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"Sounds Like a Spy Story": the Espionage Thrillers of Alfred
University of Mary Washington Eagle Scholar Student Research Submissions 4-29-2016 "Sounds Like a Spy Story": The Espionage Thrillers of Alfred Hitchcock in Twentieth-Century English and American Society, from The Man Who Knew Too Much (1934) to Topaz (1969) Kimberly M. Humphries Follow this and additional works at: https://scholar.umw.edu/student_research Part of the History Commons Recommended Citation Humphries, Kimberly M., ""Sounds Like a Spy Story": The Espionage Thrillers of Alfred Hitchcock in Twentieth-Century English and American Society, from The Man Who Knew Too Much (1934) to Topaz (1969)" (2016). Student Research Submissions. 47. https://scholar.umw.edu/student_research/47 This Honors Project is brought to you for free and open access by Eagle Scholar. It has been accepted for inclusion in Student Research Submissions by an authorized administrator of Eagle Scholar. For more information, please contact [email protected]. "SOUNDS LIKE A SPY STORY": THE ESPIONAGE THRILLERS OF ALFRED HITCHCOCK IN TWENTIETH-CENTURY ENGLISH AND AMERICAN SOCIETY, FROM THE MAN WHO KNEW TOO MUCH (1934) TO TOPAZ (1969) An honors paper submitted to the Department of History and American Studies of the University of Mary Washington in partial fulfillment of the requirements for Departmental Honors Kimberly M Humphries April 2016 By signing your name below, you affirm that this work is the complete and final version of your paper submitted in partial fulfillment of a degree from the University of Mary Washington. You affirm the University of Mary Washington honor pledge: "I hereby declare upon my word of honor that I have neither given nor received unauthorized help on this work." Kimberly M. -
Publisher's Note
Adam Matthew Publications is an imprint of Adam Matthew Digital Ltd, Pelham House, London Road, Marlborough, Wiltshire, SN8 2AG, ENGLAND Telephone: +44 (1672) 511921 Fax: +44 (1672) 511663 Email: [email protected] POPULAR NEWSPAPERS DURING WORLD WAR II Parts 1 to 5: 1939-1945 (The Daily Express, The Mirror, The News of The World, The People and The Sunday Express) Publisher's Note This microfilm publication makes available complete runs the Daily Express, The Daily Mirror, the News of the World, The People, and the Sunday Express for the years 1939 through to 1945. The project is organised in five parts and covers the newspapers in chronological sequence. Part 1 provides full coverage for 1939; Part 2: 1940; Part 3: 1941; Part 4: 1942-1943; and finally, Part 5 covers 1944-1945. At last social historians and students of journalism can consult complete war-time runs of Britain’s popular newspapers in their libraries. Less august than the papers of record, it is these papers which reveal most about the impact of the war on the home front, the way in which people amused themselves in the face of adversity, and the way in which public morale was kept high through a mixture of propaganda and judicious reporting. Most importantly, it is through these papers that we can see how most ordinary people received news of the war. For, with a combined circulation of over 23 million by 1948, and a secondary readership far in excess of these figures, the News of the World, The People, the Daily Express, The Daily Mirror, and the Sunday Express reached into the homes of the majority of the British public and played a critical role in shaping public perceptions of the war. -
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. -
Movie Time Descriptive Video Service
DO NOT DISCARD THIS CATALOG. All titles may not be available at this time. Check the Illinois catalog under the subject “Descriptive Videos or DVD” for an updated list. This catalog is available in large print, e-mail and braille. If you need a different format, please let us know. Illinois State Library Talking Book & Braille Service 300 S. Second Street Springfield, IL 62701 217-782-9260 or 800-665-5576, ext. 1 (in Illinois) Illinois Talking Book Outreach Center 125 Tower Drive Burr Ridge, IL 60527 800-426-0709 A service of the Illinois State Library Talking Book & Braille Service and Illinois Talking Book Centers Jesse White • Secretary of State and State Librarian DESCRIPTIVE VIDEO SERVICE Borrow blockbuster movies from the Illinois Talking Book Centers! These movies are especially for the enjoyment of people who are blind or visually impaired. The movies carefully describe the visual elements of a movie — action, characters, locations, costumes and sets — without interfering with the movie’s dialogue or sound effects, so you can follow all the action! To enjoy these movies and hear the descriptions, all you need is a regular VCR or DVD player and a television! Listings beginning with the letters DV play on a VHS videocassette recorder (VCR). Listings beginning with the letters DVD play on a DVD Player. Mail in the order form in the back of this catalog or call your local Talking Book Center to request movies today. Guidelines 1. To borrow a video you must be a registered Talking Book patron. 2. You may borrow one or two videos at a time and put others on your request list. -
Star Channels, Feb. 10-16
FEBRUARY 10 - 16, 2019 staradvertiser.com HELL ON EARTH Picking up where the fall fi nale left off and six years after Rick’s disappearance, Michonne and our survivors fi nd themselves facing off against the Whisperers, a new and mysterious group, while Negan has managed to escape confi nement after more than half a decade locked up. Who lives, who dies? The Walking Dead returns for the second half of its ninth season. Airing Sunday, Feb. 10, on AMC. WEEKLY NEWS UPDATE LIVE @ THE LEGISLATURE Join Senate and House leadership as they discuss upcoming legislation and issues of importance to the community. TOMORROW, 8:30AM | CHANNEL 49 | olelo.org/49 olelo.org ON THE COVER | THE WALKING DEAD Whispers in the dark ‘The Walking Dead’ returns (Norman Reedus, “Ride with Norman Reedus”) fall’s cliffhanger that saw Jesus (Tom Payne, Saviors and Ezekiel’s (Khary Payton, “General “Luck”) struck down at the hands of a new, with new foes Hospital”) Kingdom in order to build a sustain- more dangerous kind of walker while the able future for everyone. Eventually, his vision surrounded Michonne (Danai Gurira, “Black By Francis Babin and leadership were questioned, and amid the Panther,” 2018), Aaron (Ross Marquand, TV Media rising tensions and infighting within and be- “Avengers: Infinity War,” 2018), Yumiko tween the communities, an insurrection took (Eleanor Matsuura, “Wonder Woman,” 2017) ast month marked an important milestone place. and Daryl discovered the shocking truth re- in the history of entertainment. Twenty Unfortunately for Rick, he was not be able garding these grotesque monsters. Lyears ago, “The Sopranos” debuted to see the communities overcome their dif- It was revealed in the last moments of the on HBO to high praise and instantaneously ferences and live harmoniously with one an- half-season finale that the walkers that killed changed the television landscape forever. -
Good Work, Little Soldier: Text and Pretext
First published in Journal of European Studies 34:1-2 (2004), pp.34-43 Good Work, Little Soldier: text and pretext Adaptation, the most explicit kind of intertextual relation implicating film, is not really intertextual at all, if intertextuality is understood to be a systematic, ongoing and infinite ramification of meanings that command our critical pause. But if we apply a more restricted model from literary theory, centred on a ‘centring text which retains its position of leadership in meaning’,1 adaptation can be read through a variation of this model: pretextuality. Film-on-book relations are generally pretextual: the adapted text as point of departure, as party in a dialogue, as measure of a difference, as mirror. Beau travail has two pretexts, a book and a film: Melville’s Billy Budd, Sailor (1891) and Godard’s Le petit soldat (1960). The first is the kind of pretext familiar from cinematic adaptations of literary works, though it is made strange by reference to an intermediate operatic adaptation (Britten’s Billy Budd). The second is of a quite unfamiliar kind, a variant of cinematic pretextuality that may be peculiar to Beau travail. Most comparable instances of character and actor reappearing in a different director’s film would be from sequels or episodes in series,2 but though Michel Subor plays Bruno Forestier in both films, Beau travail is not, in narrative terms, a sequel to Le petit soldat. A more exact idea of the film-on-film relations that bind the two films is the object of this article. ‘Pretext and intertext’ is not a categorical distinction: pretextuality is just over- determined intertextuality. -
Putney Swope
THE FILM FOUNDATION 2019 ANNUAL REPORT OVERVIEW The Film Foundation supports the restoration of films from every genre, era, and region, and shares these treasures with audiences through hundreds of screenings every year at festivals, archives, repertory theatres, and other venues around the world. The foundation educates young people with The Story of Movies, its groundbreaking interdisciplinary curriculum that has taught visual literacy to over 10 million US students. In 2019, The Film Foundation welcomed Kathryn Bigelow, Sofia Coppola, Guillermo del Toro, Joanna Hogg, Barry Jenkins, Spike Lee, and Lynne Ramsay to its board of directors. Each has a deep understanding and knowledge of cinema and its history, and is a fierce advocate for its preservation and protection. Preservation and Restoration World Cinema Project Working in partnership with archives and studios, The Film Foundation’s World Cinema Project has The Film Foundation has helped save over 850 films restored 40 films from24 countries to date. to date. Completed projects in 2019 included: Completed projects in 2019 included: THE CLOUD– William Wyler’s beloved classic, DODSWORTH; CAPPED STAR (India, 1960, d. Ritwik Ghatak), EL Herbert Kline’s acclaimed documentary about FANTASMA DEL CONVENTO (Mexico, 1934, d. Czechoslovakia during the Nazi occupation, CRISIS: Fernando de Fuentes), LOS OLVIDADOS (Mexico, A FILM OF “THE NAZI WAY”; Arthur Ripley’s film 1950, d. Luis Buñuel), LA FEMME AU COUTEAU noir about a pianist suffering from amnesia, VOICE (Côte d’Ivoire, 1969, d. Timité Bassori), and MUNA IN THE WIND; and John Huston’s 3–strip Technicolor MOTO (Cameroon, 1975, d. Jean–Pierre Dikongué– biography of Toulouse–Lautrec, MOULIN ROUGE. -
1 Hp0103 Roy Ward Baker
HP0103 ROY WARD BAKER – Transcript. COPYRIGHT ACTT HISTORY PROJECT 1989 DATE 5th, 12th, 19th, 26th, October and 6th November 1989. A further recording dated 16th October 1996 is also included towards the end of this transcript. Roy Fowler suggests this was as a result of his regular lunches with Roy Ward Baker, at which they decided that some matters covered needed further detail. [DS 2017] Interviewer Roy Fowler [RF]. This transcript is not verbatim. SIDE 1 TAPE 1 RF: When and where were you born? RWB: London in 1916 in Hornsey. RF: Did your family have any connection with the business you ultimately entered? RWB: None whatsoever, no history of it in the family. RF: Was it an ambition on your part or was it an accidental entry eventually into films? How did you come into the business? RWB: I was fairly lucky in that I knew exactly what I wanted to do or at least I thought I did. At the age of something like fourteen I’d had rather a chequered upbringing in an educa- tional sense and lived in a lot of different places. I had been taken to see silent movies when I was a child It was obviously premature because usually I was carried out in scream- ing hysterics. There was one famous one called The Chess Player which was very dramatic and German and all that. I had no feeling for films. I had seen one or two Charlie Chaplin films which people showed at children's parties in those days on a 16mm projector. -
The British War Film, 1939-1980: Culture, History, and Genre
The British War Film, 1939-1980: Culture, History, and Genre by Kevin M. Flanagan B.A., College of William and Mary, 2006 M.A., North Carolina State University, 2009 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2015 UNIVERSITY OF PITTSBURGH KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Kevin M. Flanagan It was defended on April 15, 2015 and approved by Colin MacCabe, Distinguished Professor, Department of English Adam Lowenstein, Associate Professor, Department of English David Pettersen, Assistant Professor, Department of French and Italian Dissertation Advisor: Lucy Fischer, Distinguished Professor, Department of English ii Copyright © by Kevin M. Flanagan 2015 iii THE BRITISH WAR FILM, 1939-1980: CULTURE, HISTORY, AND GENRE Kevin M. Flanagan, Ph.D. University of Pittsburgh, 2015 This dissertation argues that discussions of war representation that privilege the nationalistic, heroic, and redemptively sacrificial strand of storytelling that dominate popular memory in Britain ignore a whole counter-history of movies that view war as an occasion to critique through devices like humor, irony, and existential alienation. Instead of selling audiences on what Graham Dawson has called “the pleasure culture of war” (a nationally self-serving mode of talking about and profiting from war memory), many texts about war are motivated by other intellectual and ideological factors. Each chapter includes historical context and periodizing arguments about different moments in British cultural history, explores genre trends, and ends with a comparative analysis of representative examples. -
Notes and References
Notes and References CHAPTER 1 To provide an intellectual and cultural framework for examining Carol Reed's films, a history of the British cinema from its origins through to the Second World War is offered in this chapter. Although Reed began directing in 1935, 1939 seemed a tidier, more logical cut-off point for the survey. All the information in the chapter is synthesized from several excellent works on the subject: Roy Armes's A Critical History of the British Cinema, Ernest Betts' The Film Business, Ivan Butler's Cinema in Britain, Denis Gifford's British Film Catalogue, Rachel Low's History of the British Film, and George Perry's The Great British Picture Show. CHAPTER 2 1. Michael Korda, Charmed Lives (New York, 1979) p. 229; Madeleine Bingham, The Great Lover (London, 1978). 2. Frances Donaldson, The Actor-Managers (London, 1970) p. 165. 3. Interview with the author. Unless otherwise identified, all quota tions in this study from Max Reed, Michael Korda and Andrew Birkin derive from interviews. 4. C. A. Lejeune, 'Portrait of England's No.1 Director', New York Times, 7 September 1941, p. 3. 5. Harvey Breit, ' "I Give the Public What I Like" " New York Times Magazine, 15January 1950, pp. 18-19. 6. Korda, Charmed Lives, p. 244. 7. Kevin Thomas, 'Director of "Eagle" Stays Unflappable', The Los Angeles Times, 24 August 1969. CHAPTER 3 1. Michael Voigt, 'Pictures of Innocence: Sir Carol Reed', Focus on Film, no. 17 (Spring 1974) 34. 2. 'Midshipman Easy', The Times, 23 December 1935. 271 272 Notes and References 3. -
December 6, 2011 (XXIII:15) George Cukor, MY FAIR LADY (1964, 170 Min.)
December 6, 2011 (XXIII:15) George Cukor, MY FAIR LADY (1964, 170 min.) Directed by George Cukor Book of musical play by Alan Jay Lerner From a play by George Bernard Shaw Screenplay by Alan Jay Lerner Produced by Jack L. Warner; James C. Katz (1994 restoration) Original Music by André Previn Cinematography by Harry Stradling Sr. Film Editing by William H. Ziegler Production Design by Cecil Beaton and Gene Allen Art Direction by Gene Allen and Cecil Beaton Costume Design by Cecil Beaton and Michael Neuwirth Musical play lyrics by Alan Jay Lerner Music by Frederick Loewe Choreography by Hermes Pan Audrey Hepburn...Eliza Doolittle Rex Harrison...Professor Henry Higgins Stanley Holloway...Alfred P. Doolittle Report, 1960 Let's Make Love, 1960 Heller in Pink Tights, 1957 Wilfrid Hyde-White...Colonel Hugh Pickering Wild Is the Wind, 1957 Les Girls, 1956 Lust for Life, 1956 Gladys Cooper...Mrs. Higgins Bhowani Junction, 1954 A Star Is Born, 1954 It Should Happen Jeremy Brett...Freddy Eynsford-Hill to You, 1953 The Actress, 1952 Pat and Mike, 1952 The Theodore Bikel...Zoltan Karpathy Marrying Kind, 1950 Born Yesterday, 1950 A Life of Her Own, Mona Washbourne...Mrs. Pearce 1949 Adam's Rib, 1949 Edward, My Son, 1947 A Double Life, Isobel Elsom...Mrs. Eynsford-Hill 1944 Gaslight, 1942 Keeper of the Flame, 1940 The John Holland...Butler Philadelphia Story, 1939 The Women, 1936 Camille, 1936 Romeo and Juliet, 1935 Sylvia Scarlett, 1935 David Copperfield, 1965 Academy Awards: 1933 Little Women, 1933 Dinner at Eight, 1932 Rockabye, 1932 Best Picture – Jack L. Warner A Bill of Divorcement, 1932 What Price Hollywood?, 1931 Best Director – George Cukor Tarnished Lady, 1930 The Royal Family of Broadway, 1930 The Best Actor in a Leading Role – Rex Harrison Virtuous Sin, and 1930 Grumpy. -
AFI PREVIEW Is Published by the American Film Institute
IN THIS ISSUE CONTENTS Opening Night Gala with DANNY GLOVER and director Abderrahmane Sissako 2 2006 European Union Film Showcase The best in current European Cinema… NEW AFRICAN FILMS FESTIVAL without the jetlag Washington, DC Premiere of BAMAKO Thursday, December 7, Reception: 6:30 pm, Screening: 7:45 pm 8 Carol Reed Centennial Reception, screening and panel discussion: $75 10 Coppola Redux Screening and panel discussion ONLY: $35 An offering of films you can’t refuse… 12 REBELS WITH A CAUSE: The Cinema of East Germany AFI Silver is proud to host the 3rd annual New African Films Festival, December 7 13 Silver Holiday Classics through 11. The vibrancy of African filmmaking from all corners of the continent will be The way they were meant to be seen on display, including Washington, DC premieres of Abderrahmane Sissako’s BAMAKO; — on the big screen! ABENI from Nigeria; and the award-winning INDIGÈNES (DAYS OF GLORY). 17th Washington Jewish Film Festival The festival is presented by AFI, TransAfrica Forum, and afrikafé, and made possible by the generous support of BET J. 14 What is AFI Silver, HOW DO I JOIN? For a complete list of films in the New African Films Festival, go to www.AFI.com/Silver. 15 Repertory Calendar- full schedule at www.AFI.com/Silver SPECIAL SCREENING! BLOOD DIAMOND 16 JUDY, JUDY, JUDY! Classic Musicals of Judy Garland In Person: director Ed Zwick LOOK FOR THE Member Passes accepted for designated screenings. To find out how to become a member of AFI, see page 14. A Special Thanks! Visit www.AFI.com/Silver for details.