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The Representation of Reality and Fantasy in the Films of Powell and Pressburger: 1939-1946
The Representation of Reality and Fantasy In the Films of Powell and Pressburger 1939-1946 Valerie Wilson University College London PhD May 2001 ProQuest Number: U642581 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest. ProQuest U642581 Published by ProQuest LLC(2015). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. Microform Edition © ProQuest LLC. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 The Representation of Reality and Fantasy In the Films of Powell and Pressburger: 1939-1946 This thesis will examine the films planned or made by Powell and Pressburger in this period, with these aims: to demonstrate the way the contemporary realities of wartime Britain (political, social, cultural, economic) are represented in these films, and how the realities of British history (together with information supplied by the Ministry of Information and other government ministries) form the basis of much of their propaganda. to chart the changes in the stylistic combination of realism, naturalism, expressionism and surrealism, to show that all of these films are neither purely realist nor seamless products of artifice but carefully constructed narratives which use fantasy genres (spy stories, rural myths, futuristic utopias, dreams and hallucinations) to convey their message. -
RAF Wings Over Florida: Memories of World War II British Air Cadets
Purdue University Purdue e-Pubs Purdue University Press Books Purdue University Press Fall 9-15-2000 RAF Wings Over Florida: Memories of World War II British Air Cadets Willard Largent Follow this and additional works at: https://docs.lib.purdue.edu/purduepress_ebooks Part of the European History Commons, and the Military History Commons Recommended Citation Largent, Willard, "RAF Wings Over Florida: Memories of World War II British Air Cadets" (2000). Purdue University Press Books. 9. https://docs.lib.purdue.edu/purduepress_ebooks/9 This document has been made available through Purdue e-Pubs, a service of the Purdue University Libraries. Please contact [email protected] for additional information. RAF Wings over Florida RAF Wings over Florida Memories of World War II British Air Cadets DE Will Largent Edited by Tod Roberts Purdue University Press West Lafayette, Indiana Copyright q 2000 by Purdue University. First printing in paperback, 2020. All rights reserved. Printed in the United States of America Paperback ISBN: 978-1-55753-992-2 Epub ISBN: 978-1-55753-993-9 Epdf ISBN: 978-1-61249-138-7 The Library of Congress has cataloged the earlier hardcover edition as follows: Largent, Willard. RAF wings over Florida : memories of World War II British air cadets / Will Largent. p. cm. Includes bibliographical references and index. ISBN 1-55753-203-6 (cloth : alk. paper) 1. Largent, Willard. 2. World War, 1939±1945ÐAerial operations, British. 3. World War, 1939±1945ÐAerial operations, American. 4. Riddle Field (Fla.) 5. Carlstrom Field (Fla.) 6. World War, 1939±1945ÐPersonal narratives, British. 7. Great Britain. Royal Air ForceÐBiography. I. -
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. -
Merle Oberon: She Walked in Beauty … Page 1 of 5
Senses of Cinema – Merle Oberon: She walked in beauty … Page 1 of 5 CURRENT ISSUE ABOUT US LINKS TOP TENS GREAT DIRECTORS SPECIAL DOSSIERS WORLD POLLS ARCHIVE CONTACT US DONATIONS ← Previous Post Next Post → Search Merle Oberon: She walked in beauty … SUBSCRIBE by Brian McFarlane September 2009 Feature Articles, Issue 52 Name: Email: Perhaps it was a matter of being caught young. I first saw Merle Register Oberon when I was about 12 or 13 and A Song to Remember (Charles Vidor, 1945) came to rural Victoria some years after a Features Editor: Rolando Caputo Festival Reports Editor: Michelle Carey very long run at Melbourne’s Savoy Theatre. I have never Book Reviews Editor: Wendy Haslem forgotten how she looked in that, and every time I’ve seen it Cteq Annotations & Australian Cinema Editor: Adrian since it brings back that indelible, life-changing image she Danks imprinted on my young mind. Hers was a face of great delicacy, Webmaster and Administrator: Rachel Brown exquisitely oval, framed with lustrous dark hair, with eloquent Social Media Editor: Hayley Inch eyes and bright red lips – and she was unforgettably dressed in pale grey trousers, scarlet waistcoat, generous bow-tie, black cutaway coat and grey top hat on first appearance. As novelist IN THIS ISSUE… George Sand, she swung down a Parisian street (that’s Paris, Hollywood) with ‘friend’ Liszt (Stephen Bekassy), and came into Welcome to Issue 66 of our journal a café where Chopin (Cornel Wilde) and his mentor-teacher, Professor Elsner (Paul Muni), sat at a table. She said little in this scene, but as she and Liszt move on to their own table she inclined her head to look Features provocatively at Wilde to say, “I hope you will like Paris, Monsieur Chopin. -
Volume 4, Issue 3, Autumn 2020
The Journal of Dress History Volume 4, Issue 3, Autumn 2020 Front Cover Image: Detail, Tuskegee Airman Edward Gleed, Photographed by Toni Frissell, March 1945, Ramitelli, Italy, © Prints and Photographs Division, The Library of Congress, Washington, DC, United States, LC–F9–02–4503–330–07. Edward Gleed (1916–1990) was photographed by Toni Frissell (1907–1988), an American photographer, known for her fashion photography and war imagery. In this 1945 photograph, Gleed is wearing his uniform and equipment of a Second World War fighter pilot, posing in front of a P–51D Mustang airplane. During the Second World War, Gleed was educated at Tuskegee University (formerly Tuskegee Institute), located near Tuskegee, Alabama; hence, the moniker Tuskegee Airmen, who were the first African–American military aviators and aircrew in the United States Army Air Forces. The Journal of Dress History Volume 4, Issue 3, Autumn 2020 Editor–in–Chief Jennifer Daley Editor Ingrid E. Mida Proofreader Georgina Chappell Editorial Assistant Eanna Morrison Barrs Editorial Assistant Zara Kesterton Editorial Assistant Lynda Xepoleas Published Quarterly By The Association of Dress Historians [email protected] www.dresshistorians.org/journal The Journal of Dress History Volume 4, Issue 3, Autumn 2020 [email protected] www.dresshistorians.org/journal Copyright © 2020 The Association of Dress Historians ISSN 2515–0995 Online Computer Library Centre (OCLC) accession #988749854 The Journal of Dress History is the academic publication of The Association of Dress Historians (ADH) through which scholars can articulate original research in a constructive, interdisciplinary, and peer reviewed environment. The ADH supports and promotes the study and professional practice of the history of dress, textiles, and accessories of all cultures and regions of the world, from before classical antiquity to the present day. -
9961561.PDF (5.189Mb)
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quaiity of the copy subm itted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. u m T Bell & Howell Information and Leaming 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 800-521-0600 UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE ‘DAUGHTER OF ZION’: ELIZABETH I AND THE RELATIONSHIP OF VIRGINITY TO MONARCHICAL POWER A Dissertation SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the degree of Doctor of Philosophy By D. -
Irish Exilic Cinema in England Lance Pettitt the Axes of Ireland's Exilic
Irish Studies Review ‘Irish Exilic Cinema in England’ (2011) ©2011Lance Pettitt Irish Exilic Cinema in England Lance Pettitt School of Cultural Studies, Leeds Metropolitan University, UK Email: [email protected] Irish exilic cinema is defined by the nexus of entanglements between Ireland and England as a subset of wider Irish-British relations. A case study of a Belfast-born director Hans – later known as - Brian Desmond Hurst (1895-1986) – is offered as axiomatic of the Irish exilic manifest in cinema. Using the idea of the ‘slipzone of anxiety and imperfection’1 to characterise the London-hub of the cinema business mid- century as an uneasy socio-cultural space, it explores Hurst’s career arc within this phase of Britain’s imperial history, including Ireland’s (re)positioning. Applying a queered concept of the auteur, Hurst’s exilic Irishness and sexuality are considered as ‘performed within material and semiotic circumstances’2 pertaining to a specific historical juncture. Analysis of films from Dangerous Moonlight (1941) to Dangerous Exile (1957) shows that Hurst’s most telling cinematic insights come not in films set in or about Ireland but rather in narratives of outsiders/exiles in British war and colonial films that expose socio- cultural anxieties about Englishness, class and decolonisation. Keywords: exilic; British cinema; Hurst; auteur; queer cinema, Irishness I have lived for twenty years in Ireland and for seventy-two in England; but the twenty came first, and in Britain I am still a foreigner.3 I wish one could either live in Ireland or feel oneself in England.4 The Axes of Ireland’s exilic cinema Irish exilic cinema helps us to interrogate some of the dominant theoretical and historical paradigms that have been used to construct British and Irish filmmaking activities as national cinemas.5 British cinema may be mocked by Europeans, Irish cinema seen by some as ‘belated’ and indeed both have been over-shadowed and deeply penetrated by Hollywood products, funds and ideas. -
John Aldred (Sound Recordist and Dubbing Mixer from 1936-1986)
John Aldred (sound recordist and dubbing mixer from 1936-1986) BIOGRAPHY: John Aldred worked as a sound engineer, sound recordist and dubbing mixer in the film industry from 1937-1986. Worked in order at: Sound City (Shepperton), Denham, Pinewood, Army Film Unit, Crown Film Unit, MGM-Borehamewood, Shepperton and Rank Film Labs. Born in 1921 in Doncaster, son of a dental surgeon, educated at private school, wasn’t that interested in education and he was more interested in cinematography from a young age. His family moved to Middlesex, he left education aged 16 and got a job at Sound City (Shepperton) in 1937 on £1 a week as sound assistant/playback operator. The first film he worked on was Wanted. Here he worked with Vistatone (Marconi) sound equipment at Shepperton and worked with the producer John Baxter (who hired out a stage at Shepperton). His contract lasted six months at Shepperton after which he was made redundant. Through his father’s dental nurse who had a daughter in the wardrobe department at Denham he heard there were openings in the sound department: “…at a marvellous salary of £2 10s. a week”. He used Western Electric equipment at Denham. Worked as sound camera loader? At Denham he was involved in organising the Denham sound department (which consisted of 8 sound crews at that time) into the ACT union in 1938. The membership increased dramatically after a recruiting drive due to the excessively long hours and what he calls “elastic” approach to hours at Denham. At Denham he worked with Cyril Crowhurst who introduced night training classes to the sound department. -
“The Sort of Man”
“The sort of man” Politics, Clothing and Characteristics in British Propaganda Depictions of Royal Air Force Aviators, 1939-1945 By Liam Barnsdale A thesis submitted to the Victoria University of Wellington in fulfilment of the requirements for the degree of Master of Arts in History Victoria University of Wellington 2019 Abstract Throughout the Second World War, the Royal Air Force saw widespread promotion by Britain’s propagandists. RAF personnel, primarily aviators, and their work made frequent appearances across multiple propaganda media, being utilised for a wide range of purposes from recruitment to entertainment. This thesis investigates the depictions of RAF aviators in British propaganda material produced during the Second World War. The chronological changes these depictions underwent throughout the conflict are analysed and compared to broader strategic and propaganda trends. Additionally, it examines the repeated use of clothing and characteristics as identifying symbols in these representations, alongside their appearances in commercial advertisements, cartoons and personal testimony. Material produced or influenced by the Ministry of Information, Air Ministry and other parties within Britain’s propaganda machine across multiple media are examined using close textual analysis. Through this examination, these parties’ influences on RAF aviators’ propaganda depictions are revealed, and these representations are compared to reality as described by real aviators in post- war accounts. While comparing reality to propaganda, the traits unique to, or excessively promoted in, propaganda are identified, and condensed into a specific set of visual symbols and characteristics used repeatedly in propaganda depictions of RAF aviators. Examples of these traits from across multiple media are identified and analysed, revealing their systematic use as aids for audience recognition and appreciation. -
Download Booklet
BRITISH LIGHT MUSIC Richard ADDINSELL Goodbye Mr. Chips • The Prince and the Showgirl Philip Martin, Roderick Elms, Piano BBC Concert Orchestra • Kenneth Alwyn Richard Addinsell (1904–1977) together in 1942. They continued collaborating up to the starring Vivien Leigh, The Greengage Summer – one of British Light Music • 1 mid-Sixties, when Addinsell’s failing health prevented his the composer’s own favourite scores – Waltz of the playing the piano and writing the memorable tunes for Toreadors based on the Jean Anouilh play, and The War In 1941, war-weary cinema-goers, attending the latest Clemence Dane (1882–1965). His first work for her was Joyce’s witty and touching lyrics. Lover , all in 1962. With the completion of Life at the Top ‘British film’ at the Regal Cinema, Marble Arch, in incidental music for the play Adam’s Opera in 1928, but After a few less memorable films, Addinsell renewed three years later, he decided to retire from the London’s West End, were struck, not necessarily by the they continued to work together from time to time right up his working relationship in 1950 with the Irish professional world of music. Clemence Dane died at this acting, dialogue or sets, but by a piece of music that to her death, most notably with the combined version of producer/director Brian Desmond Hurst, who had directed time, and in the years that followed Addinsell helped his pervaded the whole film, climaxing in a virtually complete Alice in Wonderland / Through the Looking-Glass . An Dangerous Moonlight some ten years earlier, and two great friend, Victor Stiebel, the couturier, through the performance of it in a concert setting within the scenario. -
A ADVENTURE C COMEDY Z CRIME O DOCUMENTARY D DRAMA E
MOVIES A TO Z JANUARY 2021 D 36 Hours (1964) 1/11 a Bomba the Jungle Boy (1949) 1/29 u The Curse of the Cat People (1944) 1/13 a D 84 Charing Cross Road (1987) 1/10 Hc The Bookworm Turns (1940) 1/9 ADVENTURE z Born to Kill (1947) 1/23, 1/24 –––––––––––––––––––––– D ––––––––––––––––––––––– –––––––––––––––––––––– ––––––––––––––––––––––– c COMEDY A c Born Yesterday (1950) 1/1 D Dark Habits (1983) 1/10 w Action in the North Atlantic (1943) 1/16 c Boys’ Night Out (1962) 1/4 D Dark of the Sun (1968) 1/11 z CRIME c Adam’s Rib (1949) 1/19 e The Bridge on the River Kwai (1957) 1/5 R Dark Victory (1939) 1/5 a Adventure Girl (1934) 1/29 m Broadway Babies (1929) 1/19 D Dating: Do’s and Don’ts (1949) 1/15 o a The Adventures of Huckleberry Finn (1960) 1/30 D The Brothers Karamazov (1958) 1/14 D David Copperfield (1935) 1/6 DOCUMENTARY a The Adventures of Robin Hood (1938) 1/5 c Buck Privates (1941) 1/26 D Daybreak Express (1953) 1/17 P D u After the Thin Man (1936) 1/27 u Bulldog Drummond Comes Back (1937) 1/2 R Dear Heart (1964) 1/4 DRAMA P c Alice Adams (1935) 1/10 u Bulldog Drummond Escapes (1937) 1/27 D Death of a Scoundrel (1956) 1/25 D All About My Mother (1999) 1/31 u Bulldog Drummond’s Bride (1939) 1/9 u Death on the Nile (1978) 1/6 P e EPIC D All Fall Down (1962) 1/10 u Bulldog Drummond’s Secret Police (1939) 1/16 u Deathtrap (1982) 1/6 P R u All That Heaven Allows (1955) 1/26 Bunny Lake Is Missing (1965) 1/13 cR Design for Living (1933) 1/6, 1/7 S HORROR/SCIENCE-FICTION y Along Came Jones (1945) 1/16 D Butterfield 8 (1960) 1/29 D Desperate -
A ADVENTURE C COMEDY Z CRIME O DOCUMENTARY D DRAMA E
MOVIES A TO Z AUGUST 2021 –––––––––––––––––––––– A ––––––––––––––––––––––– R The Barbarian (1933) 8/12 y Cat Ballou (1965) 8/2 a ADVENTURE a Abandon Ship (1957) 8/22 R The Barretts of Wimpole Street (1934) 8/31 c The Chapman Report (1962) 8/13 c Abbott and Costello in Hollywood (1945) 8/7 m Bathing Beauty (1944) 8/8 D The Chase (1966) 8/18 c COMEDY c Abbott and Costello Meet Captain Kid (1952) 8/7 w Battle Cry (1955) 8/20 D A Child Is Waiting (1962) 8/15 c Abbott and Costello Meet Dr. Jekyll and Mr. Hyde c Bell, Book And Candle (1958) 8/3 D Chilly Scenes of Winter (1979) 8/17 z CRIME (1953) 8/7 sD Ben-Hur (1925) 8/12 c Chimes at Midnight (1967) 8/5 c Abbott and Costello Meet Frankenstein (1948) 8/7 u Berlin Express (1948) 8/27 D The China Syndrome (1979) 8/13 o DOCUMENTARY c Abbott and Costello Meet The Invisible D The Best Years of Our Lives (1946) 8/31 R Christopher Strong (1933) 8/21 Man (1951) 8/7 y The Big Country (1958) 8/14 R The Clock (1945) 8/15 D DRAMA c Abbott and Costello Meet the Mummy (1955) 8/7 z The Big Heat (1953) 8/17 D The Cobweb (1955) 8/17 sa Across to Singapore (1928) 8/12 c The Big Parade of Comedy (1964) 8/7 D The Comedians (1967) 8/2 e EPIC u Act of Violence (1949) 8/20 u The Big Steal (1949) 8/6 c Comrade X (1940) 8/23 D D Act One (1963) 8/10 D The Black Rose (1950) 8/22 Confession (1937) 8/9 HORROR/SCIENCE-FICTION c Adam’s Rib (1949) 8/21 c Blithe Spirit (1945) 8/5 D The Corn Is Green (1945) 8/1 a The Adventures of Huckleberry Finn (1960) 8/26 c Blonde Fever (1944) 8/17 c Count Your Blessings (1959) 8/24 m MUSICAL D The Adventures of Mark Twain (1944) 8/31 D Blood and Sand (1941) 8/22 y The Cowboy and the Lady (1938) 8/27 c Africa Screams (1949) 8/7 y Blood on the Moon (1948) 8/6 u Crime by Night (1944) 8/25 R ROMANCE D c u Crossfire (1947) 8/17 Agnes of God (1985) 8/13 Blume in Love (1973) 8/10 H c Alice Adams (1935) 8/21 c Boys’ Night Out (1962) 8/26 SHORTS R R –––––––––––––––––––––– D ––––––––––––––––––––––– All This, and Heaven Too (1940) 8/1 Break of Hearts (1935) 8/21 s D Allotment Wives (1945) 8/9 c The Bride Came C.O.D.