorous critique and sound advice. To Jelena Stojkovic, Alisa Lebow and Basak Ertur for camaraderie and encouragement. To my father Alfred for support. To Lucy Harris and Sophie Mayer for excellent editorial consultancy. To Anya Lewin, Gillian Wylde, Cathy Gelbin, Mark Pringle and Helen Pritchard who helped a lot one way or another. And to all the filmmakers, writers, artists and poets who make this work what it is. Abstract New Vernaculars and Feminine Ecriture; Twenty First Century Avant-Garde Film. Ruth Novaczek This practice-based research project explores the parameters of – and aims to construct – a new film language for a feminine écriture within a twenty first century avant-garde practice. My two films, Radio and The New World, together with my contextualising thesis, ask how new vernaculars might construct subjectivity in the contemporary moment. Both films draw on classical and independent cinema to revisit the remix in a feminist context. Using appropriated and live-action footage the five short films that comprise Radio are collaged and subjective, representing an imagined world of short, chaptered ‘songs’ inside a radio set. The New World also uses both live-action and found footage to inscribe a feminist transnational world, in which the narrative is continuous and its trajectory bridges, rather than juxtaposes, the stories it tells.
    [Show full text]
  • Manchester Historical Society
    PAGE TWENTY-EIGHT - MANCHESTER EVENING HERALD, Manchester, Conn., Thurs., August 29, Rotary Governor $36,052 Asked For Bookmobile An Ohio company is the ap­ the town Board of Directors. owned by the state — under loan To Visit Tuesday from the Connecticut State llanrI|Mlpr lEumtng Upralh parent low bidder fo a new Since July 1973, Manchester Bookmobile for the Manchester has had the use of a Bookmobile Library. MANCHESTER, CONN., FRIDAY, AUGUST 30, 1974 - VOL. XCIII, No. 282 Rotary International District ties of Massachusetts, including library system. The Gersten- Manchester—A City of Village Charm TWENTY PAGES — TWO SECTIONS 789 Gov. Richard T. Gallup will Springfield. slager Co. of Wooster, Ohio sub­ PRICE! FIFTEEN CENTS officially visit the Manchester Rotary International com­ mitted a price of $36,652 for a Rotary Club Tuesday. prises 16,087 clubs with a total Bookmobile 27 feet long, with a Gov. Gallup will meet with membership of approximately work area of about 20 feet and President Noel J. Belcourt Jr. 758,750, located in 51 countries with room for about 2,500 and Secretary Allen A. HiRble and geographical regions. Since books. July 1,1973, there have been 379 b FIRE CALLS students Asked to Join new clubs in 41 countries ad­ The Thomas F. Moroney Co. mitted to membership in i j L of Shrewsbury, Mass, was the -v-t Rotary International. only other bidder. It submitted Minor call due to storm at Hart­ Gov. Gallup is one of 357 new MANCHESTER prices on two alternates — $43,- ford Rd. and Pine St. (Town) governors from 151 countries of Wednesday, 10:04 a.m.
    [Show full text]
  • July 26, 2013 Bugs Bunny and the NSO Come to Wolf Trap
    July 26, 2013 Bugs Bunny and the NSO come to Wolf Trap By Roger Catlin For a generation of Americans, the earliest love of classical music came not through shared family symphony experiences or early childhood music appreciation classes, but through mayhem-laced TV cartoons, often involving a bunny in drag. Walt Disney may have taken the high road to classical music interpretation through some early Silly Symphony cartoons and “Fantasia” (which in its first run was a flop). But it was Warner Bros. and particularly the animators behind Bugs Bunny who may have been the most successful in drumming key classical passages into the heads of impressionable audiences when the studio’s theatrical cartoons of the 1940s and ’50s were incessantly replayed on TV in the ’60s. Warner Bros. - Still image from the 1950's Merrie Melodies short, “What's Opera, Doc?” Even today, the most serious gray-haired music lover, sitting in the world’s most august concert halls, may be listening to the timeless refrains of Rossini or Wagner only to have the phrase “Kill the Wabbit!” come to mind. Conductor George Daugherty has embraced this meld of classical knowledge and pop-culture conditioning and celebrates it in his “Bugs Bunny at the Symphony.” Its first tour, in 1990, was such a success that it spawned, as most successes in Hollywood do, a sequel. “Bugs Bunny at the Symphony II” comes to Wolf Trap on Thursday and Friday, with Daugherty conducting the National Symphony Orchestra. In its honor, we pause to hail the greatest uses of classical music by Warner Bros.
    [Show full text]
  • Oliver Kieran-Jones Actor
    Oliver Kieran-Jones Actor Training: LAMDA Agents Dallas Smith Associate Agent Sarah Roberts [email protected] +44 (0) 20 3214 0800 Assistant Alexandra Rae [email protected] +44 (0) 20 3214 0800 Roles Film Production Character Director Company 80 Minutes Lloyd Thomas Jahn Zeitsprung Other Production Character Director Company Accents: American General and Southern Collateral Damage Pastor / DiLaura Mike Alfreds Handbag Phil Gari Jones King John Prince Arthur / Prince Geof Gould Henry Maggie May Fred / Milko Anne Durham / Stephen Jameson 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 Strange Orchestra Jimmie John Link The Changeling Alsemero Jonas Finlay The Man Of Mode Mr Medley Rodney Cottier The Revenger's Tragedy Vindice Rodney Cottier Three Sisters Ferapoint / Fedotik Colin Cook Stage Production Character Director Company A MIDSUMMER NIGHTS Lysander/Snug Natalie Abrahami Headlong Theatre DREAM The Fairy Queen Lysander Glyndebourne Festival Julius Caesar Octavius Caesar Deborah Warner Barbican Richard II Duke of Aumerle Trevor Nunn Old Vic Riders to the Sea Fiona Shaw English National Opera Romeo and Juliet Tybalt Mike Dodsworth Anglia TV The Cherry Orchard Yasha Philip Franks Chichester Festival The Revenger's Tragedy Junior Gavin McAlinden Southwark Playhouse The Tempest Ferdinand Greg Hersov Royal Exchange Troilus and Cressidus Patroclus Peter Stein RSC Stratford Edinburgh Festival Television Production Character Director Company NCIS: New Orleans Reid Gorie Alrick Riley CBS Pretty Little Liars Colin Various ABC GLEE Adam Crawford Various Fox Episodes Andrew James Griffiths BBC Casualty Jonas David Bartlett BBC Foyles War Worth Simon Langton Green Lit Holby Blue Ricky Martin Hutchins BBC Judge John Deed Butch Cassidy Andy Hay BBC Liberty Dr.
    [Show full text]
  • South Korean Cinema and the Conditions of Capitalist Individuation
    The Intimacy of Distance: South Korean Cinema and the Conditions of Capitalist Individuation By Jisung Catherine Kim A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Film and Media in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Kristen Whissel, Chair Professor Mark Sandberg Professor Elaine Kim Fall 2013 The Intimacy of Distance: South Korean Cinema and the Conditions of Capitalist Individuation © 2013 by Jisung Catherine Kim Abstract The Intimacy of Distance: South Korean Cinema and the Conditions of Capitalist Individuation by Jisung Catherine Kim Doctor of Philosophy in Film and Media University of California, Berkeley Professor Kristen Whissel, Chair In The Intimacy of Distance, I reconceive the historical experience of capitalism’s globalization through the vantage point of South Korean cinema. According to world leaders’ discursive construction of South Korea, South Korea is a site of “progress” that proves the superiority of the free market capitalist system for “developing” the so-called “Third World.” Challenging this contention, my dissertation demonstrates how recent South Korean cinema made between 1998 and the first decade of the twenty-first century rearticulates South Korea as a site of economic disaster, ongoing historical trauma and what I call impassible “transmodernity” (compulsory capitalist restructuring alongside, and in conflict with, deep-seated tradition). Made during the first years after the 1997 Asian Financial Crisis and the 2008 Global Financial Crisis, the films under consideration here visualize the various dystopian social and economic changes attendant upon epidemic capitalist restructuring: social alienation, familial fragmentation, and widening economic division.
    [Show full text]