HP0009 Oswald (Ossie) Morris
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
British Society of Cinematographers
Best Cinematography in a Theatrical Feature Film 2020 Erik Messerschmidt ASC Mank (2020) Sean Bobbitt BSC Judas and the Black Messiah (2021) Joshua James Richards Nomadland (2020) Alwin Kuchler BSC The Mauritanian (2021) Dariusz Wolski ASC News of the World (2020) 2019 Roger Deakins CBE ASC BSC 1917 (2019) Rodrigo Prieto ASC AMC The Irishman (2019) Lawrence Sher ASC Joker (2019) Jarin Blaschke The Lighthouse (2019) Robert Richardson ASC Once Upon a Time … in Hollywood (2019) 2018 Alfonso Cuarón Roma (2018) Linus Sandgren ASC FSF First Man (2018) Lukasz Zal PSC Cold War(2018) Robbie Ryan BSC ISC The Favourite (2018) Seamus McGarvey ASC BSC Bad Times at the El Royale (2018) 2017 Roger Deakins CBE ASC BSC Blade Runner 2049 (2017) Ben Davis BSC Three Billboards outside of Ebbing, Missouri (2017) Bruno Delbonnel ASC AFC Darkest Hour (2017) Dan Laustsen DFF The Shape of Water (2017) 2016 Seamus McGarvey ASC BSC Nocturnal Animals (2016) Bradford Young ASC Arrival (2016) Linus Sandgren FSF La La Land (2016) Greig Frasier ASC ACS Lion (2016) James Laxton Moonlight (2016) 2015 Ed Lachman ASC Carol (2015) Roger Deakins CBE ASC BSC Sicario (2015) Emmanuel Lubezki ASC AMC The Revenant (2015) Janusz Kaminski Bridge of Spies (2015) John Seale ASC ACS Mad Max : Fury Road (2015) 2014 Dick Pope BSC Mr. Turner (2014) Rob Hardy BSC Ex Machina (2014) Emmanuel Lubezki AMC ASC Birdman or (The Unexpected Virtue of Ignorance) (2014) Robert Yeoman ASC The Grand Budapest Hotel (2014) Lukasz Zal PSC & Ida (2013) Ryszard Lenczewski PSC 2013 Phedon Papamichael ASC -
Oxford DNB: January 2021
Oxford DNB: January 2021 Welcome to the seventieth update of the Oxford DNB, which adds biographies of 241 individuals who died in the year 2017: 224 with their own entries and seventeen added to existing entries as 'co-subjects'. Of these new inclusions, the earliest born is the journalist Clare Hollingworth (1911-2017) and the latest born is the artist and photographer Khadija Saye (1992- 2017). Hollingworth is one of five centenarians included in this update, and Saye one of thirty-four new subjects born after the Second World War. The vast majority (169, or over 70%) were born in the 1920s and 1930s. Sixty-three of the new subjects who died in 2017 (or just over 26% of the cohort) are women. Twenty of the new subjects were themselves contributors to the dictionary. Forty-five of the new articles include portrait images. From January 2021, the Oxford DNB offers biographies of 64,071 men and women who have shaped the British past, contained in 61,745 articles. 11,870 biographies include a portrait image of the subject—researched in partnership with the National Portrait Gallery, London. As ever, we have a free selection of these new entries, together with a full list of the new biographies. Most public libraries across the UK subscribe to the Oxford DNB, which means you can access the complete dictionary for free via your local library. Libraries offer 'remote access' that enables you to log in at any time at home (or anywhere you have internet access). Elsewhere the Oxford DNB is available online in schools, colleges, universities, and other institutions worldwide. -
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. -
Cinema Studies: the Key Concepts
Cinema Studies: The Key Concepts This is the essential guide for anyone interested in film. Now in its second edition, the text has been completely revised and expanded to meet the needs of today’s students and film enthusiasts. Some 150 key genres, movements, theories and production terms are explained and analysed with depth and clarity. Entries include: • auteur theory • Black Cinema • British New Wave • feminist film theory • intertextuality • method acting • pornography • Third World Cinema • War films A bibliography of essential writings in cinema studies completes an authoritative yet accessible guide to what is at once a fascinating area of study and arguably the greatest art form of modern times. Susan Hayward is Professor of French Studies at the University of Exeter. She is the author of French National Cinema (Routledge, 1998) and Luc Besson (MUP, 1998). Also available from Routledge Key Guides Ancient History: Key Themes and Approaches Neville Morley Cinema Studies: The Key Concepts (Second edition) Susan Hayward Eastern Philosophy: Key Readings Oliver Leaman Fifty Eastern Thinkers Diané Collinson Fifty Contemporary Choreographers Edited by Martha Bremser Fifty Key Contemporary Thinkers John Lechte Fifty Key Jewish Thinkers Dan Cohn-Sherbok Fifty Key Thinkers on History Marnie Hughes-Warrington Fifty Key Thinkers in International Relations Martin Griffiths Fifty Major Philosophers Diané Collinson Key Concepts in Cultural Theory Andrew Edgar and Peter Sedgwick Key Concepts in Eastern Philosophy Oliver Leaman Key Concepts in -
Technology, Creativity and Lighting in Cinematography
In light of moving images: technology, creativity and lighting in cinematography. Alexander Nevill Title Page A thesis submitted in partial fulfilment of the requirements of the University of the West of England, Bristol for the degree of Doctor of Philosophy Supervised by Prof. Jon Dovey, Prof. Andrew Spicer and Prof. Terry Flaxton Funded by the AHRC 3d3 Centre for Doctoral Training Digital Cultures Research Centre Faculty of Arts, Creative Industries and Education June 2018 2 Light Did you say it’s made of waves? Yes, that’s it. I wonder what the waves are made of. Oh, waves are made of waves. Waves are what they are, Shimmeringness, Oscillation, Rhythmical movement which is the inherent essence of all things. Margaret Tait (1960) 3 Abstract This practice-led doctoral research examines lighting techniques used by cinematographers and more widely amongst practitioners working with moving imagery. The widespread adoption of digital technologies in the film production industry has received a good deal of critical attention from practitioners and scholars alike, however little specific consideration about changing lighting practices can be found amongst this discourse. The control and orchestration of lighting have significant aesthetic connotations for moving image work, so it is surprising that this practice remains an under-explored area in the digital age. Informed by a series of research-driven experimental installations and collaborative cinematography work on independent films, presented in a separate portfolio, this thesis offers an understanding of how light is orchestrated during the production of moving imagery through direct creative inquiry. The contribution to knowledge made through this doctoral research is distilled into three areas. -
Film and Tv Technician
Scanned from the collection of The Museum of Modern Art Library Coordinated by the Media History Digital Library www.mediahistoryproject.org Funded by a donation from University of St Andrews Library & Centre for Film Studies Digitized by the Internet Archive in 2013 http://archive.org/details/filmtvtech23asso LM AND TV TECHNICIAN Association of Cinematograph, Television and allied Technicians PRICE 6d. FILM & TV TECHNICIAN January 1957 • NO NEED TO LOOK TWICE . ... once is sufficient to see the noticeable improvement in all films when masked printed by Colour Film Services Limited—Britain's biggest 16 mm Kodachrome laboratory. 22-25 PORTMAN CLOSE • BAKER STREET LONDON • W.l. Telephone: Hunter 0408-9 GDQGQG5QQGGQQQQGGQGGQQGQGCGQG!jGGQGQGGQGQGOGGGQQQGQQQDGDDQGGGQDDGQG!jDOOGC 41BIARY. January 1957 FILM & TV TECHNICIAN In view of the film legislation now before Parliament we print in plB*©^ of our usual editorial an article which has special bearing on the steps needed to protect British Films WHY WE NEED A QUOTA ACT THIS month and next will see However, the Quota Quickie was That is why the film legislation both Houses of Parliament once largely eliminated ten years later now before Parliament is so vital again discussing the film industry, when Parliament passed an amen- to every one of us who wants to and in particular the renewal for ded Act which imposed a minimum see an expanding film industry. ten of what is called another years It looks as if the Government is the Quota Act. By trying to rush its legislation Why do we need a Quota Act to through Parliament without ade- protect British Films? quate opportunity for amendment, Ralph Bond and many amendments are Surely, you may say, we have urgently needed to ensure that the been making films long enough in better for British films Britain not to need Parliamentary Act works during the next ten years. -
Look Back on Woodfall Woodfall Film Productions Woodfall
Look Back on Woodfall Woodfall Film Productions Woodfall 13 reharbeiten zu A TASTE OF HONEY TASTE A reharbeiten zu D Hätte es Woodfall Film Productions nicht gegeben, so stieg in die Mittelschicht und das Aufbegehren der Ju- hätte man diese unabhängige Produktionsfirma erfin- gend gegen Autoritäten. Diese Lebenswirklichkeiten den müssen. Denn ohne sie wäre in England eine gan- boten keinen erfolgversprechenden Unterhaltungsstoff zen Schicht, die Arbeiterklasse, und eine ganze Region, für angenehme Kinoabende, und dennoch zählen Filme der industrialisierte Norden, nicht in das allgemeine wie SATURDAY NIGHT AND SUNDAY MORNING (1960) Bewusstsein gerückt worden. Die Ende der 1950er von Karel Reisz, THE LONELINESS OF THE LONG DIS- Jahre bis in die 1960er Jahre hinein entstandenen Fil- TANCE RUNNER (1962) von Tony Richardson und KES me der Woodfall Film Productions blicken auf die (1969) von Ken Loach heute zu den großen Klassikern Schattenseite Englands. Zugegebenermaßen muss des britischen Kinos. man sich etwas mehr bemühen als sonst und auf Um- Die Gründer von Woodfall Film Productions waren gangssprache, Dialekte und anderen Wortbedeutungen 1958 der Londoner Bühnenautor John Osborne, der in einlassen (z.B. sagt man dort zum »dinner« »tea«), Yorkshire geborene Regisseur Tony Richardson sowie wenn man Protagonisten folgen will, die bis auf wenige der Kanadier Harry Saltzman, der die Firma jedoch Ausnahmen Laiendarsteller aus der Region waren. nach drei gemeinsamen Produktionen verließ und ab Auch muss man bereit sein, sich mit Themen auseinan- 1962 James-Bond-Filme produzierte. Osborne wollte derzusetzen, die im England der Nachkriegszeit von sein Bühnenstück »Look Back in Anger« mit der Haupt- Tabus geprägt waren: Teenagerschwangerschaften, figur Jimmy Porter als zornigem jungen Mann, der in Abtreibung, Homosexualität, ein äußerst rüder Umgang desolaten Verhältnissen nicht nur verbal um sich zwischen Männern und Frauen (häusliche Gewalt inklu- schlägt, für die Leinwand adaptieren. -
Filmic Representations of the British Raj in the 1980S: Cultural Identity, Otherness and Hybridity
FILMIC REPRESENTATIONS OF THE BRITISH RAJ IN THE 1980S: CULTURAL IDENTITY, OTHERNESS AND HYBRIDITY Tesis doctoral presentada por Elena Oliete Aldea Dirigida por la Dra. Chantal Cornut-Gentille D’Arcy Dpto. de Filología Inglesa y Alemana Universidad de Zaragoza Marzo 2009 TABLE OF CONTENTS ACKNOWLEDGEMENTS INTRODUCTION…………………………………………………… 1 1. COMING TO TERMS WITH IDENTITY AND ‘BRITISHNESS’: THE INCESSANT CONSTRUCTION AND EROSION OF IDENTITY BOUNDARIES………………………. 21 1.1. Globalisation, Migration and Hybrid Societies……………………………… 22 1.2. Identity……………………………………………………………………….. 28 1.2.1. ‘Race’ and Racism……………………………………………………... 36 1.2.2. Miscegenation and Cultural Hybridity…………………………………. 54 1.2.3. Historical Multiculturality of the British Isles…………………………. 63 1.3. Immigration Policies in Britain……………………………………………… 76 2. BRITAIN IN THE 1980s: THE THATCHER DECADE………. 97 2.1. Definitions…………………………………………………………………….. 98 2.2. Britain Before Margaret Thatcher: ‘Labour Isn’t Working’………………….. 102 2.3. Thatcher’s Government: ‘Set the People Free’………………………………. 104 2.4. Britain’s Unique Position in the World………………………………………. 111 2.4.1. The Falklands War……………………………………………………... 116 2.5. Multicultural Britain in the 1980s……………………………………………. 120 2.5.1. New Right, New Racism……………………………………………….. 120 2.5.2. Immigration Controls for the Sake of Good Race Relations…………… 128 2.6. Thatcherism and Cinema……………………………………………………... 134 3. HISTORY, IDENTITY AND THE HERITAGE BUSINESS….. 141 3.1. History: the Ever-Present Past………………………………………………... 144 3.2. Different Perspectives of Historiography Through Time…………………….. 148 3.3. Heritage Industry: the National Identity Business……………………………. 169 3.4. Cinema and Heritage…………………………………………………………. 177 3.4.1. British Cinema, Genre and Society…………………………………….. 177 3.4.2. British Cinema in the 1980s: the Heritage Film……………………….. 189 4. THE RAJ REVIVAL FILMS IN THE 1980s…………………… 207 4.1. -
Introduction Imagining the North of England Ewa Mazierska
Introduction Imagining the North of England Ewa Mazierska In his seminal book about nationalism, Imagined Communities, Benedict Anderson observes that ‘all communities larger than primordial villages of face-to-face contact (and perhaps even these) are imagined’ (Anderson 2006: 6). This also refers to regions larger or smaller than a country, such as the North of England, which is of interest to the authors of this collection. Accordingly, what needs to be examined, is not what is the ‘real North’, as opposed to the ‘fabricated North’, but how it is created or imagined. Anderson and others point to the role of the mass media in creating communities. It is the media which furnish places with specific meanings and people with qualities, telling stories which come across as convincing. Some of these stories endure for a long time, due to being recycled in the new media; others die out because the media cease being interested in them and new associations and stories are created about places and people. In this book we want to present such stories about the North of England, told in films and television productions, trying to capture what is constant in them and what is changing. However, before that, it is worth making some comments about the origin of this term. The ‘North of England’ presupposes its other – the ‘South of England’. To find the ‘North of England’, we have to grapple with the South-North divide. However, almost all authors discussing this concept point to the fact that the boundary is fluid and contested. As Rob Shields observes, ‘the ”North” of England is not a precisely mapped out jurisdiction with clear borders. -
Film Production Current Academic Cinema
DOCUMENT. RESUME ED 081 053 CS 500 404 AUTHOR Staples, Donald E. TITLE A Look at the Role of the American Cinematographer Through a Selected List of Films. PUB DATE 29 Mar 68 NOTE 19p.; Paprr presented at a meeting of the Society of Cinematologists (New York, March 1968) EDRS PRICE MF-$0.65 HC-$3.29 DESCRIPTORS Art Expression; Audiovisual Communication; Creative Activities; *Film Production; *Film Production Specialists; *Films; *Film Study; Visual Arts IDENTIFIERS *Cinematographers; Film History ABSTRACT The stress given to film directors and stars in current academic cinema studies unjustifiably ignores the artistic contributions of cinematographers..Frequently, cinematographers are responsible for much of the artistic expression and inventiveness in films. Although determination of the extent of the cinematographer's contribution is difficult, it is possible to assess the frequency with which cameramen are credited for their contributions to award-winning films. k'survey of 339 of the "best" feature films produced between 1930 and 1964 indicated that writers, directors, and editors were credited more frequently than cinematographers. It also indicated that a relatively small group of "top" cameramen were acknowledged as contributing to the "best" films of the period.. (CH) FILMED FROM BESTAVAILABLE CO U S DEPARTMENT OF HEALTH. EDUCATION & WELFARE NATIONAL INSTITUTE OF EDUCATION THIS DOCUMENT HAS BEEN REPRO OUCED EXACTLY AS RECEIVED FROM THE PERSON OR ORGANIZATION ORIGIN ATING It POINTS OF VIEW OR OPINIONS STATED 00 NOT NECESSARILY REPRE SENT OFFICIAL NATIONAL INSTITUTE OF EDUCATION POSITION OF POLICY Society of Cinematolooists A LOOK AT THE ROLE OF TIE AMERICANCINEMATOGRAPHER THROUGH A SELECTED LIST OF FILMS by "PERMISSION TO REPRODUCE THIS COPY. -
The 46 Th Annual Academy Awards Pre&Entation
The 46 th Annual Academy Awards Pre&entation • On the night of April 2, 1974, an estimated 76,000,000 television viewers throughout the United States gathered expectantly in front of their receivers to watch the telecast, over the NBC Television Network, of Hollywood's Big Night—that night on whichi the artists and artisans of the motion picture industry gather annually to honor their own. • In addition to its beaming to the millions in America, the 46th ANNUAL ACADEMY AWARDS PRESENTA- TION was made available live or on a delayed broadcast basis in 17 locales outside the continental United States. The ceremonies, which took place in the plush Dorothy Chandler Pavilion of the Los Angeles Music Center, were carried live by Australia, Brazil, Canadla, Mexico, Venezuela, Puerto Rico and St. Thomas. Delayed-basis telecasts were seen in Colombia, Hong Kong, South Korea, Taiwan, the Philippines, New Zealand, Spain, Nicaragua, El Salvador and Peru. Also, the show was transmitted to Unilted States servicemen statiomed in for- eign lands via Armed Forc- Page design ai by JAY K sands of fans, many of whom had been' waiting in the bleachers since dawn, cheered and applauded their favorites of the silver screen. The lavishly staged Awards Presenta- tion program lasted more than three hours (the longest ever) and was high- lighted by ambitious musical production numbers, film clips from pictures and the extra-curricular performance of a "streaker", who enlivened that portion of the program considerably and man- aged to unnerve the usually unflappable Elizabeth Taylor. Outside the Dorothy Chandler Pavil- ion, star-struck fans had been gathering since dawn and the 3,000 bleacher seats were filled hours before the event, with several hundred more people thronging the sidewalk across the street. -
Who Will Save Tom Jones ? a Restoration Proposal for Tony
Who will save Tom Jones? A restoration proposal for Tony Richardson’s 1963 classic Class: Intro to MIAP Lecturer: Howard Besser Student: David Neary “’Twould be the devil’s own nonsense to leave Tom Jones without a rescuer.” - The Narrator (Micheál Mac Liammóir ) This paper is intended to outline the reasons for a much-needed restoration of Tony Richardson’s anarchic, bawdy 1963 period comedy Tom Jones, and the means by which it could be achieved. For reasons we shall encounter below, such a project, at this moment in time, would appear to be no more than a hypothetical one, although it can be hoped that the research herein may be of use in years to come. I write this paper not as a frustrated fan (although I have been a devotee of the film for some years), but as a long-time student of film history seeing a landmark film undeservingly overlooked by modern audiences, and made available only in threadbare standard definition digital releases that rob the film of so much of its vibrancy. This is a question of access. It is not that Tom Jones cannot be seen with relative ease; Amazon.com stocks DVDs and has a “HD” copy available as video- on-demand. But these digital copies are utterly lacking in the quality that audiences have come to expect from reissued classics. Inferior scans of the film’s two cuts (the Theatrical Cut and the 1989 Director’s Cut; more anon) mean new audiences are finding a dulled version of a great film that cannot hope to live up to the standards of contemporary moviegoers.