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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. -
Newsletter 19/06 DIGITAL EDITION Nr
ISSN 1610-2606 ISSN 1610-2606 newsletter 19/06 DIGITAL EDITION Nr. 190 - September 2006 Michael J. Fox Christopher Lloyd LASER HOTLINE - Inh. Dipl.-Ing. (FH) Wolfram Hannemann, MBKS - Talstr. 3 - 70825 K o r n t a l Fon: 0711-832188 - Fax: 0711-8380518 - E-Mail: [email protected] - Web: www.laserhotline.de Newsletter 19/06 (Nr. 190) September 2006 editorial Hallo Laserdisc- und DVD-Fans, sein, mit der man alle Fans, die bereits ein lich zum 22. Bond-Film wird es bestimmt liebe Filmfreunde! Vorgängermodell teuer erworben haben, wieder ein nettes Köfferchen geben. Dann Was gibt es Neues aus Deutschland, den ärgern wird. Schick verpackt in einem ed- möglicherweise ja schon in komplett hoch- USA und Japan in Sachen DVD? Der vor- len Aktenkoffer präsentiert man alle 20 auflösender Form. Zur Stunde steht für den liegende Newsletter verrät es Ihnen. Wie offiziellen Bond-Abenteuer als jeweils 2- am 13. November 2006 in den Handel ge- versprochen haben wir in der neuen Ausga- DVD-Set mit bild- und tonmäßig komplett langenden Aktenkoffer noch kein Preis be wieder alle drei Länder untergebracht. restaurierten Fassungen. In der entspre- fest. Wer sich einen solchen sichern möch- Mit dem Nachteil, dass wieder einmal für chenden Presseerklärung heisst es dazu: te, der sollte aber nicht zögern und sein Grafiken kaum Platz ist. Dieses Mal ”Zweieinhalb Jahre arbeitete das MGM- Exemplar am besten noch heute vorbestel- mussten wir sogar auf Cover-Abbildungen Team unter Leitung von Filmrestaurateur len. Und wer nur an einzelnen Titeln inter- in der BRD-Sparte verzichten. Der John Lowry und anderen Visionären von essiert ist, den wird es freuen, dass es die Newsletter mag dadurch vielleicht etwas DTS Digital Images, dem Marktführer der Bond-Filme nicht nur als Komplettpaket ”trocken” wirken, bietet aber trotzdem den digitalen Filmrestauration, an der komplet- geben wird, sondern auch gleichzeitig als von unseren Lesern geschätzten ten Bildrestauration und peppte zudem alle einzeln erhältliche 2-DVD-Sets. -
John Boorman
13/15 John Boorman BFI Southbank to honour the director with a BFI Fellowship on 25 March followed by a career retrospective throughout April On 25 March John Boorman will be presented a BFI Fellowship – the highest accolade that the nation’s leading organisation for film can award. To mark the occasion he will be interviewed by Michel Ciment, on-stage at BFI Southbank, to launch a major retrospective of his work and to celebrate his recent 80th birthday. There will also be an Extended Run and nationwide release of Point Blank (1967) and an exhibition of artefacts from Boorman’s personal archive, on display in the Mezzanine – including a dress worn by Helen Mirren in Excalibur (1981). To complement this season there will be an exclusive run of Me and Me Dad (2011), an intimate insight of life in the Boorman family, directed by John’s daughter Katrine Boorman (who will appear in conversation on 27 March, following a preview of her film). According to Philip French, John Boorman is ‘one of the greatest filmmakers this country has produced’. He began his career as a documentary director for the BBC with Citizen 63 (BBC, 1963) and The Newcomers (BBC, 1964), and this season will feature these early works and follow his varied filmmaking career to date. His first feature film, Catch Us If You Can (1965), was a showcase for the Dave Clark Five and caught the attention and support of Pauline Kael. It was followed by The Quarry: Portrait of a Man as a Parylsed Artist (BBC, 1966), inspired by Fellini’s 8½ and events in Boorman’s own life. -
LE MONDE/PAGES<UNE>
www.lemonde.fr 57e ANNÉE – Nº 17535 – 7,50 F - 1,14 EURO FRANCE MÉTROPOLITAINE DIMANCHE 10 - LUNDI 11 JUIN 2001 FONDATEUR : HUBERT BEUVE-MÉRY – DIRECTEUR : JEAN-MARIE COLOMBANI L’Irlande Deux semaines de congé pour les pères rejette massivement b Lionel Jospin annonce, lundi, l’instauration d’un « congé de paternité » de quatorze jours, rémunéré le traité de Nice à 100 % du salaire b Son coût est évalué à 700 millions de francs, financé par la branche famille de la sur l’élargissement Sécurité sociale b Il s’agit de renforcer l’égalité entre hommes et femmes, à la maison comme au travail A L’OCCASION de la conférence réforme, elle devrait « provoquer des de la famille, qui s’ouvre lundi évolutions en profondeur des compor- de l’Union 11 juin à Paris, le premier ministre, tements » dans la famille et l’entrepri- Lionel Jospin, devait annoncer une se. La ministre déléguée à la famille POUR LE CINQUIÈME référen- mesure spectaculaire : la création et à l’enfance espère que les entrepri- dum national à propos de l’Europe, d’un congé de paternité. A la naissan- ses permettront à leurs salariés l’Irlande a, pour la première fois, ce de leur enfant, les pères pourront d’ajouter les deux semaines de ce SAMUEL BOLLENDORFF/L’ŒIL PUBLIC vendredi 8 juin, dit « non », par cesser leur travail pendant quatorze congé de paternité aux jours déga- 54 % des suffrages contre 46 %, reje- jours, en percevant 100 % de leur gés par la réduction du temps de tra- ENQUÊTE tant ainsi le traité de Nice sur l’élar- salaire. -
Theatre Archive Project: Interview with Michael Codron
THEATRE ARCHIVE PROJECT http://sounds.bl.uk Michael Codron – interview transcript Interviewer: Adam Smith 7 April 2009 Producer. Actors; Alphabetical Order; The Birthday Party; The Caretaker; censorship; critics; directors; 'Dirty Plays' controversy; Entertaining Mr Sloane; Gallery First Nighters; The Homecoming; Jack Hylton The Killing of Sister George; Joan Littlewood; Look Back in Anger; London Arts Theatre; Lyric Theatre, Hammersmith; Donald McWhinnie; Joe Orton; Harold Pinter; producers; Peggy Ramsay; scripts; Share My Lettuce; There's a Girl in My Soup; Kenneth Williams; writers. AS: You have been described as both a producer and an impresario, although some critics claim that there is nowadays an uncertainty as to the precise meaning of these words. Given the slippage between the two, and that you have been described using each of the terms, but that they are not mutually exclusive, which would you describe yourself as? MC: I sometimes say impresario but it sounds like the wretched man from Pinocchio, doesn't it? Do you remember that man that tried to capture Pinocchio? But I really am a producer, a theatre producer. Yes, impresario sounds rather evil, doesn't it? [laughs] Perhaps I am evil, occasionally. AS: So how would you define this profession before 1968, what would it involve? MC: As far as I'm concerned? Well you’re asking me to talk about 1945 aren't you first, when I was all of 15. AS: What about after you became a producer, how would you define the profession? MC: No I didn't become a producer until 1950-something. AS: You're right, we'll do it chronologically. -
Shylock : a Performance History with Particular Reference to London And
University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. CHAPTER 1 SHYLOCK & PERFORMANCE Such are the controversies which potentially arise from any new production of The Merchant of Venice, that no director or actor can prepare for a fresh interpretation of the character of Shylock without an overshadowing awareness of the implications of getting it wrong. This study is an attempt to describe some of the many and various ways in which productions of The Merchant of Venice have either confronted or side-stepped the daunting theatrical challenge of presenting the most famous Jew in world literature in a play which, most especially in recent times, inescapably lives in the shadow of history. I intend in this performance history to allude to as wide a variety of Shylocks as seems relevant and this will mean paying attention to every production of the play in the Shakespeare Memorial Theatre and the Royal Shakespeare Theatre, as well as every major production in London since the time of Irving. For reasons of practicality, I have confined my study to the United Kingdom1 and make few allusions to productions which did not originate in either Stratford or London. -
The Official Organofthe B B.C
Radio Times, dune 19th, 1925. EARNING A LIVING BY RADIO. By P. P. ECKERSLEY. ttLASa (aH Bey THE OFFICIAL ORGANOFTHE B B. C. li He clabeendl at th Vol. 7. Now 91, ismee aan Newoor | EVERY|FRIDAY. Two Pence. OFFICIAL <noMage Songs That Live. PROGRAMMES By S i r RICHARD TERRY, Mus. Doc. for the week commencing (Until a year ogo Sir Richard Terry was away much of the organist Pei director of music at Westminster SUNDAY, June 21st. drudgery of a Cathedral; He performed a national service by sailor's life, trioch retrieving from obscurity the works of Tudor = SS eee composers. He is also the greatest living af the romance lett MAIN STATIONS, authority on sea shanties.| the seas as. well * ik sh LONDON, CARDIFF, ABERDEEN, GLAS- HES wireless enthusiasts listened to the. sea shanties broadeast lt is. a well- GOW, BIRMINGHAM, MANCHESTER, regently “from the Albert -Hall, 1 known fact’ that BOURNEMOUTH, NEWCADSILE, can well imagine that many. ol them, net so fone apa BELFAST, as they sat in their armchairs with the nearly everyone ‘phones on their heads, felt inclined to sang at. has work, HIGH-POWER STATION. join in. those -rollt king choruses, The The sailor shanties (Chelmsford.) present popularity of the sta Shanty is a ate amongst the RELAY STATIONS. good sign, and it shows that many people last to die out im are beconting tired of“ that unrest w hich this country. Cap- Si RICHARD TERRY, SHEFFIELD, PLYMOUTH, EDINBURGH men miseall dehght “—I mean jaze musi stan shanties were LIVERPOOL, LEEDS—BRADFORD, —waid are returning to the. -
Dias Difíceis a Representação Da Violência Na Dramaturgia Britânica De Matriz Realista Do Pós-Segunda Guerra Mundial (1951-1967)
UNIVERSIDADE DE LISBOA FACULDADE DE LETRAS Dias difíceis A representação da violência na dramaturgia britânica de matriz realista do pós-Segunda Guerra Mundial (1951-1967) Rui Pina Coelho DOUTORAMENTO EM ESTUDOS ARTÍSTICOS ESPECIALIDADE ESTUDOS DE TEATRO 2013 2 UNIVERSIDADE DE LISBOA FACULDADE DE LETRAS Dias difíceis A representação da violência na dramaturgia britânica de matriz realista do pós-Segunda Guerra Mundial (1951-1967) Rui Pina Coelho Tese orientada pela Professora Doutora Maria Helena Serôdio, especialmente elaborada para a obtenção do grau de Doutor em Estudos Artísticos, Especialidade Estudos de Teatro. 2013 3 4 Resumo A violência na sociedade e a sua representação artística têm sido desde sempre objecto de vibrantes debates. Na criação contemporânea, a violência continua a ser um dos mais insistentes refrãos temáticos motivando trabalhos que fazem confundir a realidade e a ficção, a violência e a sua representação. Este estudo analisa um corpus seleccionado de dramaturgia britânica de matriz realista do pós-Segunda Guerra Mundial, incluindo textos de John Whiting (Saints’s Day, 1951), Brendan Behan (The Quare Fellow, 1954), John Osborne (Look Back in Anger, 1956), Harold Pinter (The Birthday Party, 1958), Arnold Wesker (Chicken Soup with Barley, 1958; Roots, 1959; e I’m Talking about Jerusalem, 1960), John Arden (Serjeant Musgrave’s Dance, 1959), David Rudkin (Afore Night Come, 1962), Giles Cooper (Everything in the Garden, 1962), Edward Bond (Saved, 1965) e Charles Wood (Dingo, 1967). São textos reportados a uma geração de dramaturgos conhecidos como “Angry Young Men” e por uma Segunda Vaga de dramaturgos dos anos sessenta que a, seu modo, respondem às profundas alterações na geometria política e social, motivadas, em grande medida, pela Segunda Guerra Mundial. -
Angus Mackay Diaries Volume III (1966-1977)
Angus Mackay Diaries Volume III (1966-1977) ANGUS MACKAY DIARY NO. 35 Friday July 22 1966 David rang up last night after his first night, about ten to twelve, from the ‘phone-box outside his digs. (The digs are about ¼ of an hours walk, on the way to Walton-on-the-Naze.) He was absolutely miserable. I have never heard him so depressed. As far as we could tell, there was nothing tangible for him to be depressed about, except that he’d felt ‘wooden’, ‘spastic’, ‘the whole company got the laughs’. I’d say this last had something to do with it, as he’d thought himself rather good and better than the others. An audience soon tells one, and the leading girl, whom he hadn’t thought much of ‘came up fantastically.’ That would throw him technically, too. But principally it’s, of course, that it’s all much harder than he expected. As Peter Hoar said he gave a very good period performance, and he’s playing the murderer, not the detective’s assistant, in the next play. I don’t think they’ve lost faith in him yet! (Also, ‘Jane’ is almost certainly by far the better part of the two – Cinderella usually is – and she probably got a lot of the laughs and the praise.) I hope he’ll pick himself up quickly and get on. This will be the testing time, as he has obviously a tendency to give in unless everything is easy for him. So there he is miserable in digs all by himself, about his acting, just as I wanted him to be. -
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. -
World-Radio-1936-12
mid Radio, December i8, T93 "No, Gentlemen :the risks are great enough already ;but ifI am to be televised-!" ii WORLD -RADIO DECEMBER 18, 1936 39' Every Wednesday-aBBC Publication WORLD- RADIO VOL. XXIII NO. 595 DECEMBER 18, 1936 (Right) HOW WILL FATHER - CHRISTMASCET DOWN ? A U.S.A. prize photograph showing _ little brothers discussing the message they will send to Santa Claus (Below) A study of an old and poor, but happy, Tyrol couple, celebrating Christmas in their home 2 WORLD -RADIO DECEMBER 1 8,1 9 3 6 In Christmas Programmes Abroad (From our Correspondents) AUSTRIA I.3o a.m. a midnight Mass celebrated in Antwerp Christmas message. from the President of the Cathedral, with the " Maitrise " of the Cathedral Republic, Edward Benes.His Czech message THE Ravag Christmas Eve programme will, ofunderthe direction of Mgr. Ludervijk De will be transmitted at 4.28 p.m. and his message course,includechimesandtheChristmas Vocht. for German inhabitants at 5 p.m. At 6.55 p.m. hymn, and Chancellor Dr. Schuschnigg will The Brussels No. x station will broadcast onwill ring Christmas bells from St. Vitus's Cathe- deliver an address.Between 8 and 9 p.m. thereChristmas Day, at to a.m., a " Pontifical Mass "dral, in Prague, founded by Charles IV on the will beabroadcast called " The Homeland celebrated in the Cathedral of Malines. remnants of a Roman crypt dating from the Calls," especially for Austrians abroad.In the The famous " Maitrise " of Saint Rombaut, tenth century and other historic buildings. A afternoon, from 2 to 3 p.m., there will be a studio well known beyond Belgium, and directed byPontifical Mass will be transmitted from St. -
Greeneland the Cinema of Graham Greene
Tr ave ls in Greeneland The Cinema of Graham Greene Tr ave ls in Greeneland The Cinema of Graham Greene revised and updated fourth edition Quentin Falk University Press of North Georgia Dahlonega, GA Copyright Quentin Falk 2014 All rights reserved. No part of this book may be reproduced in whole or in part without written permission from the publisher, except by reviewers who may quote brief excerpts in connections with a review in newspaper, magazine, or electronic publications; nor may any part of this book be reproduced, stored in a retrieval system, or transmitted in any form or by any means electronic, mechanical, photocopying, recording, or other, without the written permission from the publisher. Published by: University Press of North Georgia Dahlonega, Georgia Printing Support by: Booklogix Publishing Services, Inc. Alpharetta, Georgia Cover Photo: Joseph Cotten in The Third Man Cover design by Jon Mehlferber and April Loebick. Frontispiece: Graham Greene ISBN: 978-1-940771-13-7 Printed in the United States of America, 2014 For more information, please visit: http://www.upng.org Or e-mail: [email protected] For Hannah Contents Acknowledgments viii Foreword ix Preface to New Edition x Introduction xiii PART ONE: THE THIRTIES Chapter 1 - Writer for Hire 1 PART TWO: THE FORTIES Chapter 2 - Propaganda War 9 Chapter 3 - Men Within 21 Chapter 4 - Young Scarface 29 Chapter 5 - A Perfect Collaboration 41 PART THREE: THE FIFTIES Chapter 6 - Saintly Sinners 63 Chapter 7 - Behind the Camera 77 Chapter 8 - Aspects of Americana 87 PART FOUR: THE SIXTIES Chapter 9 - Caribbean Cocktails 99 PART FIVE: THE SEVENTIES Chapter 10 - Past Remembered 113 Chapter 11 - Spy in the Cold 123 PART SIX: THE EIGHTIES AND NINETIES Chapter 12 - The Endless Affair 129 PART SEVEN: NEW MILLENNIUM Chapter 13 - Back to the Future 141 Afterword 152 Notes 154 Bibliography 158 Appendix I: Additional Filmography 159 Appendix II: Unrealized Projects 170 Index 172 Acknowledgments ACKNOWLEDGMENTS y grateful thanks to so many people who Film Distributors, Rex Features, Sten M.