Tom Weston-Jones

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TOM WESTON-JONES Film includes: Captain America RAF Pilot Joe Johnston Marvel Enterprises Television includes: Warrior Richard Lee Jonathan Tropper Cinemax Troy Hector Owen Harris Kudos The Terror Lt Graham Gore Edward Berger AMC Dickensian Meriwether Harry Bradbeer Red Planet Not Safe For Work Anthony Kieron Hawke Quite Scary Films Copper Kevin Corcoran Tom Fontana Cineflix World Without End Merthin Michael Caton-Jones Tandem Productions Spooks Sasha Allrich Riley Kudos Nightwatch Jack Brown Richard Laxton BBC Theatre includes: Merchant of Venice Bassanio Rupert Goold Almeida Theatre Co Enlightenment Adam Ed Hall Hampstead Theatre Translations Doalty Roger Haines The Tobacco Factory Someone Who'll Watch Over Me Adam Hannah Drake Alma Theatre, Bristole The Country Wife Horner Jenny Stephens Old Vic Main Stage The Good Companions Inigo Jolifant Sue Wilson Bristol Old Vic Studio Theatre whilst in training includes: Pornography 4 Gemma Fairlie BOVTS The Beaux Stratagem Squire Sullen Andrew Hilton BOVTS Bluebird Richard Sonia Fraser BOVTS Measure for Measure Angelo Dick Tuckey BOVTS Three Sisters Vershinin Dan Bird BOVTS One Flew Over the Cuckoo's Nest R.P. McMurphy Poppy Corbett Royal Holloway Angels in America Joe Pitt Alistair Nargate Royal Holloway A Streetcar Named Desire Stanley Tom Pinam Royal Holloway Training: Bristol Old Vic Other Skills include: Stage Combat: BADC Level 1 (Distinction) BADC Level Advanced (Gold) Dance: Jazz, Tap, Basic ballet, Period Dance Sport: Basketball, iceskating, Roller blading, rugby, football, surfing, tennis. Singing: Baritone Music: Strong guitar, Bongo, Saxophone. Tom Weston-Jones 1 Markham Froggatt & Irwin Limited Registered Ofﬁce: Bank Gallery, High Street, Kenilworth, Warwickshire, CV8 1LY Registered in England No. 7268133 VAT Registration No. 993 055 789 Members of the PMA Accents: Well skilled. Tom Weston-Jones 2 Markham Froggatt & Irwin Limited Registered Ofﬁce: Bank Gallery, High Street, Kenilworth, Warwickshire, CV8 1LY Registered in England No. 7268133 VAT Registration No. 993 055 789 Members of the PMA.

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HJR 23.1 Sadoff
38 The Henry James Review Appeals to Incalculability: Sex, Costume Drama, and The Golden Bowl By Dianne F. Sadoff, Miami University Sex is the last taboo in film. —Catherine Breillat Today’s “meat movie” is tomorrow’s blockbuster. —Carol J. Clover When it was released in May 2001, James Ivory’s film of Henry James’s final masterpiece, The Golden Bowl, received decidedly mixed reviews. Kevin Thomas calls it a “triumph”; Stephen Holden, “handsome, faithful, and intelligent” yet “emotionally distanced.” Given the successful—if not blockbuster—run of 1990s James movies—Jane Campion’s The Portrait of a Lady (1996), Agniezka Holland’s Washington Square (1997), and Iain Softley’s The Wings of the Dove (1997)—the reviewers, as well as the fans, must have anticipated praising The Golden Bowl. Yet the film opened in “selected cities,” as the New York Times movie ads noted; after New York and Los Angeles, it showed in university towns and large urban areas but not “at a theater near you” or at “theaters everywhere.” Never mind, however, for the Merchant Ivory film never intended to be popular with the masses. Seeking a middlebrow audience of upper-middle-class spectators and generally intelligent filmgoers, The Golden Bowl aimed to portray an English cultural heritage attractive to Anglo-bibliophiles. James’s faux British novel, however, is paradoxically peopled with foreigners: American upwardly mobile usurpers, an impoverished Italian prince, and a social-climbing but shabby ex- New York yentl. Yet James’s ironic portrait of this expatriate culture, whose characters seek only to imitate their Brit betters—if not in terms of wealth and luxury, at least in social charm and importance—failed to seem relevant to viewers The Henry James Review 23 (2002): 38–52.
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Patrick Deer, New York University British Cinema and Middlebrow Culture in the Interwar Years. by Lawrence Napper. Exeter: Un
158 THE SPACE BETWEEN “violence” and “trauma” would have benefited from the kind of subheadings offered for “war.” The lack of index entries on “militarism,” “militarization,” and the “military industrial complex” reveals a need for greater clarity about the political economy of twentieth-century warfare, despite the editors’ and contributors’ references to the massive—and continuing—shadow cast by modern war economies on literature and culture. The omission of an index entry for “Anti-americanism” may also be revealing of Rawlinson and Pi- ette’s ambivalence towards the exact place of the US and its war machine in their transatlantic study. Given the sheer richness of the range of critics and theorists cited in the footnotes to the volume, the Companion would have benefited from their inclusion in the index, which tends to be tilted towards primary texts. This could, of course, be rectified in an expanded online index, had the editors world enough and time. Overall this is a superb and invaluable resource, which will repay repeated reading and consultation. ---Patrick Deer, New York University British Cinema and Middlebrow Culture in the Interwar Years. By Lawrence Napper. Exeter: University of Exeter Press, 2009. 250 pp. $85.00 cloth. As snapshots of Britain’s twentieth-century cultural history go, the image of the interwar petit-bourgeois commuter trundling home on the “tube” to the new suburbs on London’s periphery, nose in a Penguin paperback, conjures little that is malevolent or threatening. For the intelligentsia of the period, however, both the cultural tastes and modes of living of those in the ”middle” represented a minatory development: this was the wasteland of modernity manifest.
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{PDF EPUB} the Good Companions by JB Priestley
Read Ebook {PDF EPUB} The Good Companions by J.B. Priestley The Good Companions by J.B. Priestley. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. What can I do to prevent this in the future? If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Another way to prevent getting this page in the future is to use Privacy Pass. You may need to download version 2.0 now from the Chrome Web Store. Cloudflare Ray ID: 65682c596d4f8474 • Your IP : 188.246.226.140 • Performance & security by Cloudflare. The Good Companions by J.B. Priestley. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. What can I do to prevent this in the future? If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Another way to prevent getting this page in the future is to use Privacy Pass. You may need to download version 2.0 now from the Chrome Web Store.
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ANNOUNCEMENT from the Copyright Office, Library of Congress, Washington, D.C
ANNOUNCEMENT from the Copyright Office, Library of Congress, Washington, D.C. 20559-6000 PUBLICATION OF FIFTH LIST OF NOTICES OF INTENT TO ENFORCE COPYRIGHTS RESTORED UNDER THE URUGUAY ROUND AGREEMENTS ACT. COPYRIGHT RESTORATION OF WORKS IN ACCORDANCE WITH THE URUGUAY ROUND AGREEMENTS ACT; LIST IDENTIFYING COPYRIGHTS RESTORED UNDER THE URUGUAY ROUND AGREEMENTS ACT FOR WHICH NOTICES OF INTENT TO ENFORCE RESTORED COPYRIGHTS WERE FILED IN THE COPYRIGHT OFFICE. The following excerpt is taken from Volume 62, Number 163 of the Federal Register for Friday, August 22,1997 (p. 443424854) SUPPLEMENTARY INFORMATION: the work is from a country with which LIBRARY OF CONGRESS the United States did not have copyright I. Background relations at the time of the work's Copyright Off ice publication); and The Uruguay Round General (3) Has at least one author (or in the 37 CFR Chapter II Agreement on Tariffs and Trade and the case of sound recordings, rightholder) Uruguay Round Agreements Act who was, at the time the work was [Docket No. RM 97-3A] (URAA) (Pub. L. 103-465; 108 Stat. 4809 created, a national or domiciliary of an Copyright Restoration of Works in (1994)) provide for the restoration of eligible country. If the work was Accordance With the Uruguay Round copyright in certain works that were in published, it must have been first Agreements Act; List Identifying the public domain in the United States. published in an eligible country and not Copyrights Restored Under the Under section 104.4 of title 17 of the published in the United States within 30 Uruguay Round Agreements Act for United States Code as provided by the days of first publication.
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JB Priestley
CHARLES PARKHURST RARE BOOKS & AUTOGRAPHS PRESENTS J. B. PRIESTLEY A COLLECTION J. B. Priestley (13 September 1894 – 14 August 1984) Charles Parkhurst Rare Books & Autographs 7079 East 5th Avenue Scottsdale, AZ 85251 480.947.3358 fax- 480.947.4563 [email protected] www.parkhurstrarebooks.com All items are subject to prior sale. We accept Visa, Mastercard, Amex, Discover, Check, Wire Transfer, Bank Check or Money Orders in US Funds. Personal checks must clear prior to shipment. Prices are net. Institutions billed. Shipping and insurance are extra and will be billed at cost according to customer's shipping preference with tracking availability. For approximate shipping cost by weight, destination and approximate travel time please contact us. All items sent on approval and have a ten day return privilege. Please notify us prior to returning. All returns must be properly packaged and insured. All items must be returned in same condition as sent. J.B. Priestley 1894-1984. Author, novelist, playwright, essayist, broadcaster, scriptwriter, social commentator and man of letters whose career straddles the 20th century. LOST EMPIRES. London: Heinemann, (1965). First edition. 308 pp., bound in brown cloth spine lettering silver, near fine in unclipped very good dust jacket showing minor wear. FESTIVAL AT FARBRIDGE. Melbourne: William Heinemann, Ltd., (1951). First Australian edition. 593 pp., bound in red cloth, spine lettering black, near fine in very good unclipped pictorial dust jacket by Eric Fraser with a minor wear to head and a touch of red bleed through from cloth and a couple of small closed edge tears to rear panel. THE CARFITT CRISES ad two other stories.
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And They Called Them “Galleanisti”
And They Called Them “Galleanisti”: The Rise of the Cronaca Sovversiva and the Formation of America’s Most Infamous Anarchist Faction (1895-1912) A DISSERTATION SUBMITTED TO THE FACULTY OF UNIVERSITY OF MINNESOTA BY Andrew Douglas Hoyt IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Advised by Donna Gabaccia June 2018 Andrew Douglas Hoyt Copyright © 2018 i Acknowledgments This dissertation was made possible thanks to the support of numerous institutions including: the University of Minnesota, the Claremont Graduate University, the Italian American Studies Association, the UNICO Foundation, the Istituto Italiano di Cultura negli Stati Uniti, the Council of American Overseas Research Centers, and the American Academy in Rome. I would also like to thank the many invaluable archives that I visited for research, particularly: the Immigration History Resource Center, the Archivio Centrale dello Stato, the Archivio Giuseppe Pinelli, the Biblioteca Libertaria Armando Borghi, the Archivio Famiglia Berneri – Aurelio Chessa, the Centre International de Recherches sur l’Anarchisme, the International Institute of Social History, the Emma Goldman Paper’s Project, the Boston Public Library, the Aldrich Public Library, the Vermont Historical Society, the U.S. National Archives and Records Administration, the Library of Congress, the Historic American Newspapers Project, and the National Digital Newspaper Program. Similarly, I owe a great debt of gratitude to tireless archivists whose work makes the writing of history
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Angel Pavement John Boynton Priestley
Министерство образования Российской Федерации Самарский государственный университет Кафедра английской филологии Angel Pavement John Boynton Priestley Методические указания по домашнему чтению для студентов 4 курса специальности «Английский язык и литература» Самара, 2003 Методические указания предназначены для самостоятельной работы студентов 4 курса специальности «Английский язык и литература» при подготовке к занятиям по домашнему чтению с книгой Дж. Б. Пристли «Улица Ангела». Указания включают биографическую справку об авторе и секции, каждая из которых предлагает выражения и фразеологические единицы для активного усвоения, упражнения, направленные на развитие языковых и речевых умений и навыков, а также вопросов и заданий дискуссионного характера. Наряду с заданиями коммуникативной направленности предлагаются также упражнения по лингвистическому анализу текста. Задания помогут студентам самостоятельно подготовиться к обсуждению основных проблем книги, поступков героев, их характеристик, интересных эпизодов, а также выразительных средств и стилистических приемов автора. В разделе Suggested topics дается примерный перечень тем, рекомендуемых для заключительного обсуждения книги. Методические указания состоят из 12 секций, каждая из которых рассчитана на 3 часа аудиторной и 4 часа самостоятельной работы. Задания рекомендуется выполнять выборочно, в зависимости от целей занятия и уровня подготовки студентов. Составители: ст. препод. Соболева Л. П., доц. Максакова С. П, доц. Дементьева Н. Я. Отв. редактор: зав. кафедрой английской филологии, проф. Харьковская А. А. Рецензент: кандидат педагогических наук, доцент кафедры иностранных языков Самарской экономической академии Подковырова В. В. 2 Priestley, J(ohn) B(oynton) Priestley, John Boynton was born in 1894, September 13, Bradford, Yorkshire, England and died in 1984, August 14, Alveston, near Stratford-upon-Avon, (Warwickshire). He is a British novelist, playwright, and essayist, noted for his varied output and his ability for shrewd characterization.
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The Playwright J.B
1. The Playwright J.B. Priestley John Boynton Priestley grew up in the small, Northern industrial town of Bradford, England during the Late Victorian* and Edwardian Era*. He fought in France during WWI until he was exposed to a German gas attack and declared unfit for active service. After the war, Priestley studied at Cambridge, where he wrote articles for the Cambridge Review and completed a degree in Modern History and Political Science. His first job after college was writing theater reviews for the Daily News. Priestley soon established a reputation as commentator on literature when he published as series of books entitled, The English Comic Character, The English Novel, and The English Humor. He then went on to publish several popular novels including, The Good Companions, and Angel Pavement. Over the course of his life, Priestley also wrote more than fifty plays; the most famous of which are, Dangerous Corners, When We Are Married, and An Inspector Calls. During WWII, Priestley hosted a BBC radiobroadcast called “Postscripts” which followed the nine o’clock Sunday news. The show built up such a following that within a few months an estimated forty percent of the British population was tuning into the program. However, when some members of the Conservative Party* complained that Priestley was expressing “left-wing*” opinions during his talks, the show was cancelled. Despite this fact, Priestley continued to write and was an active commentator on current world affairs during WWII and throughout the rest of his life. He died on August 14, 1984. VICTORIAN ERA: From 1837-1901 during the reign of Queen Victoria.
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J.B. Priestley's Wars by Neil and Jack Hanson
TRANSCRIPT J.B. Priestley’s Wars by Neil and Jack Hanson The last time I gave a talk about Priestley’s wars was at the Cheltenham literature festival, and two theatrical knights, who were both Priestley devotees, Sir Patrick Stewart and Sir Timothy West did the readings from Priestley’s work on that occasion, so no pressure tonight Jack. This book came about because J.B. Priestley's son Tom, who is a very acclaimed film editor in his own right rediscovered, if you like, a cardboard box of Priestley’s letters from the First World War that had been sitting half-forgotten under his bed for 30 or 40 years. They were unpublished letters, and when Tom read them we discussed how we might bring these to the page. He also mentioned to me that the postscripts, the series of hugely influential broadcasts from the Second World War had never been published either in their entirety, one or two being published, but the majority had never been seen. So those became the two poles of the book we were going to write, if you like, Priestley's letters from the trenches in the First World War, and the postscripts he delivered in the Second World War. And as I will looked further into it I discovered that Priestley's War writings extended right throughout his life, right up to the last days of his life, if you like, when he was one of the principle driving forces and co-founders of the campaign for nuclear disarmament. So that was the arc, as they say, the journey, the personal Odyssey of John Boynton Priestley that we wanted to trace, beginning just a few days before his twentieth birthday, when Priestley enlisted in September 1914.
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John Boynton Priestley : Sozialist Und Dramatiker Aus Menschlichkeit
John Boynton Priestley : Sozialist und Dramatiker aus Menschlichkeit Autor(en): Hug, Hans-Urlich Objekttyp: Article Zeitschrift: Rote Revue : sozialistische Monatsschrift Band (Jahr): 39 (1960) Heft 3 PDF erstellt am: 07.10.2021 Persistenter Link: http://doi.org/10.5169/seals-337189 Nutzungsbedingungen Die ETH-Bibliothek ist Anbieterin der digitalisierten Zeitschriften. Sie besitzt keine Urheberrechte an den Inhalten der Zeitschriften. Die Rechte liegen in der Regel bei den Herausgebern. Die auf der Plattform e-periodica veröffentlichten Dokumente stehen für nicht-kommerzielle Zwecke in Lehre und Forschung sowie für die private Nutzung frei zur Verfügung. Einzelne Dateien oder Ausdrucke aus diesem Angebot können zusammen mit diesen Nutzungsbedingungen und den korrekten Herkunftsbezeichnungen weitergegeben werden. Das Veröffentlichen von Bildern in Print- und Online-Publikationen ist nur mit vorheriger Genehmigung der Rechteinhaber erlaubt. Die systematische Speicherung von Teilen des elektronischen Angebots auf anderen Servern bedarf ebenfalls des schriftlichen Einverständnisses der Rechteinhaber. Haftungsausschluss Alle Angaben erfolgen ohne Gewähr für Vollständigkeit oder Richtigkeit. Es wird keine Haftung übernommen für Schäden durch die Verwendung von Informationen aus diesem Online-Angebot oder durch das Fehlen von Informationen. Dies gilt auch für Inhalte Dritter, die über dieses Angebot zugänglich sind. Ein Dienst der ETH-Bibliothek ETH Zürich, Rämistrasse 101, 8092 Zürich, Schweiz, www.library.ethz.ch http://www.e-periodica.ch HANS-ULRICH HUG John Boynton PriestSey — Sozialist und Dramatiker aus Menschlichkeit Einer der fruchtbarsten englischen Dramatiker — ja eine der schöpferischsten Persönlichkeiten des zeitgenössischen europäischen Theaters überhaupt — ist John Boynton Priestley, geboren 1894 als Sohn eines Lehrers in Bradford (Grafschaft Yorkshire). Dabei begann der heutige Ehrenpräsident des «Internationalen Theaterinstitutes» seine Laufbahn als Dramatiker erst 1932.
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Stories of the Past: Viewing History Through Fiction
Stories Of The Past: Viewing History Through Fiction Item Type Thesis or dissertation Authors Green, Christopher Citation Green, C. (2020). Stories Of The Past: Viewing History Through Fiction (Doctoral dissertation). University of Chester, UK. Publisher University of Chester Rights Attribution-NonCommercial-NoDerivatives 4.0 International Download date 04/10/2021 08:03:20 Item License http://creativecommons.org/licenses/by-nc-nd/4.0/ Link to Item http://hdl.handle.net/10034/623069 STORIES OF THE PAST: VIEWING HISTORY THROUGH FICTION Thesis submitted in accordance with the requirements of the University of Chester for the degree of Doctor of Philosophy by Christopher William Green January 2020 Frontispiece: Illustration from the initial serialisation of Thomas Hardy’s Tess of the D'Urbervilles.1 1 Thomas Hardy, 'Tess of the D’Urbervilles', The Graphic, August 29th, 1891. ii The material being presented for examination is my own work and has not been submitted for an award of this or another HEI except in minor particulars which are explicitly noted in the body of the thesis. Where research pertaining to the thesis was undertaken collaboratively, the nature and extent of my individual contribution has been made explicit. iii iv Abstract This thesis investigates how effective works of fiction are, through their depictions of past worlds, in providing us with a resource for the study of the history of the period in which that fiction is set. It assesses past academic literature on the role of fiction in historical understanding, and on the processes involved in the writing, reading, adapting, and interpreting of fiction.
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The Great British Music Hall: Its Importance to British Culture and ‘The Trivial’
The Great British Music Hall: Its Importance to British Culture and ‘The Trivial’ By Steven Gerrard Abstract By 1960, Britain’s once-thriving Music Hall industry was virtually dead. Theatres with their faded notions of Empire gave way to Cinema and the threat of Television. Where thousands once linked arms singing popular songs, watch acrobatics, see feats of strength, and listen to risqué jokes, now the echoes of those acts lay as whispers amongst the stalls’ threadbare seats. The Halls flourished in the 19th Century, but had their origins in the taverns of the 16th and 17th Centuries. Minstrels plied their trade egged on by drunken crowds. As time passed, the notoriety of the Music Hall acts and camaraderie produced grew. Entrepreneurial businessman tapped into this commerciality and had pur- pose-built status symbol theatres to provide a ‘home’ for acts and punters. With names like The Apollo giving gravitas approaching Olympian ideals, so the owners basked in wealth and glory. The Music Hall became the mass populist entertainment for the population. Every town had one, where everyone could be entertained by variety acts showing off the performers’ skills. The acts varied from singers, joke-tellers, comics, acro- bats, to dancers. They all aimed to entertain. They enabled audiences to share a symbiotic relationship with one another; became recruitment officers for the Army; inspired War Poets; showed short films; and they and the halls reflected both the ideals and foibles of their era. By using Raymond Williams’ structures of feeling as its cornerstone, the article will give a brief history of the halls, whilst providing analysis into how they grew into mass populist entertainment that represented British culture.
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