Stephen Frears

Total Page：16

File Type：pdf, Size：1020Kb

University of Pittsburgh, Film Studies Program Screening of THE QUEEN will be introduced by Director, Stephen Frears . Q&A session with Colin MacCabe Saturday APRIL 14 Alumni Hall Auditorium 7th Floor - starting at 6pm THE QUEEN DIRECTED BY : STEPHEN FREARS Known for making provocative, stylized, and tightly budgeted films about people living on society's social and/or sexual fringes, British director Stephen Frears is renowned as one of his coun- try's most vibrant and recognizable filmmakers. Regarding his tendency to make films that branch into unfamiliar territory, Frears has said that he likes "making films about different cul- tures...I'm interested in things that I've never encountered before. I try to put myself in the audience's position." Born in Leicester, Frears studied law at Cambridge University before turning to the arts. He became involved with London's Royal Court Theatre, where he served as an assistant to director Lindsay Anderson and to actor Albert Finney. He started his career in the film industry as an assistant director to Karel Reisz, with whom he worked from 1966 until 1972. Scripted by Peter Morgan, 2006's THE QUEEN took a comic-yet-sympathetic look at the P.R. nightmare that ensued after Princess Diana's death in 1997. Bolstered by Helen Mirren's universally acclaimed work as Queen Elizabeth II, the film enjoyed a healthy arthouse run through awards season, when Frears found himself the re- cipient of countless Best Director nominations from critics' organizations, as well as the Golden Globe Awards . For more information, contact Vladimir Padunov, [email protected], or Jennifer Florian, 412-624-6564. Film Studies Program, www.filmstudies.pitt.edu .

Copy Link

Recommended publications

From Free Cinema to British New Wave: a Story of Angry Young Men
SUPLEMENTO Ideas, I, 1 (2020) 51 From Free Cinema to British New Wave: A Story of Angry Young Men Diego Brodersen* Introduction In February 1956, a group of young film-makers premiered a programme of three documentary films at the National Film Theatre (now the BFI Southbank). Lorenza Mazzetti, Lindsay Anderson, Karel Reisz and Tony Richardson thought at the time that “no film can be too personal”, and vehemently said so in their brief but potent manifesto about Free Cinema. Their documentaries were not only personal, but aimed to show the real working class people in Britain, blending the realistic with the poetic. Three of them would establish themselves as some of the most inventive and irreverent British filmmakers of the 60s, creating iconoclastic works –both in subject matter and in form– such as Saturday Day and Sunday Morning, The Loneliness of the Long Distance Runner and If… Those were the first significant steps of a New British Cinema. They were the Big Screen’s angry young men. What is British cinema? In my opinion, it means many different things. National cinemas are much more than only one idea. I would like to begin this presentation with this question because there have been different genres and types of films in British cinema since the beginning. So, for example, there was a kind of cinema that was very successful, not only in Britain but also in America: the films of the British Empire, the films about the Empire abroad, set in faraway places like India or Egypt. Such films celebrated the glory of the British Empire when the British Empire was almost ending.
[Show full text]
Sport, Life, This Sporting Life, and the Hypertopia
ORE Open Research Exeter TITLE Sport, life, This Sporting Life, and the hypertopia AUTHORS Ewers, C JOURNAL Textual Practice DEPOSITED IN ORE 11 May 2021 This version available at http://hdl.handle.net/10871/125641 COPYRIGHT AND REUSE Open Research Exeter makes this work available in accordance with publisher policies. A NOTE ON VERSIONS The version presented here may diﬀer from the published version. If citing, you are advised to consult the published version for pagination, volume/issue and date of publication Textual Practice ISSN: (Print) (Online) Journal homepage: https://www.tandfonline.com/loi/rtpr20 Sport, life, This Sporting Life, and the hypertopia Chris Ewers To cite this article: Chris Ewers (2021): Sport, life, ThisSportingLife, and the hypertopia, Textual Practice, DOI: 10.1080/0950236X.2021.1900366 To link to this article: https://doi.org/10.1080/0950236X.2021.1900366 © 2021 The Author(s). Published by Informa UK Limited, trading as Taylor & Francis Group Published online: 16 Mar 2021. Submit your article to this journal Article views: 50 View related articles View Crossmark data Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=rtpr20 TEXTUAL PRACTICE https://doi.org/10.1080/0950236X.2021.1900366 Sport, life, This Sporting Life, and the hypertopia Chris Ewers English Literature and Film, University of Exeter, Exeter, UK ABSTRACT Sport has classically been regarded as an ‘elsewhere’, a leisure activity set apart from the serious business of life. Sociological critiques of sport, however, emphasise its importance in transmitting ideology, and its responsiveness to historical change. The question, then, is how does this ‘elsewhere’ connect to the everyday? The article proposes that the spaces of sport generally function as a hypertopia, which involves a going beyond of the normative, rather than the Foucauldian idea of the heterotopia or utopia, which foreground diﬀerence.
[Show full text]
THE Permanent Crisis of FILM Criticism
mattias FILM THEORY FILM THEORY the PermaNENT Crisis of IN MEDIA HISTORY IN MEDIA HISTORY film CritiCism frey the ANXiety of AUthority mattias frey Film criticism is in crisis. Dwelling on the Kingdom, and the United States to dem the many film journalists made redundant at onstrate that film criticism has, since its P newspapers, magazines, and other “old origins, always found itself in crisis. The erma media” in past years, commentators need to assert critical authority and have voiced existential questions about anxieties over challenges to that author N E the purpose and worth of the profession ity are longstanding concerns; indeed, N T in the age of WordPress blogospheres these issues have animated and choreo C and proclaimed the “death of the critic.” graphed the trajectory of international risis Bemoaning the current anarchy of inter film criticism since its origins. net amateurs and the lack of authorita of tive critics, many journalists and acade Mattias Frey is Senior Lecturer in Film at film mics claim that in the digital age, cultural the University of Kent, author of Postwall commentary has become dumbed down German Cinema: History, Film History, C and fragmented into niche markets. and Cinephilia, coeditor of Cine-Ethics: riti Arguing against these claims, this book Ethical Dimensions of Film Theory, Prac- C examines the history of film critical dis tice, and Spectatorship, and editor of the ism course in France, Germany, the United journal Film Studies. AUP.nl 9789089647177 9789089648167 The Permanent Crisis of Film Criticism Film Theory in Media History explores the epistemological and theoretical founda- tions of the study of film through texts by classical authors as well as anthologies and monographs on key issues and developments in film theory.
[Show full text]
An Overview of the Working Classes in British Feature Film from the 1960S to the 1980S: from Class Consciousness to Marginalization
An Overview of the Working Classes in British Feature Film from the 1960s to the 1980s: From Class Consciousness to Marginalization Stephen C. Shafer University of Illinois Abstract The portrayal of the working classes has always been an element of British popular film from the comic music hall stereotypes in the era of Gracie Fields and George Formby in the 1930s to the more gritty realism of the “Angry Young Man” films that emerged in the 1950s and 1960s. Curiously, in the last thirty years, the portrayal of the working classes in popular film has become somewhat less sharply drawn and more indistinct. In an odd way, these changes may parallel criticisms directed toward politicians about a declining sense of working-class unity and purpose in the wake of the Margaret Thatcher and post-Thatcher eras. When noted English film director and commentator Lindsay Anderson was asked to contribute an overview article on the British cinema for the 1984 edi- tion of the International Film Guide, he ruefully observed that from the per- spective of 1983 and, indeed, for most of its history, “British Cinema [has been] . a defeated rather than a triumphant cause.”1 Referring to the perennial fi- nancial crises and the smothering effect of Hollywood’s competition and influ- ence, Anderson lamented the inability of British films to find a consistent na- tional film tradition, adding that “the British Cinema has reflected only too clearly a nation lacking in energy and the valuable kind of pride . which cher- ishes its own traditions.”2 In particular, Anderson observed that when, on occa- sion, the British film industry had attempted to address the interests and needs of its working classes, the “aims” of the film-makers “were not supported .
[Show full text]
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.
[Show full text]
Commitment in Cinema Criticism LINDSAY ANDERSON
Universities & Left Review Spring 1957 Vol.1 No 1 It is beginning to dawn upon us all that what is needed most today is a criticism of criticism . For Commitment it is the critic, rather than the work of art, who should be put for a while upon the dissecting table—ERNESTNEWMAN. It has for some time seemed to me that a criticism in cinema which has at heart the interest of liberalism might find its most useful work not in confirming liberalism in its sense of general rightness, but rather in putting under criticism some degree of pressure the liberal ideas and assump- tions of the present time—LIONEL TRILLING IN "THE LINDSAY ANDERSON* LIBERAL IMAGINATION". Stand up, stand up for Jesus!—GEORGE DUFFIELD. Instead of starting with any theoretical discussion merit of its significance—has actually been reduced. It about the nature of criticism, it may be useful to clear is of course inevitable that the majority of films made the ground by considering some aspects of its practice for popular entertainment in a capitalist society, where at the moment. What basic assumptions, what attitudes the general educational level is low and popular culture do we find common in the writing of present day increasingly corrupt, should be of poor artistic quality; critics? A first important point is that the cinema has nor is it surprising if people whose only experience of at least achieved respectability. the cinema is through such films form a low opinion of Thirty years ago it was only a minority who took it.
[Show full text]
RFC's Library's Book Guide
RFC’s Library’s Book Guide 2017 Since the beginning of our journey at the Royal Film Commission – Jordan (RFC), we have been keen to provide everything that promotes cinema culture in Jordan; hence, the Film Library was established at the RFC’s Film House in Jabal Amman. The Film Library offers access to a wide and valuable variety of Jordanian, Arab and International movies: the “must see” movies for any cinephile. There are some 2000 titles available from 59 countries. In addition, the Film Library has 2500 books related to various aspects of the audiovisual field. These books tackle artistic, technical, theoretical and historical aspects of cinema and filmmaking. The collec- tion of books is bilingual (English and Arabic). Visitors can watch movies using the private viewing stations available and read books or consult periodi- cals in a calm and relaxed atmosphere. Library members are, in addition, allowed to borrow films and/or books. Membership fees: 20 JOD per year; 10 JOD for students. Working hours: The Film Library is open on weekdays from 9:00 AM until 8:00 PM. From 3:00 PM until 8:00 PM on Saturdays. It is closed on Fridays. RFC’s Library’s Book Guide 2 About People In Cinema 1 A Double Life: George Cukor Patrick McGilligan 2 A Hitchcock Reader Marshall Dentelbaum & Leland Poague 3 A life Elia Kazan 4 A Man With a Camera Nestor Almenros 5 Abbas Kiarostami Saeed-Vafa & Rosenbaum 6 About John Ford Lindsay Anderson 7 Adventures with D.W. Griffith Karl Brown 8 Alexander Dovzhenko Marco Carynnk 9 All About Almodovar Epps And Kakoudeki
[Show full text]
HP0192 Lindsay Anderson
1 The copyright of this interview is vested in the BECTU History Project. Lindsay Anderson, film director, theatre producer, interviewer Norman Swallow, recorded on 18 April, 1991 SIDE 1 Norman Swallow: First of all, when and where were you born? Lindsay Anderson: I was born on April 17th, 1923 in Bangalore, South India in the military hospital, I think. My father was in the British army in India, the Queen Victoria's Own, the Royal Engineers. My mother was half Scottish, her mother was Scottish and her father was English. She was born in South Africa and had met my father in Scotland . He was Scottish, and his family lived in Stonehaven, which is south of Aberdeen, and that is where they met and got married. Not altogether happily I don t think. There was a first son who died, a second son, my brother, who is living, who was an airline pilot and also flew in the War, and myself was born in India. And my parents divorced, do you know I can't even remember quite when, probably 10 or 11. I never knew my father terribly well, he served in India and most of time, I was brought up in England. I went to a respectable English preparatory school in West Worthing, St Ronan's, and I went to Cheltenham College. Not through any family connections, but my brother went to Cheltenham. And he went into the army, and then transferred into the airforce. I wasnt in the least military. I went up to Oxford for a year during the war and then went into the army.
[Show full text]
Plays and Pinot: Home
Plays and Pinot: Home Synopsis On a bare terrace stroll two old gentlemen, who greet each other courteously. They discuss topics the past, the weather, old friends, moustache-styles, and the war. Are they perhaps in a small private hotel? But all is not quite what it seems, and soon enough we realize we are actually on the grounds of a mental hospital, and these old men are patients. With astonishingly sparse dialogue, by the time the day is over and the shadows fall, we as an audience are moved to compassion, sympathy, and respect for these extraordinarily ordinary men. Sir John Gielgud and Sir Ralph Richardson starred in the London and New York productions. New York Drama Critics Award, Best Play of the Year. About the Playwright David Storey, in full David Malcolm Storey, (born July 13, 1933, Wakefield, Yorkshire, England—died March 26, 2017, London), was an English novelist and playwright whose brief professional rugby career and lower-class background provided material for the simple, powerful prose that won him early recognition as an accomplished storyteller and dramatist. After completing his schooling at Wakefield at age 17, Storey signed a 15-year contract with the Leeds Rugby League Club; he also won a scholarship to the Slade School of Fine Art in London. When the conflict between rugby and painting became too great, he paid back three-quarters of his signing-on fee, and Leeds let him go. Storey’s first published novel, This Sporting Life (1960), is his best-known. It is the story of a professional rugby player and his affair with his widowed landlady.
[Show full text]
English S24. British New Wave Film Steve Dillon Office Hours: Tuesday
English s24. British New Wave Film Steve Dillon Office hours: Tuesday 9-10 and by appointment Pettigrew 307 Course Description: This course studies significant achievements in British cinema from the late 1950s to the early 1970s. Many national cinemas underwent a liberating change in the 1960s, usually called by the name, “New Wave.” British cinema in the 60s is not as influential as the French New Wave (nouvelle vague) exemplified by Godard, Truffaut, Rivette, Chabrol, and others. Yet there are many important and interesting British films from this period, by directors such as Joseph Losey, Lindsay Anderson, and John Schlesinger. In this course we will look at films by auteurs such as Michael Powell, “kitchen sink” films by Jack Clayton and Karel Reisz, “swinging London” films by Richard Lester and Nicolas Roeg, in addition to masterpieces by foreign artists such as Stanley Kubrick and Michelangelo Antonioni. Schedule M April 26 Robert Hamer, Kind Hearts and Coronets (1949) T 27 Mike Hodges, Get Carter (1971) W 28 Michael Powell, Peeping Tom (1960) Th 29 Joseph Losey, The Servant (1963) M May 3 Richard Lester, A Hard Day’s Night (1964) T 4 Richard Lester, The Knack. And How to Get It (1965) W 5 Nicolas Roeg, Performance (1970) Th 6 Michelangelo Antonioni, Blow-Up (1966) M May 10 Jack Clayton, Room at the Top (1958) T 11 Karel Reisz, Saturday Night and Sunday Morning (1960) W 12 John Schlesinger, Billy Liar (1963) Th 13 Desmond Davis, Girl With Green Eyes (1964) F 14 (Final Project Proposals Due) M May 17 Stanley Kubrick, Dr.
[Show full text]
This Sporting Life Pdf, Epub, Ebook
THIS SPORTING LIFE PDF, EPUB, EBOOK David Storey | 256 pages | 04 Apr 2000 | Vintage Publishing | 9780099274797 | English | London, United Kingdom This Sporting Life PDF Book Why not combine the two? And it doesn't have to be a moment of glory you share. You can't lose. Mike Cattermole: Golden geldings Mike Cattermole reflects on a British Champions Day at Ascot in which the buccaneering young colts had to take a back seat. A review of Wednesday's action in the Sky Bet Championship, where Watford moved up to third and Bournemouth remain unbeaten. Follow Us on Twitter. By signing up, you agree to our Privacy Notice. Learn More in these related Britannica articles:. Based on a click novel by David Storey, who also scribed the screenplay, the yarn has a sporting background in that it concerns professional rugby football. It's vivid, passionate, and goes to the heart of a subject which in so many ways is now the dominating conversation in peoples' lives. Why not create an account? Lace up those sneakers and trot over to the next page. Champ: Cherries remain unbeaten A review of Wednesday's action in the Sky Bet Championship, where Watford moved up to third and Bournemouth remain unbeaten. George Orwell Robert Colls. Just before Thanksgiving, the furniture was in place and the cabins were nearly finished. It doesn't have to be regimented and boring -- there are plenty of options out there, from kickball to ice hockey to flag football that'll keep you social and active. A Nicolas Tagliafico own goal proved to be the difference as Liverpool secured a victory over Ajax.
[Show full text]
1 the Spirit of 1968? Revisiting Lindsay Anderson's If…. David Buckingham This Essay Is Part of a Larger Project, Growing Up
The spirit of 1968? Revisiting Lindsay Anderson’s If…. David Buckingham This essay is part of a larger project, Growing Up Modern: Childhood, Youth and Popular Culture Since 1945. More information about the project, and illustrated versions of all the essays can be found at: https://davidbuckingham.net/growing-up-modern/. A couple of weeks before Christmas 1968, the queues snaked down London’s Lower Regent Street outside the Plaza cinema. Roger Vadim’s soft-core science fiction fantasy Barbarella, starring Jane Fonda, had been taken off after attracting poor audiences, and been replaced at short notice by a new British film, Lindsay Anderson’s If…. The film was funded by Paramount, an American studio, yet it was set in an elite English public school. It didn’t feature any well-known stars, there was no rock music on the soundtrack, and the film had little advance publicity. Nevertheless, its reputation had spread largely by word of mouth. If…. was the unexpected box office hit of the year: it took £40,000 in its first few weeks, and was quickly given a national release. 1968 had been a turbulent year. In May, a series of demonstrations among university students in Paris had led on to a nationwide general strike: the occupations and street fighting lasted for almost two months, and the French government was effectively paralyzed. In the USA, protests against the Vietnam War were intensifying, and the assassination of Martin Luther King led to large-scale rioting in major cities. The Prague Spring, a brief moment of liberalization behind the Iron Curtain, was brought to an abrupt end when the Soviet tanks rolled in.
[Show full text]