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Maggie-Dp.Pdf
STUDIOCANAL et TAMASA présentent un film de Alexander Mackendrick ç Version restaurée UK - Durée 1h32 ç Sortie le 16 décembre 2015 ç Presse Frédérique Giezendanner [email protected] T. 06 10 37 16 00 Distribution TAMASA [email protected] T. 01 43 59 01 01 Visuels téléchargeables sur www.tamasadiffusion.com SYNOPSIS Le Capitaine de la « Maggie », Mac Taggart, ne possède pas suffisamment d’argent pour faire réparer son bateau qui tient la mer par miracle, malgré les réticences des autorités portuaires. Par suite d’un malentendu, Pusey, représentant un riche Américain, Marshall, lui confie le transport d’un matériel couteux destiné à la modernisation d’un château. Découvrant la supercherie, Marshall, atterré, essaye de récupérer son précieux chargement. Mais après bien des incidents, bien des événements inattendus avec ce curieux équipage, le chargement finira au fond de la mer. Mais Mac Taggart conserve l’argent que lui a remis Marshall pour faire réparer son vieux bateau. ALEXANDER MACKENDRICK Alexander Mackendrick est né à Boston, dans l’État du Massachusetts. À 6 ans, son père meurt emporté par la grippe « espagnole ». Sa mère, qui devait trouver du travail pour survivre, décide de devenir couturière. Elle céda la garde de son fils au grand-père qui vivait en Écosse. C’est ainsi qu’à l’âge de sept ans, Mackendrick revient sur la terre de ses aïeux. Il vit une enfance très solitaire et difficile. Après des études d’art, il part s’installer à Londres dans les années 30 pour travailler comme directeur artistique. Entre 1936 et 1938, Mackendrick est l’auteur du script de publicités cinématographiques. -
Gardner • Even Orpheus Needs a Synthi Edit No Proof
James Gardner Even Orpheus Needs a Synthi Since his return to active service a few years ago1, Peter Zinovieff has appeared quite frequently in interviews in the mainstream press and online outlets2 talking not only about his recent sonic art projects but also about the work he did in the 1960s and 70s at his own pioneering computer electronic music studio in Putney. And no such interview would be complete without referring to EMS, the synthesiser company he co-founded in 1969, or namechecking the many rock celebrities who used its products, such as the VCS3 and Synthi AKS synthesisers. Before this Indian summer (he is now 82) there had been a gap of some 30 years in his compositional activity since the demise of his studio. I say ‘compositional’ activity, but in the 60s and 70s he saw himself as more animateur than composer and it is perhaps in that capacity that his unique contribution to British electronic music during those two decades is best understood. In this article I will discuss just some of the work that was done at Zinovieff’s studio during its relatively brief existence and consider two recent contributions to the documentation and contextualization of that work: Tom Hall’s chapter3 on Harrison Birtwistle’s electronic music collaborations with Zinovieff; and the double CD Electronic Calendar: The EMS Tapes,4 which presents a substantial sampling of the studio’s output between 1966 and 1979. Electronic Calendar, a handsome package to be sure, consists of two CDs and a lavishly-illustrated booklet with lengthy texts. -
MAESTROS DEL CINE CLÁSICO (X): ALEXANDER MACKENDRICK (En El 105 Aniversario De Su Nacimiento)
Cineclub Universitario / Aula de Cine P r o g r a m a c i ó n d e febrero 2 0 1 7 MAESTROS DEL CINE CLÁSICO (X): ALEXANDER MACKENDRICK (en el 105 aniversario de su nacimiento) Fotografía: Proyector “Marín” de 35mm (ca.1970). Cineclub Universitario Foto:Jacar [indiscreetlens.blogspot.com] (2015). El CINECLUB UNIVERSITARIO se crea en 1949 con el nombre de “Cineclub de Granada”. Será en 1953 cuando pase a llamarse con su actual denominación. Así pues en este curso 2016-2017, cumplimos 63 (67) años. FEBRERO 2017 MAESTROS DEL CINE CLÁSICO (X): ALEXANDER MACKENDRICK (en el 105 aniversario de su nacimiento) FEBRUARY 2017 MASTERS OF CLASSIC CINEMA (X): ALEXANDER MACKENDRICK (105 years since his birth) Viernes 3 / Friday 3th • 21 h. WHISKY A GOGÓ (1949) (WHISKY GALORE!) v.o.s.e. / OV film with Spanish subtitles Martes 7 / Tuesday 7th • 21 h. EL HOMBRE VESTIDO DE BLANCO (1951) (THE MAN IN THE WHITE SUIT) v.o.s.e. / OV film with Spanish subtitles Viernes 10 / Friday 10th • 21 h. MANDY (1952) v.o.s.e. / OV film with Spanish subtitles Martes 14 / Tuesday 14th • 21 h. EL QUINTETO DE LA MUERTE (1955) (THE LADYKILLERS) v.o.s.e. / OV film with Spanish subtitles Viernes 17 / Friday 17th • 21 h. CHANTAJE EN BROADWAY / EL DULCE SABOR DEL ÉXITO (1957) (SWEET SMELL OF SUCCESS) v.o.s.e. / OV film with Spanish subtitles Martes 21 / Tuesday 21th • 21 h. SAMMY, HUIDA HACIA EL SUR (1963) (SAMMY GOING SOUTH) v.o.s.e. / OV film with Spanish subtitles Todas las proyecciones en la Sala Máxima de la ANTIGUA FACULTAD DE MEDICINA (Av. -
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. -
Index to Volume 29 January to December 2019 Compiled by Patricia Coward
THE INTERNATIONAL FILM MAGAZINE Index to Volume 29 January to December 2019 Compiled by Patricia Coward How to use this Index The first number after a title refers to the issue month, and the second and subsequent numbers are the page references. Eg: 8:9, 32 (August, page 9 and page 32). THIS IS A SUPPLEMENT TO SIGHT & SOUND SUBJECT INDEX Film review titles are also Akbari, Mania 6:18 Anchors Away 12:44, 46 Korean Film Archive, Seoul 3:8 archives of television material Spielberg’s campaign for four- included and are indicated by Akerman, Chantal 11:47, 92(b) Ancient Law, The 1/2:44, 45; 6:32 Stanley Kubrick 12:32 collected by 11:19 week theatrical release 5:5 (r) after the reference; Akhavan, Desiree 3:95; 6:15 Andersen, Thom 4:81 Library and Archives Richard Billingham 4:44 BAFTA 4:11, to Sue (b) after reference indicates Akin, Fatih 4:19 Anderson, Gillian 12:17 Canada, Ottawa 4:80 Jef Cornelis’s Bruce-Smith 3:5 a book review; Akin, Levan 7:29 Anderson, Laurie 4:13 Library of Congress, Washington documentaries 8:12-3 Awful Truth, The (1937) 9:42, 46 Akingbade, Ayo 8:31 Anderson, Lindsay 9:6 1/2:14; 4:80; 6:81 Josephine Deckers’s Madeline’s Axiom 7:11 A Akinnuoye-Agbaje, Adewale 8:42 Anderson, Paul Thomas Museum of Modern Art (MoMA), Madeline 6:8-9, 66(r) Ayeh, Jaygann 8:22 Abbas, Hiam 1/2:47; 12:35 Akinola, Segun 10:44 1/2:24, 38; 4:25; 11:31, 34 New York 1/2:45; 6:81 Flaherty Seminar 2019, Ayer, David 10:31 Abbasi, Ali Akrami, Jamsheed 11:83 Anderson, Wes 1/2:24, 36; 5:7; 11:6 National Library of Scotland Hamilton 10:14-5 Ayoade, Richard -
Nicola Candlish Phd 2012
Durham E-Theses The Development of Resources for Electronic Music in the UK, with Particular Reference to the bids to establish a National Studio CANDLISH, NICOLA,ANNE How to cite: CANDLISH, NICOLA,ANNE (2012) The Development of Resources for Electronic Music in the UK, with Particular Reference to the bids to establish a National Studio, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/3915/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 ‘The Development of Resources for Electronic Music in the UK, with Particular Reference to the bids to establish a National Studio’ Nicola Anne Candlish Doctor of Philosophy Music Department Durham University 2012 Nicola Anne Candlish ‘The Development of Resources for Electronic Music in the UK, with Particular Reference to the Bids to Establish a National Studio’ This thesis traces the history and development of the facilities for electronic music in the UK. -
Sammy Going South
Sammy Going South ( US = “A Boy Ten Feet Tall” ) UK : 1963 : dir. Alexander Mackendrick : British Lion / Seven Arts : 128 min prod: Hal Mason : scr: Denis Cannan : dir.ph.: Erwin Hillier Fergus McClelland ………….………………………………………………………………………… Edward G Robinson; Constance Cummings; Harry H Corbett; Paul Stassino; Zia Moyheddin; Zena Walker; Orlando Martins; John Turner; Jack Gwillim; Patricia Donahue; Jared Allen; Guy Deghy; Frederick Schiller; Swaleh; Tajiri; Faith Brown Ref: Pages Sources Stills Words Ω Copy on VHS Last Viewed 3253b 6½ 13 7 2,777 Yes May 2001 The doctor gives Sammy a few pointers on his way… Source: The Moving Picture Boy Leonard Maltin’s Movie and Video Guide Halliwell’s Film Guide review: review: “A 10-year old boy is orphaned in Port Said and “Colourful, charming film about orphaned boy hitch-hikes to his aunt in Durban. travelling through Africa alone to reach his Disappointing family-fodder epic in which the Aunt, who lives in Durban. Cut to 88 minutes mini-adventures follow each other too for American release, footage was restored for predictably.” the TV print. *** ” Speelfilm Encyclopedie review - identical to above Edward G Robinson, reeling under the name of “Cocky Wainwright”, lends a human dimension to an otherwise bland travelogue. Source: Films & Filming May 63 Movies on TV and Videocassette 1988-89 review: The Time Out Film Guide review: “Nice family entertainment, thanks to the “While widely regarded as an example of exotic locale and a good human interest story of Mackendrick’s decline after the masterpiece a young lad trying to cross Africa alone to reach that was "SWEET SMELL OF SUCCESS", this his aunt. -
Doctor Who 1 Doctor Who
Doctor Who 1 Doctor Who This article is about the television series. For other uses, see Doctor Who (disambiguation). Doctor Who Genre Science fiction drama Created by • Sydney Newman • C. E. Webber • Donald Wilson Written by Various Directed by Various Starring Various Doctors (as of 2014, Peter Capaldi) Various companions (as of 2014, Jenna Coleman) Theme music composer • Ron Grainer • Delia Derbyshire Opening theme Doctor Who theme music Composer(s) Various composers (as of 2005, Murray Gold) Country of origin United Kingdom No. of seasons 26 (1963–89) plus one TV film (1996) No. of series 7 (2005–present) No. of episodes 800 (97 missing) (List of episodes) Production Executive producer(s) Various (as of 2014, Steven Moffat and Brian Minchin) Camera setup Single/multiple-camera hybrid Running time Regular episodes: • 25 minutes (1963–84, 1986–89) • 45 minutes (1985, 2005–present) Specials: Various: 50–75 minutes Broadcast Original channel BBC One (1963–1989, 1996, 2005–present) BBC One HD (2010–present) BBC HD (2007–10) Picture format • 405-line Black-and-white (1963–67) • 625-line Black-and-white (1968–69) • 625-line PAL (1970–89) • 525-line NTSC (1996) • 576i 16:9 DTV (2005–08) • 1080i HDTV (2009–present) Doctor Who 2 Audio format Monaural (1963–87) Stereo (1988–89; 1996; 2005–08) 5.1 Surround Sound (2009–present) Original run Classic series: 23 November 1963 – 6 December 1989 Television film: 12 May 1996 Revived series: 26 March 2005 – present Chronology Related shows • K-9 and Company (1981) • Torchwood (2006–11) • The Sarah Jane Adventures (2007–11) • K-9 (2009–10) • Doctor Who Confidential (2005–11) • Totally Doctor Who (2006–07) External links [1] Doctor Who at the BBC Doctor Who is a British science-fiction television programme produced by the BBC. -
PROBES #27.2 Devoted to Exploring the Complex Map of Sound Art from Different Points of View Organised in Curatorial Series
Curatorial > PROBES With this section, RWM continues a line of programmes PROBES #27.2 devoted to exploring the complex map of sound art from different points of view organised in curatorial series. Auxiliaries PROBES takes Marshall McLuhan’s conceptual The PROBES Auxiliaries collect materials related to each episode that try to give contrapositions as a starting point to analyse and expose the a broader – and more immediate – impression of the field. They are a scan, not a search for a new sonic language made urgent after the deep listening vehicle; an indication of what further investigation might uncover collapse of tonality in the twentieth century. The series looks and, for that reason, most are edited snapshots of longer pieces. We have tried to at the many probes and experiments that were launched in light the corners as well as the central arena, and to not privilege so-called the last century in search of new musical resources, and a serious over so-called popular genres. In this episode typewriters invade every new aesthetic; for ways to make music adequate to a world imaginable musical genre, while hoovers, bicycles, lightbulbs, foley work, the transformed by disorientating technologies. Eiffel tower and mail-franking are all conscripted into musical employment in quest of novel sonorities. Curated by Chris Cutler 01. Playlist PDF Contents: 01. Playlist [00:00 Gregorio Paniagua, ‘Anakrousis’, 1978] 02. Notes [00:06 Frank Zappa, ‘Bicycle’, on the Steve Allen Show, 1963] 03. Links Here’s a very young Frank Zappa on the Steve Allen show in 1963, long before 04. -
Download the Digital Booklet
Tracks 1-10 EPISODE 1: THE DEAD PLANET Tracks 11-13 EPISODE 2: THE SURVIVORS Tracks 14-16 EPISODE 3: THE ESCAPE Tracks 17-19 EPISODE 4: THE AMBUSH Tracks 20-22 EPISODE 5: THE EXPEDITION Tracks 23-28 EPISODE 6: THE ORDEAL Tracks 29-31 EPISODE 7: THE RESCUE MUSIC BY TRISTRAM CARY BONUS TRACKS SPECIAL SOUND BY 32. FIVE EXPLOSIONS BRIAN HODGSON 33. THE AMBUSH (LOOP) AND THE BBC RADIOPHONIC 34. FUNERAL CHORDS WORKSHOP 35. FUNERAL CHORDS (ALTERNATIVE) 36. FUNERAL CHORDS (LOOP) Track 1 composed by Ron Grainer, realised by Delia Derbyshire, BBC Radiophonic Workshop Tracks 2, 4-6, 8, 10, 11, 13-29, 32-36 composed, realised and produced by Tristram Cary Tracks 3, 7, 9, 12, 30-31 Special Sound by Brian Hodgson, BBC Radiophonic Workshop Album compiled, mastered and produced by Mark Ayres EPISODE 1 - THE DEAD PLANET EPISODE 5 - THE EXPEDITION 01. DOCTOR WHO (ORIGINAL THEME) 1.25 20. RISING TENSION 1.18 02. FOREST ATMOSPHERE 1.08 21. DEMENTED DALEK 0.22 03. SKARO: PETRIFIED FOREST 22. THE SWAMP 2.31 ATMOSPHERE (“THAL WIND”) 4.53 04. FOREST WITH CREATURE 0.55 EPISODE 6 - THE ORDEAL 05. CITY MUSIC 1 & 2 0.56 23. THE CAVE I 2.07 06. THING IN JUNGLE 0.52 24. BARBARA LOSES THE ROPE 0.18 07. TARDIS COMPUTER 1.13 25. HIGH SOUND AND HEARTBEATS 08. CITY MUSIC 3 0.43 (ANTODUS AND GANATUS) 2.06 09. DALEK CITY CORRIDOR 3.46 26. PEBBLE DROPPED 0.13 10. THE DALEKS 0.33 27. CAPTIVES OF THE DALEKS 0.16 28. -
For Too Long Relegated to the Footnotes of UK Cultural History, Daphne Oram
Issue !! » Autumn "#!# 28 !For too longreams relegated to the footnotes of UK cultural history, Daphne Oram and Tristram Cary were unlikely, yet significant, mid-twentieth century pioneers of electronic music. Author and musician Mark Brend traces the technical epiphanies and thwarted ambitions of two very British workers in sound. 29 Paci!c H-bomb tests of "#$%. It was broadcast in "#$$, by which time the drama department at the BBC was becoming more open to the new music, Issue !! » Autumn "#!# thanks mainly to Oram’s proselytizing. Blending tolling percussive hits with ominous drones, Cary made use of the full range of tape manipulation techniques (vari-speeding, tape reversing, splicing and so on) to create music that represented, without trying to literally recreate, the action of the play. Two years later, in "#$&, Oram !nally got her chance when she was asked to compose electronic music for a BBC TV play, Amphitryon $%. She did this by gathering equipment from various BBC studios after they had shut down for the night, taking it all up to an empty room on the sixth 'oor of Broadcasting House, and working from midnight until %am for several weeks. A number of other BBC commissions followed, and eventually the Drama Department (pointedly not the Music Department), decided that the BBC needed a specialist electronic music and sound studio, what would become known as the Radiophonic Workshop. Oram was its !rst manager. (e workshop was o)cially opened on April Fools’ day "#$*, in Room "+ at the BBC’s studio in Maida Vale, west London, equipped with substandard, out of date and sometimes malfunctioning equipment, surplus to the requirements of other departments. -
MANDY Un Film De Alexander Mackendrick
Téléchargez les images dans les préférences de votre service de messagerie ou cliquez ici pour voir l'e-mail sur le web GROUPE PATRIMOINE/RÉPERTOIRE FICHE-EXPLOITANT MANDY un film de Alexander Mackendrick Tamasa Distribution 05 avril 2017 Un film d'Alexander Mackendrick Royaume-Uni - 1952 - 1h33 - VOSTF Mandy, sourde à sa naissance, est tiraillée entre ses parents qui ne sont pas d’accord sur l’éducation à lui donner. Sa mère l’inscrit dans une institution spécialisée où un professeur la convainc que, grâce à ses méthodes, Mandy pourra peu à peu apprendre à parler. Jaloux du professeur, le père retire l’enfant de l’institution… Le contexte La difficile reconnaissance de la surdité Les années 50 ont été une période de transition pour les malentendants. Bien que de nombreuses personnes considéraient à cette époque que la surdité était une maladie que l’on devait soigner, cette décennie vit l’éclosion d’associations pour sourds, ainsi que la naissance de la « culture sourde ». Cependant, hors de cette communauté, un préjugé répandu se traduisait par l’utilisation du terme «idiot» pour décrire des personnes qui ne pouvaient pas parler (souvent les personnes sourdes n’apprenaient pas à parler). C’est ce monde qui est dépeint dans MANDY. Des échos intimes pour Alexander Mackendrick L’histoire avait une résonance personnelle pour Alexander Mackendrick. Bien que né aux USA, il avait émigré en Ecosse pour vivre avec son grand-père après le décès de son père à la fin de la Première Guerre Mondiale, causé par l’épidémie de grippe. Sa mère devant organiser sa propre vie, l’avait envoyé en Ecosse pour un séjour temporaire qui devint permanent.