TPTV Schedule June 29Thto July 5Th 2020
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Syd Pearson | BFI Syd Pearson
23/11/2020 Syd Pearson | BFI Syd Pearson Save 0 Filmography Show less 1971 Creatures the World Forgot Special Effects 1969 Desert Journey Special Effects 1969 Autokill Special Effects 1966 The Heroes of Telemark [Special Effects] 1965 The Secret of Blood Island Special Effects 1965 The Brigand of Kandahar Special Effects 1964 The Long Ships Special Effects 1964 The Gorgon Special Effects 1962 In Search of the Castaways Special Effects 1960 The Brides of Dracula Special Effects 1959 Too Many Crooks [Special Processes] 1959 North West Frontier Special Effects 1959 The Hound of the Baskervilles Special Effects 1959 Ferry to Hong Kong Special Effects 1958 Dracula Special Effects 1957 The Steel Bayonet Special Effects 1957 Campbell's Kingdom Special Effects 1956 The Ladykillers Special Effects 1956 House of Secrets Special Processes (uncredited) 1956 Reach for the Sky Models (uncredited) 1955 Out of the Clouds Special Effects 1955 The Ship That Died of Shame Special Effects 1955 The Night My Number Came Up Special Effects 1955 Touch and Go Special Effects 1954 The Love Lottery Special Effects 1954 The 'Maggie' Special Effects https://www2.bfi.org.uk/films-tv-people/4ce2baabc6ce7 1/2 23/11/2020 Syd Pearson | BFI 1953 The Cruel Sea Special Effects 1953 The Titfield Thunderbolt Special Effects 1952 His Excellency Special Effects 1952 Mandy [Special Effects] 1952 I Believe in You Special Effects (uncredited) 1952 The Gentle Gunman Special Effects 1952 Secret People Special Effects 1951 Pool of London Special Effects 1951 The Man in the White Suit Special Effects 1951 The Lavender Hill Mob Special Effects 1950 Cage of Gold Special Effects 1950 Dance Hall Special Effects 1950 The Magnet Special Effects 1949 Kind Hearts and Coronets Special Effects 1949 Train of Events Special Effects 1949 Whisky Galore! Special Effects 1948 Scott of the Antarctic Special Effects 1947 The October Man [Stage Effects] [Model Miniatures] 1947 Black Narcissus [Synthetic Pictorial Effects] https://www2.bfi.org.uk/films-tv-people/4ce2baabc6ce7 2/2. -
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. -
GTV GEM Sun May 13, 2012
Schedule Program Guide For GTV/GEM Sun May 13, 2012 06:00 TV SHOP - HOME SHOPPING WS G Home shopping programme. 06:30 THE CAPTIVE HEART 1946 Repeat PG The Captive Heart When a Czech soldier is sent to a British POW camp, the other soldiers smell a rat and he must convince them otherwise. Starring: Michael Redgrave, Mervyn Johns, Basil Radford, Gordon Jackson, Jack Warner, Jimmy Hanley Cons.Advice: Mild Violence 08:30 TV SHOP - HOME SHOPPING WS G Home shopping programme. 09:00 TV SHOP - HOME SHOPPING WS G Home shopping programme. 09:30 TV SHOP - HOME SHOPPING WS G Home shopping programme. 10:00 FRIENDS Captioned Repeat HD WS PG The One With The Halloween Party Phoebe meets the friendly fiance of her flighty twin, Ursula - and is surprised to soon find herself attracted to him. Guest Stars Sean Penn. Starring: Jennifer Aniston, Matthew Perry, Courtney Cox Arquette, David Schwimmer, Matt LeBlanc, Lisa Kudrow 10:30 ROBIN AND THE 7 HOODS 1964 Repeat WS G Robin And The 7 Hoods Two rival Chicago gangs fight for supremacy with the leader of one giving a large sum of money to an orphanage - becoming known as the Robin Hood of Chicago. Starring: Frank Sinatra, Dean Martin, Sammy Davis Jr., Peter Falk, Barbara Rush, Bing Crosby 13:00 THE GARDEN GURUS Repeat HD WS G (*Series Return*) This week is another cracker for the Gurus team, well show you how to maintain a picture perfect lawn, get the most out of your natives and learn the secret to helping your garden reach its true potential. -
Week Beginning Monday 3Rd December 2018
Highlights: Week beginning Monday 3rd December 2018 Monday 3rd December 2018 – 08:30 THE HIRELING (1973) Director: Alan Bridges Starring: Robert Shaw, Sarah Miles, Peter Egan and Elizabeth Sellars. A young British woman suffering from depression over the loss of her husband develops an unusual relationship with her chauffeur. Monday 3rd December 2018 – 21:00 CAGE OF GOLD (1950) Director: Basil Dearden Starring: Jean Simmons, David Farrar, James Donald, Bernard Lee and Herbert Lom. A young bride believes her husband has been killed. After a suitable period of mourning, she re-marries, but when her "dead" husband comes back, problems begin… Tuesday 4th December 2018 – 10:00 I’LL BE SEEING YOU (1944) Director: William Dieterle Starring: Joseph Cotten, Ginger Rogers, Shirley Temple and Spring Byington. Zachary Morgan and Mary Marshall meet on a train and immediately sense a mutual attraction. However, both Zach and Mary are shouldering significant secrets. Tuesday 4th December 2018 – 18:00 THE DIVIDED HEART (1954) Director: Charles Crichton Starring: Cornell Borchers, Yvonne Mitchell, Armin Dahlen and Alexander Knox. A three-year-old orphan is adopted by a German couple shortly after World War II. On his tenth birthday, he is told that his mother, a Yugoslav refugee, is alive and wants him back. The case must be decided in court, with whom the boy will be better off. th We dnesday 5 December 2018 – 10:50 SPELLBOUND (1945) Director: Alfred Hitchcock Starring: Gregory Peck, Ingrid Bergman, Michael Chekhov and Rhonda Fleming. In this classic Hitchcock thriller, a psychiatrist protects the identity of an amnesia patient accused of murder while attempting to recover his memory. -
Silent Dust” (1949) and the Malevolent Veteran
What Cannot Be Said: “Silent Dust” (1949) and the Malevolent Veteran Andrew Spicer “Silent Dust”, released in February 1949, was one of a group of films that explored the problems of the returning Second World War veteran. Although the maladjusted veteran is a feature of all major wars, it assumes an added significance in this instance because the Second World War, in Britain and America at least, is conventionally understood “almost universally as honou- rable and noble, fought with right and justice exclusively on the Allied side”.1 Angus Calder has argued that the dominant narrative constructed about the Second World War in Britain was what he terms the “myth of the Blitz”, a heroic myth of courage, endurance and pulling together. This myth, through its perpetuation in an enormous array of cultural practices – notably a cycle of combat films in the 1950s such as “The Dam Busters” (1955) and “Reach for the Sky” (1956) – became the accepted view and was almost impossible to dislodge.2 It was a myth that was officially ratified in the British state’s comme- moration of the war and, like all dominant discourses, served to marginalise alternative constructions of the conflict, particularly those that represent it as a traumatic and possibly brutalising experience. By analysing “Silent Dust” in detail and in relation to its social and cultural context, I hope to recover this repressed narrative and restore it to its rightful place as an important discourse about the Second World War. 1. Synopsis and Production Personnel “Silent Dust” is set in a small village in rural England. -
War Cinema– Or How British Films Learned to Stop Worrying and Love the Affluent Society
1 THE PROFESSIONAL OFFICER CLASS IN POST- WAR CINEMA– OR HOW BRITISH FILMS LEARNED TO STOP WORRYING AND LOVE THE AFFLUENT SOCIETY A thesis submitted for the degree of Doctor of Philosophy by Andrew Roberts College of Business, Arts and Social Sciences of Brunel University 22nd September2014 2 ABSTRACT My central argument is that mainstream British cinema of the 1951 – 1965 period marked the end of the paternalism, as exemplified by a professional ‘officer class’, as consumerism gradually came to be perceived as the norm as opposed to a post-war enemy. The starting point is 1951, the year of the Conservative victory in the General Election and a time which most films were still locally funded. The closing point is 1965, by which point the vast majority of British films were funded by the USA and often featured a youthful and proudly affluent hero. Thus, this fourteen year describes how British cinema moved away from the People as Hero guided by middle class professionals in the face of consumerism. Over the course of this work, I will analyse the creation of the archetypes of post-war films and detail how the impact of consumerism and increased Hollywood involvement in the UK film industry affected their personae. However, parallel with this apparently linear process were those films that questioned or attacked the wartime consensus model. As memories of the war receded, and the Rank/ABPC studio model collapsed, there was an increasing sense of deracination across a variety of popular British cinematic genres. From the beginning of our period there is a number films that infer that the “Myth of the Blitz”, as developed in a cinematic sense, was just that and our period ends with films that convey a sense of a fragmenting society. -
Ealing Studios with Major New Project Ealing: Light & Dark
BFI SHEDS NEW LIGHT ON EALING STUDIOS WITH MAJOR NEW PROJECT EALING: LIGHT & DARK London - Wednesday 19th September 2012 For the first time in a generation the BFI will present a major project celebrating the ŚŝƐƚŽƌŝĐŽƵƚƉƵƚŽĨŽŶĞŽĨƌŝƚĂŝŶ͛ƐďĞƐƚůŽǀĞĚĂŶĚŵŽƐƚŝŶĨůƵĞŶƚŝĂůƐƚƵĚŝŽƐǁŝƚŚĂƚǁŽ month retrospective at BFI Southbank Ealing: Light and Dark from 22 October to 30 December 2012. This is a chance to enjoy the great classics and comedies but also to discover the little known and unheralded more serious side of Ealing Studios during ƚŚĞ ϭϵϰϬ͛Ɛ ĂŶĚ ϱϬ͛Ɛ, with its rich vein of challenging, provocative and sometimes subversive films, often surprisingly radical in their implications. The project will include a national re-release of It Always Rains On Sunday (1947) and a new digital clean-up of the neglected They Came to a City, a major new book of essays Ealing Revisited, and special guests and events including an exhibition of ĂůŝŶŐ ƉŽƐƚĞƌƐ͕ ƐƚŝůůƐ ĂŶĚ ŵĞŵŽƌĂďŝůŝĂ ĚƌĂǁŶ ĨƌŽŵ ƚŚĞ &/ EĂƚŝŽŶĂů ƌĐŚŝǀĞ͛Ɛ ƌŝĐŚ holdings and a new collection in the BFI Mediatheques. A parallel season celebrating director Alexander Mackendrick will feature all of his Ealing films from October 22 to November 30 at BFI Southbank. Ealing Studios has a unique place in the history of British cinema and it has become a byword for a certain type of British whimsy and eccentricity. But the studio's films boasted a surprising variety. Many of the films of Ealing rank among the undisputed classics of the period, among them Dead of Night, The Blue Lamp, The Cruel Sea, The Man in the White Suit and Passport to Pimlico. -
TPTV Schedule Dec 3Rd - 9Th 2018
TPTV Schedule Dec 3rd - 9th 2018 DATE TIME PROGRAMME SYNOPSIS Mon 03 6:00 Gelignite Gang 1955. Directed by Terence Fisher and starring Wayne Morris, Sandra Dec 18 Dorne and Patrick Holt. Set in London's Soho, a gang of ruthless safecrackers plan their next robbery. Mon 03 7:30 Stagecoach West The Outcasts. Western with Wayne Rogers & Robert Bray, who run a Dec 18 stagecoach line in the Old West where they come across a wide variety of killers, robbers and ladies in distress. Mon 03 8:30 The Hireling 1973. Drama. Director: Alan Bridges. Stars: Robert Shaw, Sarah Miles Dec 18 and Peter Egan. A young woman suffering from depression, over the loss of her husband, develops a relationship with her chauffeur (Subtitles Available) Mon 03 10:40 The Stranger 1946. Drama nominated for an Oscar. Directed by Orson Welles. A war Dec 18 crimes investigator is on the trail of an infamous Nazi. Stars Orson Welles, Edward G. Robinson & Loretta Young. Mon 03 12:35 Stormy Crossing 1958. Drama directed by CM Pennington-Richards. Stars John Ireland, Dec 18 Derek Bond & Joy Webster. A story of a fateful cross channel swim. Great shots of Dover in the 50s. Mon 03 14:00 A Family At War 1971. Lend Your Loving Arms. Created by John Finch. Stars Colin Dec 18 Douglas & Shelagh Fraser. David confronts Sheila over missing his leave. News of Robert's demise rocks the family. (S2, E10) Mon 03 15:00 Frieda 1947. Drama. Directed by Basil Dearden. Stars David Farrar, Glynis Dec 18 Johns, Mai Zetterling & Flora Robson. -
Ealing: Light & Dark
BFI SHEDS NEW LIGHT ON EALING STUDIOS WITH MAJOR NEW PROJECT EALING: LIGHT & DARK London - Wednesday 19th September 2012 For the first time in a generation the BFI will present a major project celebrating the historic output of one of Britain’s best loved and most influential studios with a two month retrospective at BFI Southbank Ealing: Light and Dark from 22 October to 30 December 2012. This is a chance to enjoy the great classics and comedies but also to discover the little known and unheralded more serious side of Ealing Studios during the 1940’s and 50’s, with its rich vein of challenging, provocative and sometimes subversive films, often surprisingly radical in their implications. The project will include a national re-release of It Always Rains On Sunday (1947) and a new digital clean-up of the neglected They Came to a City, a major new book of essays Ealing Revisited, and special guests and events including an exhibition of Ealing posters, stills and memorabilia drawn from the BFI National Archive’s rich holdings and a new collection in the BFI Mediatheques. A parallel season celebrating director Alexander Mackendrick will feature all of his Ealing films from October 22 to November 30 at BFI Southbank. Ealing Studios has a unique place in the history of British cinema and it has become a byword for a certain type of British whimsy and eccentricity. But the studio's films boasted a surprising variety. Many of the films of Ealing rank among the undisputed classics of the period, among them Dead of Night, The Blue Lamp, The Cruel Sea, The Man in the White Suit and Passport to Pimlico. -
Ealing Studios with Major New Project Ealing: Light & Dark
BFI SHEDS NEW LIGHT ON EALING STUDIOS WITH MAJOR NEW PROJECT EALING: LIGHT & DARK London - Wednesday 19th September 2012 For the first time in a generation the BFI will present a major project celebrating the ŚŝƐƚŽƌŝĐŽƵƚƉƵƚŽĨŽŶĞŽĨƌŝƚĂŝŶ͛ƐďĞƐƚůŽǀĞĚĂŶĚŵŽƐƚŝŶĨůƵĞŶƚŝĂůƐƚƵĚŝŽƐǁŝƚŚĂƚǁŽ month retrospective at BFI Southbank Ealing: Light and Dark from 22 October to 30 December 2012. This is a chance to enjoy the great classics and comedies but also to discover the little known and unheralded more serious side of Ealing Studios during ƚŚĞ ϭϵϰϬ͛Ɛ ĂŶĚ ϱϬ͛Ɛ, with its rich vein of challenging, provocative and sometimes subversive films, often surprisingly radical in their implications. The project will include a national re-release of It Always Rains On Sunday (1947) and a new digital clean-up of the neglected They Came to a City, a major new book of essays Ealing Revisited, and special guests and events including an exhibition of ĂůŝŶŐ ƉŽƐƚĞƌƐ͕ ƐƚŝůůƐ ĂŶĚ ŵĞŵŽƌĂďŝůŝĂ ĚƌĂǁŶ ĨƌŽŵ ƚŚĞ &/ EĂƚŝŽŶĂů ƌĐŚŝǀĞ͛Ɛ ƌŝĐŚ holdings and a new collection in the BFI Mediatheques. A parallel season celebrating director Alexander Mackendrick will feature all of his Ealing films from October 22 to November 30 at BFI Southbank. Ealing Studios has a unique place in the history of British cinema and it has become a byword for a certain type of British whimsy and eccentricity. But the studio's films boasted a surprising variety. Many of the films of Ealing rank among the undisputed classics of the period, among them Dead of Night, The Blue Lamp, The Cruel Sea, The Man in the White Suit and Passport to Pimlico. -
Film and the Historian
Film and the Historian Film and the Historian: The British Experience by Philip Gillett Film and the Historian: The British Experience by Philip Gillett This book first published 2019 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2019 by Philip Gillett All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-3269-0 ISBN (13): 978-1-5275-3269-4 For Roz, with love TABLE OF CONTENTS Preface ........................................................................................................ ix Chapter One ................................................................................................. 1 Film and the Historian Chapter Two .............................................................................................. 18 In the Aftermath of War Chapter Three ............................................................................................ 43 Intimations of a Changing Society Chapter Four .............................................................................................. 56 Escape to Fantasy Chapter Five .............................................................................................. 68 The Dark Secrets -
Mild Revolution’: the Politics of Ealing Studios
THE UNIVERSITY OF HULL ‘The Mild Revolution’: The Politics of Ealing Studios Being a Thesis submitted for the degree of PhD in the University of Hull by Lee Paul Freeman (Ba) (Ma) October 2014 Introduction Filmmaking has taken place at Ealing from 1902 - originally under the ownership of the film pioneer Will G. Barker - until the present day. Film production at Ealing can be broken down into five separate operational phases: a) Films made at Will Barker’s studio at Ealing Green from 1902 through 1929; b) Films made at the refurbished Ealing studios (expanding out from Barker’s site), between 1930 and 1938, under the ownership of Associated Talking Pictures; c) Films made between 1938 and 1959 by a production company headed up by Michael Balcon (eventually titled ‘Ealing Studios Limited’) while at location (b); d) Films and television programmes made at location (b) from 1955 on, by the BBC and other production companies; e) Films produced by a modern company called Ealing Studios, many produced at a modernised location (b) since 2002.1 This thesis, like most critical examinations of Ealing, will concentrate on the studio’s output between 1938 and 1959 when, under the management of Michael Balcon, Ealing gained its reputation as one of the leading studios in British cinema history, reflecting in its operating structure and formal and thematic 1 Mark Duguid, Lee Freeman, Keith M. Johnston and Melanie Williams (eds), Ealing Revisited (London: BFI Palgrave, 2012), p. 3. 1 output, characteristics which have come to be associated with British social and cultural values. 2 For Stephanie Muir: Many of the 96 films made at Ealing […] appear as examples in studies of British national cinema.