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On Her Majesty's Secret Service"
SCHILTHORN CABLEWAY LTD – MEDIA RELEASE 50 Years "On Her Majesty's Secret Service" Interlaken, Mürren, 18 April 2019: Fifty years ago, filming wrapped on the iconic James Bond movie "On Her Majesty's Secret Service" and the film launched in cinemas worldwide. Schilthorn Cableway is looking back and planning a special anniversary weekend. "Schilthorn Cableway is focusing its strategy on the unsurpassed mountain landscape and the legend surrounding James Bond," says Schilthorn Cableway CEO Christoph Egger. Filming for the James Bond movie On Her Majesty's Secret Service ran from 21 October 1968 to 17 May 1969 in the village of Mürren and on the Schilthorn summit. "The Schilthorn wouldn't exist in its current form without the film," Egger continues. More than enough reason to celebrate the 50th anniversary in style. Anniversary weekend with public autograph signing In order to mark the anniversary with James Bond fans from all over the globe, a special anniversary weekend has been put together by Martjin Mulder of On the Tracks of 007. The tour takes in the film's various settings and locations and includes a gala evening on the Schilthorn summit. Schilthorn Cableway has an autograph signing planned for Sunday, 2 June 2019, taking place at the Hotel Eiger in Mürren from 10:30 am to 12:30 pm. Several actors and other personalities with connections to the film are expected to attend: Catherine Schell (Nancy), Eddie Stacey (Stuntman), Erich Glavitza (Coordinator, stock car race and drivers), George Lazenby (James Bond), Helena Ronee (Israeli Girl), Jenny Hanley (Irish Girl), John Glen (2nd Unit Director, Editor, Director of Five Bond Films), Monty Norman (Composer of the original Dr. -
BEHP 0719 T RENÉE GLYNNE Transcript British Entertainment History Project – Interview No
BEHP 0719 T RENÉE GLYNNE Transcript British Entertainment History Project – Interview No. 719 26th January 2018 INTERVIEWEE – RENÉE ALMA GLYNNE INTERVIEWER – DARROL BLAKE Transcriber – Linda Hall-Shaw DARROL BLAKE: So, can you tell me your name and where you were born and when. RENÉE GLYNNE: I am Renée Alma Glynne, nee Renée Galler. I was born in Hackney in 1926 which was the year of The General Strike, of very nice parents, whose parents were living in Russia at the time of the pogroms and left in, say, 1890, something like that. Went from there, accidentally, to New York – I think they were meant to come here. They stayed in New York and then they did come to London and respectively had my parents. So sometimes I think I am Russian, but I grew up absolutely being an English child with no foreign languages around me or anything foreign. (TIME 01.09) DARROL BLAKE: And where was that? RENÉE GLYNNE: It began … I was born in Hackney overlooking Victoria Park. Very beautiful. Went down the drain later and is now up the drain. DARROL BLAKE: Did you have any ambitions when you were a young girl? Did you always want to go into the film business? RENÉE GLYNNE: Entertainment business, behind stage. I really wanted to be, probably, in the wardrobe of theatre or an ASM [Assistant Stage Manager]. And I knew that it was going to be theatre and I hadn’t really … I went to cinemas and saw films, but I never yearned to do movies. DARROL BLAKE: Was that in your family at all? (TIME 02.00) RENÉE GLYNNE: My two uncles were in very well-known bands. -
ABSTRACT Stereotypes of Asians and Asian Americans in the U.S. Media
ABSTRACT Stereotypes of Asians and Asian Americans in the U.S. Media: Appearance, Disappearance, and Assimilation Yueqin Yang, M.A. Mentor: Douglas R. Ferdon, Jr., Ph.D. This thesis commits to highlighting major stereotypes concerning Asians and Asian Americans found in the U.S. media, the “Yellow Peril,” the perpetual foreigner, the model minority, and problematic representations of gender and sexuality. In the U.S. media, Asians and Asian Americans are greatly underrepresented. Acting roles that are granted to them in television series, films, and shows usually consist of stereotyped characters. It is unacceptable to socialize such stereotypes, for the media play a significant role of education and social networking which help people understand themselves and their relation with others. Within the limited pages of the thesis, I devote to exploring such labels as the “Yellow Peril,” perpetual foreigner, the model minority, the emasculated Asian male and the hyper-sexualized Asian female in the U.S. media. In doing so I hope to promote awareness of such typecasts by white dominant culture and society to ethnic minorities in the U.S. Stereotypes of Asians and Asian Americans in the U.S. Media: Appearance, Disappearance, and Assimilation by Yueqin Yang, B.A. A Thesis Approved by the Department of American Studies ___________________________________ Douglas R. Ferdon, Jr., Ph.D., Chairperson Submitted to the Graduate Faculty of Baylor University in Partial Fulfillment of the Requirements for the Degree of Master of Arts Approved by the Thesis Committee ___________________________________ Douglas R. Ferdon, Jr., Ph.D., Chairperson ___________________________________ James M. SoRelle, Ph.D. ___________________________________ Xin Wang, Ph.D. -
The Green Sheet and Opposition to American Motion Picture Classification in the 1960S
The Green Sheet and Opposition to American Motion Picture Classification in the 1960s By Zachary Saltz University of Kansas, Copyright 2011 Submitted to the graduate degree program in Film and Media Studies and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Master of Arts. ________________________________ Chairperson Dr. John Tibbetts ________________________________ Dr. Michael Baskett ________________________________ Dr. Chuck Berg Date Defended: 19 April 2011 ii The Thesis Committee for Zachary Saltz certifies that this is the approved version of the following thesis: The Green Sheet and Opposition to American Motion Picture Classification in the 1960s ________________________________ Chairperson Dr. John Tibbetts Date approved: 19 April 2011 iii ABSTRACT The Green Sheet was a bulletin created by the Film Estimate Board of National Organizations, and featured the composite movie ratings of its ten member organizations, largely Protestant and represented by women. Between 1933 and 1969, the Green Sheet was offered as a service to civic, educational, and religious centers informing patrons which motion pictures contained potentially offensive and prurient content for younger viewers and families. When the Motion Picture Association of America began underwriting its costs of publication, the Green Sheet was used as a bartering device by the film industry to root out municipal censorship boards and legislative bills mandating state classification measures. The Green Sheet underscored tensions between film industry executives such as Eric Johnston and Jack Valenti, movie theater owners, politicians, and patrons demanding more integrity in monitoring changing film content in the rapidly progressive era of the 1960s. Using a system of symbolic advisory ratings, the Green Sheet set an early precedent for the age-based types of ratings the motion picture industry would adopt in its own rating system of 1968. -
Desire, Disease, Death, and David Cronenberg: the Operatic Anxieties of the Fly
Desire, Disease, Death, and David Cronenberg: The Operatic Anxieties of The Fly Yves Saint-Cyr 451 University of Toronto Introduction In 1996, Linda and Michael Hutcheon released their groundbreaking book, Opera: Desire, Disease, Death, a work that analyses operatic representations of tuberculosis, syphilis, cholera, and AIDS. They followed this up in 2000 with Bodily Charm, a discussion of the corporeal in opera; and, in 2004, they published Opera: The Art of Dying, in which they argue that opera has historically provided a metaphorical space for the ritualistic contemplation of mortality, whether the effect is cathartic, medita- tive, spiritual, or therapeutic. This paper is based on a Hutcheonite reading of the Fly saga, which to date is made up of seven distinct incarnations: George Langelaan published the original short story in 1957; Neumann and Clavell’s 1958 film adaptation was followed by two sequels in 1959 and 1965; David Cronenberg re-made the Neumann film in 1986, which gener- ated yet another sequel in 1989; and, most recently in 2008, Howard Shore and David Henry Hwang adapted Cronenberg’s film into an opera. If the Hutcheons are correct that opera engenders a ritualistic contemplation of mortality by sexualising disease, how does this practice influence composers and librettists’ choice of source material? Historically, opera has drawn on the anxieties of its time and, congruently, The Fly: Canadian Review of Comparative Literature / Revue Canadienne de Littérature Comparée CRCL DECEMBER 2011 DÉCEMBRE RCLC 0319–051x/11/38.4/451 © Canadian Comparative Literature Association CRCL DECEMBER 2011 DÉCEMBRE RCLC The Opera draws on distinctly 21st-century fears. -
Museum Salutes James Bond and His Creators Critic Judith Crist Moderates Forum
The Museum of Modern Art % 50th Anniversary to MUSEUM SALUTES JAMES BOND AND HIS CREATORS CRITIC JUDITH CRIST MODERATES FORUM In any time capsule of the 20th century, there is sure to be a commentary on and, more than likely, a print of a James Bond movie. So great is the impact of Secret Agent 007, archetypical hero of the second half of this century, that it is estimated one out of three people throughout the world have at one time or another viewed one of his spy thrillers. The most popular Bond film so far, "The Spy Who Loved Me" reportedly has drawn one and a half billion viewers or over one eighth of the earth's population. Given these facts, the Department of Film of The Museum of Modern Art, considers the phenomenon of James Bond noteworthy and is rendering, at an appropriate time concurrent with the premiere of the new James Bond "Moonraker," an homage to the producer, Albert R. Broccoli and his colleagues. Recognizing that each of the Bond films is a collabora tive project, Larry Kardish, Associate Curator in the Department of Film, has included in this tribute Lewis Gilbert, the director, Ken Adam, production designer, and Maurice B inder, title creator and graphics artist. The James Bond program, organized by Mr. Kardish, opens on June 25, with a documentary titled "The Making Of James Bond." It takes the viewer behind the scenes of the production of "The Spy Who Loved Me." Produced by BBC, it consists of four half-hour films: the first deals 11 West 53 Street, New York, N.Y. -
ROHMER, Sax Pseudoniem Van Arthur Henry Sarsfield Ward Geboren: Ladywood District, Birmingham, Warwickshire, Engeland, 15 Februari 1883
ROHMER, Sax Pseudoniem van Arthur Henry Sarsfield Ward Geboren: Ladywood district, Birmingham, Warwickshire, Engeland, 15 februari 1883. Overleden: White Plains, New York, USA, 1 juni 1959. Nam op 18-jarige leeftijd de naam Ward aan; gebruikte later de naam Sax Rohmer ook in het persoonlijke leven. Ander pseudoniem: Michael Furey Carrière: bracht als journalist verslag uit van de onderwereld in Londen's Limehouse; schreef liedjes en sketches voor conferenciers; woonde later in New York. Familie: getrouwd met Rose Elizabeth Knox, 1909 (foto: Fantastic Fiction). website voor alle verhalen en informatie: The Page of Fu Manchu: http://www.njedge.net/~knapp/FuFrames.htm Detective: Sir Dennis Nayland Smith Nayland Smith was voormalig hoofd van de CID van Scotland Yard en is nu in dienst van de British Intelligence. Sidekick: Dr. Petrie. Tegenspeler: Doctor Fu-Manchu Op de vraag van Petrie welke pervers genie aan het hoofd staat van de afschuwelijke geheime beweging die al zoveel slachtoffers in Europaheeft gemaakt, antwoordt Smith in ‘De geheimzinnige Dr. Fu-Manchu’: "Stel je iemand voor: lang, mager, katachtig en hoge schouders, met een voorhoofd als dat van Shakespeare en het gezicht van Satan, een kaalgeschoren schedel en langwerpige magnetiserende ogen als van een kat. Geef hem al de wrede sluwheid van een geheel Oosters ras, samengebracht in één reusachtig intellect, met alle hulpbronnen van vroegere en tegenwoordige wetenschap... Stel je dat schrikwekkende wezen voor en je hebt een krankzinnig beeld van Dr. Fu-Manchu, het Gele Gevaar, vlees geworden in één mens". Zo werd Fu-Manchu als een Chinese crimineel in 1912 in het verhaal "The Zayat Kiss" geïntroduceerd. -
Chapter 1 Fear and Profit in the Fourth Domain
He turned his thinking Toward unknown arts, changing the laws of nature. —Ovid 1 Fear and Profit in the Fourth Domain One symbolic, dual directional, vertical flow that continu- ously proves fruitful in the examination of cultural structures and dynamics is the continuum between purity and pollution. The social organization of norma- tive conditions tends to place purity at the top of the cultural value hierarchy, while pollution tends to lie at the bottom. There is no cross-cultural consistency in expressions of this separation in terms of belief, behav- ior, and representation, and within each culture, there are always contradictions and exceptions to the rules. To be sure, the endless negotiation of how to navigate through and organize the perceived manifestations of purity and pollution is a primary part of cultural becom- ing, and in many ways is key to describing and understanding cultural difference. 16 The Molecular Invasion In western cultures, centuries of intense cultural ex- change among the nations of Europe and North America have given rise to fundamental metanarratives that chan- nel the expression of the categories of purity and pollution. Two fundamental and often linked metanarratives are God and Nature, which are charged with symbolically managing thoughts, behaviors, representations, and all other forms of expression by associating with them vari- ous degrees of value, legitimacy, and acceptability. Purity is a positive subcategory of these primary codes, and hence purity is associated with signs of goodness, legiti- macy, and the authoritative. However, human agents are not only discouraged from fully realizing the category of purity on an earthly plane, they are forbidden from doing so. -
Sydney Program Guide
Page 1 of 27 Sydney Program Guide Sun Apr 17, 2016 06:00 TV SHOP - HOME SHOPPING WS G Home shopping programme. 06:30 THE FACE OF FU MANCHU 1965 Captioned Repeat WS PG The Face Of Fu Manchu In the early 1920s grisly strangulations in London alert Nayland Smith of Scotland Yard to the possibility that fiendish Fu Manchu may not after all be dead, even though Smith witnessed his execution. Starring: Nigel Green, Christopher Lee, Tsai Chin Cons.Advice: Mild Violence, Mild Coarse Language 08:30 TV SHOP - HOME SHOPPING WS G Home shopping programme. 10:00 HEARTBEAT Repeat WS PG Safehouse Mike receives orders to provide a refuge for a dangerous police informant and struggles to keep it under wraps, especially when Nokes and Bellamy become suspicious about his strange behaviour. Cons.Advice: Mature Themes, Some Violence 11:00 HEARTBEAT Repeat WS PG Blind Justice Mike fears Craddock's desperate need for love is clouding his judgement when the son of his dancing tutor becomes the prime suspect in a hit-and-run accident Cons.Advice: Mature Themes, Some Violence 12:00 THE GARDEN GURUS Captioned Repeat WS G Garden Guru Steve Wood takes a look at bush tucker, Trevor visits Altamont Gardens in Ireland, while Calinda Anderson the ponds specialist gives advice on the right water plant for you. 12:30 GETAWAY Captioned Repeat WS PG This week on Getaway Tim Blackwell has some hot tips for shopping in Bangkok, Jesinta Campbell is in Fiji riding high above the ground on a zipline and we go behind the scenes at the Sydney Aquarium. -
Unseen Horrors: the Unmade Films of Hammer
Unseen Horrors: The Unmade Films of Hammer Thesis submitted by Kieran Foster In partial fulfilment of the requirements for the award of Doctor of Philosophy De Montfort University, March 2019 Abstract This doctoral thesis is an industrial study of Hammer Film Productions, focusing specifically on the period of 1955-2000, and foregrounding the company’s unmade projects as primary case studies throughout. It represents a significant academic intervention by being the first sustained industry study to primarily utilise unmade projects. The study uses these projects to examine the evolving production strategies of Hammer throughout this period, and to demonstrate the methodological benefits of utilising unmade case studies in production histories. Chapter 1 introduces the study, and sets out the scope, context and structure of the work. Chapter 2 reviews the relevant literature, considering unmade films relation to studies in adaptation, screenwriting, directing and producing, as well as existing works on Hammer Films. Chapter 3 begins the chronological study of Hammer, with the company attempting to capitalise on recent successes in the mid-1950s with three ambitious projects that ultimately failed to make it into production – Milton Subotsky’s Frankenstein, the would-be television series Tales of Frankenstein and Richard Matheson’s The Night Creatures. Chapter 4 examines Hammer’s attempt to revitalise one of its most reliable franchises – Dracula, in response to declining American interest in the company. Notably, with a project entitled Kali Devil Bride of Dracula. Chapter 5 examines the unmade project Nessie, and how it demonstrates Hammer’s shift in production strategy in the late 1970s, as it moved away from a reliance on American finance and towards a more internationalised, piece-meal approach to funding. -
Fighting the Elements
bear island fighting the elements Setting up while there's still some daylight left y Philip McPhedran What was it like to crew the most expensive Canadian feature ever made? And to be thousands of miles from home? And to find the ice forming around your mouth and nose as you waited for something to happen? And when it happened, to find out it was not what you were expecting after all? Philip Mc Phedran put in time with the crew of Bear Island. Cinema Canada/ 13 The 39 Steps. Sharp also brought you the stunning boat chase through the canals of Amsterdam in Puppet on a Chain. Sharp, David Butler (Voyage of the Damned) and Murray Smith collaborated on the script. With Maclean's agreement, they changed the story from one about a film crew, to one about a NATO expedition plagued by strange occurrences while on a mission at Bear Island. Snell explained the change this way , "We liked the story line but felt another mm about film makers would be boring. After all, Day for Night really was the definitive movie about filmmaking. " There had been a few doubts expressed about the capabil ities of a Canadian crew after some earlier co-production fias cos, but Bear Island followed in the footsteps of Coup d'Etat (later renamed Power Play for all you hockey fans) proving that Canadians rank second to none in filmmaking expertise. A lot of credit has to go to the west coast IATSE, who An icy Donald Sutherland under the enlightened leadership of John Bartley showed once It's thirty-five degrees below centigrade in Stewart, B.C., again that flexibility and common sense encourage a producer and the cast and crew are huddled on the side of a glacier. -
CHRISTOPHER LEE L’Attore Dietro La Maschera
CHRISTOPHER LEE L’attore dietro la maschera Prima del Cinema Christopher Frank Carandini Lee nasce a Londra il 27maggio del 1922 da una famiglia che, da parte di madre, vanta origini italiane. Il padre, colonnello dell’esercito inglese, programma per il figlio una lunga carriera di studi che prende il via alla Summerfields Preparatory School, la stessa dove, in quel momento, sta studiando un’altro futuro attore, Patrick Macnee. Ma Christopher ha in mente delle idee diverse e, sebbene mostri una certa predilezione per le materie classiche, preferisce fare altro, recitare per esempio. A nove anni compie infatti la sua prima apparizione su un palcoscenico teatrale interpretando la parte di Cassio nei Giulio Cesare di William Shakespeare. Giunge quindi il momento del college e Lee viene mandato al Wellington che abbandonerà presto per lavorare come apprendista in un ufficio della City londinese. L’arrivo del secondo conflitto mondiale gli fa rompere gli indugi. Si arruola volontario nella Royal Air Force dove viene addestrato come pilota e spedito in basi strategiche, in Sud Africa e Rodesia. Dalla Raf passa in seguito ai servizi segreti dell’Intelligence Service nel comparto delle operazioni speciali. Poi, la guerra finisce e Lee, ventitreenne, si trova nell’Inghilterra della vittoria senza un lavoro e con un pensiero fisso, quello di recitare. Comincia allora a fare di tutto, il mimo, il ballerino, il cantante lirico, Peregrinando per gli studi, incontra produttori e registi che mortificano le sue ambizioni. Un manager abbastanza influente arriva ad apostrofarlo duramente, «non sarai mai un buon attore, sei troppo alto, Mi stupisce che ci sono agenti disposti a perdere tempo mandando in giro persone che come te».