DOCSLIB.ORG

NEWS RELEASE ACCLAIMED BRITISH DIRECTOR DON BOYD HOSTS RETROSPECTIVE at LONDON INTERNATIONAL DOCUMENTARY FESTIVAL 23Rd April - 8Th May 2010, Venues Across London

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
NEWS RELEASE ACCLAIMED BRITISH DIRECTOR DON BOYD HOSTS RETROSPECTIVE at LONDON INTERNATIONAL DOCUMENTARY FESTIVAL 23Rd April - 8Th May 2010, Venues Across London NEWS RELEASE ACCLAIMED BRITISH DIRECTOR DON BOYD HOSTS RETROSPECTIVE AT LONDON INTERNATIONAL DOCUMENTARY FESTIVAL 23rd April - 8th May 2010, Venues across London Acclaimed director/producer Don Boyd’s documentary work is celebrated at this year’s London International Documentary Festival (23 April – 8 May) with a ten film retrospective. Spanning a diverse range of topics - from opera, to British naturism, to sensitive portrayals of live & love – Boyd's retrospective is a masterclass in the art of documentary film- making. The showcase opens with the highly acclaimed but controversial Lucia which explores relationships within an opera troupe performing Donizetti's Lucia di Lammermoor for a wedding party. The bride’s brother hopes her new husband, a rich American tenor, will contribute cash to save the failing troupe, but she’s really in love with someone else... As The Times reviewer put it at the time: ‘Handsome to look at and gorgeous to listen to, Boyd's fine soprano soars above some dazzling imagery’. Released in 1998 this is a one- off opportunity to see this operatic film classic in a fitting auditorium, The Barbican, 25th April. A triple bill on 26 April at The Horse Hospital is a must for all Boyd fans. The bill features Full Frontal in Flipflops – Boyd’s documentary marking the 50th anniversary of British naturism – The Babe Business, charting the lives of young models in New York, and Donald and Luba, chronicling the history of his Scottish father and Russian mother. A Q&A with the director follows this screening. The Cannes Palme d’Or-nominated Aria (1987), Boyd’s extraordinary operatic collaboration with 10 of the world's most distinguished Directors, screens at the Clapham Picture House on 30 April. While most opera-films present an opera in its entirety, Aria consists of ten musical excerpts from ten different operas, directed by tan extraordinary line-up of talent including Ken Russell, Julien Temple, Nicolas Roeg, Jean-Luc Godard, Derek Jarman and Robert Altman, Franc Roddam The retrospective continues with Archive of Dreams (set in La Spezia, Italy) and The Passion of Louis Malle, a documentary portrait of the legendary French film director featuring many of his collaborators including playwrights David Hare and John Guare, his brother Vincent Malle, his wife Candice Bergen, the Observer film critic Philip French and a myriad of the movie stars, actors and actresses he worked with. Screened together at the Lexi Cinema on 4th May. A double bill of Man, God and Africa – a vivid portrayal of the importance and vibrancy of Pentecostal Christianity o Black South Africans - and Boyd’s much-loved depiction of a gay love affair Andrew and Jeremy Get Married screens at The Horse Hospital on 6th May, followed by a panel discussion. Finally, Boyd’s long-time collaboration with the iconic director Derek Jarman is marked by a screening of War Requiem on 8 May at the British Museum. Using no spoken dialogue, this moving film simply allows the music and lyrics of Benjamin Britten's "War Requiem, which include WWI soldier poet Wilfred Owen's poems, to tell the story of war's horrors. It also includes actual footage of contemporary wars (WWII, Vietnam, Angola, etc.) making this very much a film that deserves a further airing. Fiercely independent and critical of much mainstream entertainment, Boyd has little time for much contemporary ‘documentary’ television. “Television journalism has hijacked what was once a great art form and uses the word ‘documentary’ to describe what is also loosely called ‘factual’ or ‘reality’ television, but is in fact just bastardised, cheap forms of manipulated, invariably mendacious, amateur entertainment masquerading as an honest representation of reality,” he says. In addition to screenings of many of Boyd’s documentaries, he will take part in debates and discussions at locations throughout the festival. To hear more of Boyd’s trenchant views on film, television and much more besides, come along to LIDF 2010! For further information please contact Fiona Hazard, LIDF Press Office, tel: 07786 435595. About Don Boyd With a career spanning more than 35 years, Don Boyd is the creative mainspring behind dozens of movies, documentaries and works for television. As a director, his many ground-breaking documentaries include Andrew and Jeremy get Married, Full Frontal with Flip-flops and The Passions of Louis Malle, about the great French film director. Boyd’s feature films as director include My Kingdom, starring Richard Harris and Lynn Redgrave, Lucia, based on the opera Lucia de Lammamoor, and Goldeneye, starring Charles Dance as James Bond author Ian Fleming. His producer credits range from Lyndsay Anderson’s Look Back in Anger to the multi-directed Aria, taking in several Derek Jarman movies including The Last of England and The Tempest. The film critic and writer Alexander Walker once described Boyd as ‘a one man film industry’. Fiercely independent and critical of much mainstream entertainment, he has little time for much contemporary ‘documentary’ television. “Television journalism has hijacked what was once a great art form and uses the word ‘documentary’ to describe what is also loosely called ‘factual’ or ‘reality’ television, but is in fact just bastardised, cheap forms of manipulated, invariably mendacious, amateur entertainment masquerading as an honest representation of reality,” he says. Boyd was brought up in Hong Kong, Uganda and Kenya, the son of a Scottish father and Russian mother. He was educated at Loretto School in Scotland and at the London Film School. For further information please contact Fiona Hazard, LIDF Press Office, tel: 07786 435595. .
Load more

Recommended publications
  • PRESS RELEASE Wednesday 22 January UNDER EMBARGO Until 10.30 on 22.1.20
    PRESS RELEASE Wednesday 22 January UNDER EMBARGO until 10.30 on 22.1.20 Artists launch Art Fund campaign to save Prospect Cottage, Derek Jarman’s home & garden, for the nation – Art Fund launches £3.5 million public appeal to save famous filmmaker’s home – National Heritage Memorial Fund, Art Fund and Linbury Trust give major grants in support of innovative partnership with Tate and Creative Folkestone – Leading artists Tilda Swinton, Tacita Dean, Jeremy Deller, Michael Craig-Martin, Isaac Julien, Howard Sooley, and Wolfgang Tillmans give everyone the chance to own art in return for donations through crowdfunding initiative www.artfund.org/prospect Derek Jarman at Prospect Cottage. Photo: © Howard Sooley Today, Art Fund director Stephen Deuchar announced the launch of Art Fund’s £3.5 million public appeal to save and preserve Prospect Cottage in Dungeness, Kent, the home and garden of visionary filmmaker, artist and activist, Derek Jarman, for the nation. Twitter Facebook artfund.org @artfund theartfund National Art Collections Fund. A charity registered in England and Wales 209174, Scotland SC038331 Art Fund needs to raise £3.5m by 31 March 2020 to purchase Prospect Cottage and to establish a permanently funded programme to conserve and maintain the building, its contents and its garden for the future. Major grants from the National Heritage Memorial Fund, Art Fund, the Linbury Trust, and private donations have already taken the campaign half way towards its target. Art Fund is now calling on the public to make donations of all sizes to raise the funds still needed. Through an innovative partnership between Art Fund, Creative Folkestone and Tate, the success of this campaign will enable continued free public access to the cottage’s internationally celebrated garden, the launch of artist residencies, and guided public visits within the cottage itself.
    [Show full text]
  • “Jerusalem” Set to Music: a Selected Discography
    ARTICLE sought to rouse the morale of the nation in the depths of the First World War.2 Over the ensuing century, Parry’s hymn would be sung and heard again and again, whether performed by church choirs or in Women’s Institutes, or lis- tened to on shellac 78s, vinyl albums and singles, CDs, or, “Jerusalem” Set to Music: in more recent times, via audio streaming. A Selected Discography 3 Of the many hundreds of releases, this list has been deliber- ately restricted to a selected discography of fifty recordings. By Jason Whittaker While that Top 50 is necessarily somewhat arbitrary, it does prevent some of the monotony that comes from the succes- Jason Whittaker ([email protected]) is head sion of compilation discs in particular. Easily half of the of the School of English and Journalism at the Univer- versions I have discovered in recent years are repackaged sity of Lincoln. He is the author of several works on earlier recordings, such as The Great British Street Party William Blake, including William Blake and the Myths 2012 (“120 Classic Songs and Anthems to Celebrate the Ju- of Britain (Palgrave, 1999), Radical Blake: Influence and bilee!”) or the version by the Liverpool Cathedral Choir on Afterlife from 1827 (with Shirley Dent, Palgrave, 2002), the 2004 compilation Perfect Wedding Classics. and Blake 2.0: William Blake in Twentieth-Century Art, Music and Culture (with Steve Clark and Tristanne 4 The list therefore tends to focus on versions of “Jerusalem” Connolly, Palgrave, 2012). His main research interests that are unusual in some way.
    [Show full text]
  • Not Showing at This Cinema
    greenlit just before he died, was an adaptation of A PIN TO SEE THE NIGHT Walter Hamilton’s 1968 novel All the Little Animals, exploring the friendship between a boy and an THE PEEPSHOW CREATURES old man who patrols roads at night collecting the Dir: Robert Hamer 1949 Dir: Val Guest 1957 roadkill. Reeves prepared a treatment, locations Adaptation of a 1934 novel by F. Tennyson Jesse Robert Neville is the last man on earth after a were scouted and Arthur Lowe was to play the about a young woman wrongly convicted as an mysterious plague has turned the rest of the lead. Thirty years later the book was adapted for accomplice when her lover murders her husband; a population into vampires who swarm around his the screen and directed by Jeremy Thomas starring thinly fictionalised account of Edith Thompson and house every night, hungering for his blood. By day, John Hurt and Christian Bale. the Ilford Murder case of 1922. With Margaret he hunts out the vampires’ lairs and kills them Lockwood in the lead, this was something of a with stakes through the heart, while obsessively dream project that Robert Hamer tried to get off searching for an antidote and trying to work out the ground at Ealing. Despite a dazzling CV that the cause of his immunity. Richard Matheson wrote ISHTAR includes the masterpiece Kind Hearts and Coronets the screenplay for The Night Creatures for Hammer Dir: Donald Cammell 1971-73 (1949), Hamer was unable to persuade studio Films in 1957 based on his own hugely influential The co-director of Performance (1970), Cammell boss Michael Balcon to back the project.
    [Show full text]
  • Patrick Ryecart
    3rd Floor, Joel House 17-21 Garrick Street London WC2E 9BL Phone: 0207 420 9350 Email: [email protected] Web: www.shepherdmanagement.co.uk Photo: Dean Roberts Patrick Ryecart Other: Equity, AEA Greater London, England, United Location: Eye Colour: Blue Kingdom Hair Colour: Blond(e) Height: 5'11" (180cm) Hair Length: Mid Length Weight: 12st. (76kg) Voice Character: Relaxed Nationality: British Voice Quality: Strong Television 2019, Television, Earl Marshall Duke of Norfolk, The Crown, Left Ban Netflix, Steven Daldry 2016, Television, Bernard - Duke of Norfolk, THE CROWN, Netflix, Steven Daldry/Philip Martin 2016, Television, Sir Hugh Bodrugan, POLDARK (Series 1 & 2), Mammoth Film for BBC One, Ed Bazalgette/William McGregor 2013, Television, Sir Anthony Morgan, POIROT, Andy Wilson 2013, Television, Gavin De Souza QC, THE ESCAPE ARTIST, BBC Endor Films, Brian Welsh 2012, Television, Devereaux, MIDSOMER MURDERS, BBC, Simon Langton 2010, Television, Sir Fred, HUSTLE, BBC, Ian B McDonald 2005, Television, Lord Macefield, JERICHO, ITV Television, Jimmy Goldsmith, THE LAVENDER LIST, BBC Television Television, MUCH ADO ABOUT NOTHING, BBC Television, Brian Percival Television, AFTER ALL, Granada Television Television, Sergius, ARMS AND THE MAN, BBC Television, Jimmy Cellan Jones Television, BEAUTIFUL LIES, BBC Scotland Television, BELIEVE NOTHING, Alomo Productions Television, HOLBY CITY, BBC Television Television, Tommy Mortimer, NANCHERROW, ITV, Simon Langton Television, Tommy Mortimer, COMING HOME, ITV, Giles Foster Television, CRIMESQUAD,
    [Show full text]
  • Derek Jarman Sebastiane
    ©Jack Fritscher, Ph.D. Pre-Publication Web Posting 191 DEREK JARMAN SEBASTIANE Derek Jarman, the British painter and set designer and filmmaker and diarist, said about the Titanic 1970s, before the iceberg of AIDS: “It’s no wonder that a generation in reaction [to homopho- bia before Stonewall] should generate an orgy [the 1970s] which came as an antidote to repression.” Derek knew decadence. And its cause. He was a gay saint rightly canonized, literally, by the Sisters of Perpetual Indulgence. As editor of Drummer, I featured his work to honor his talent. If only, like his rival Robert Mapplethorpe, he had shot a Drummer cover as did director Fred Halsted whose S&M films LA Plays Itself and Sex Garage are in the Museum of Modern Art. One problem: in the 1970s, England was farther away than it is now, and Drummer was lucky to get five photographs from Sebastiane. On May 1, 1969, I had flown to London on a prop-jet that had three seats on each side of its one aisle. A week later the first jumbo jet rolled out at LAX. That spring, all of Europe was reel- ing still from the student rebellions of the Prague Summer of 1968. London was Carnaby Street, The Beatles, and on May 16, the fabulous Brit gangsters the Kray twins—one of whom was gay—were sentenced. London was wild. I was a sex tourist who spent my first night in London on the back of leatherman John Howe’s motorcycle, flying past Big Ben as midnight chimed.
    [Show full text]
  • Andrewmcalpine.Net
    (9/29/21) ANDREW McALPINE Production Designer www.andrewmcalpine.net FILM & TELEVISION DIRECTOR COMPANIES PRODUCERS “ROSALINE” Karen Maine 20th Century Studios Dan Cohen 21 Laps Shawn Levy “SERENITY” Steven Knight IM Global Guy Heeley Greg Shapiro “KING CHARLES III” Rupert Goold BBC Studios Mike Bartlett (TV movie) Masterpiece Roanna Benn Greg Brenman “DENIAL” Mick Jackson Participant Media Gary Foster Shoebox Films Russ Krasnoff “ME BEFORE YOU” Thea Sharrock MGM Alison Owen New Line Karen Rosenfelt “HALF OF A YELLOW SUN” Biyi Bandele British Film Institute Andrea Calderwood Gail Egan “QUARTET” Dustin Hoffman Headline Pictures Finola Dwyer BBC Films Stewart Mackinnon “RICHARD II” Rupert Goold NBC/Universal Pippa Harris Neal Street Productions Sam Mendes BBC2 Gareth Neame “LOVE BIRDS” Paul Murphy General Film Corp. Alan Harris “MADE IN DAGENHAM” Nigel Cole BBC Films Elizabeth Karlsen Nomination: Evening Standard Award HanWay Films Stephen Woolley Lipsync Production “AN EDUCATION” Lone Scherfig Finola Dwyer Productions Finola Dwyer Wildgaze Films Amanda Posey “DEAN SPANLEY” Toa Fraser Atlantic Film Productions Matthew Metcalf “THE SENTINEL” Clark Johnson New Regency Pictures Bill Carraro Twentieth Century Fox Michael Douglas “AEON FLUX” Karyn Kusama MTV Gregory Goodman Paramount Pictures Gale Anne Hurd “THE IN-LAWS” Andrew Fleming Franchise Pictures Bill Gerber Warner Brothers Elie Samaha (cont.) SANDRA MARSH & ASSOCIATES +1 (310) 285-0303 [email protected] • www.sandramarsh.com (9/29/21) ANDREW McALPINE Production Designer – 2 – FILM
    [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]
  • Unseen Horrors: the Unmade Films of Hammer
    Unseen Horrors: The Unmade Films of Hammer Thesis submitted by Kieran Foster In partial fulfilment of the requirements for the award of Doctor of Philosophy De Montfort University, March 2019 Abstract This doctoral thesis is an industrial study of Hammer Film Productions, focusing specifically on the period of 1955-2000, and foregrounding the company’s unmade projects as primary case studies throughout. It represents a significant academic intervention by being the first sustained industry study to primarily utilise unmade projects. The study uses these projects to examine the evolving production strategies of Hammer throughout this period, and to demonstrate the methodological benefits of utilising unmade case studies in production histories. Chapter 1 introduces the study, and sets out the scope, context and structure of the work. Chapter 2 reviews the relevant literature, considering unmade films relation to studies in adaptation, screenwriting, directing and producing, as well as existing works on Hammer Films. Chapter 3 begins the chronological study of Hammer, with the company attempting to capitalise on recent successes in the mid-1950s with three ambitious projects that ultimately failed to make it into production – Milton Subotsky’s Frankenstein, the would-be television series Tales of Frankenstein and Richard Matheson’s The Night Creatures. Chapter 4 examines Hammer’s attempt to revitalise one of its most reliable franchises – Dracula, in response to declining American interest in the company. Notably, with a project entitled Kali Devil Bride of Dracula. Chapter 5 examines the unmade project Nessie, and how it demonstrates Hammer’s shift in production strategy in the late 1970s, as it moved away from a reliance on American finance and towards a more internationalised, piece-meal approach to funding.
    [Show full text]
  • Judith Eisler: Riffs. Jarman's Caravaggio
    JUDITH EISLER: RIFFS. JARMAN’S CARAVAGGIO. OPENING RECEPTION: THURSDAY, SEPTEMBER 6, 6-8PM ON VIEW: SEPTEMBER 6 - OCTOBER 20 Casey Kaplan is pleased to announce the opening of Judith Eisler: Riffs. Jarman’s Caravaggio. For the artist’s first exhibition with the gallery, Eisler presents a new series of paintings based on Derek Jarman’s 1986 film “Caravaggio”. Judith Eisler paints cinematic close-ups sourced from her own photographs of paused film scenes. With a lifelong interest in film, Eisler often returns to the work of filmmakers such as Rainer Werner Fassbinder and Derek Jarman. In consideration of the formal properties of light, color and space within a single film frame, the artist considers an image’s capacity to exist as both real and fictional. As each image undergoes multiple layers of mediation, Eisler's renderings shift between representational and abstract. Working with oil on canvas, Eisler directs our view to the visual optics of cinematic happenings. The film “Caravaggio” depicts the story of Michelangelo Merisi da Caravaggio’s (1571 - 1610) life, filtered through the lens of filmmaker Der- ek Jarman (1942 – 1994). The script expands upon the sanctioned narratives of what might have occurred. If the film is at all biographical, it is in Jarman’s fidelity to the color, light and tableaus of Caravaggio’s paintings. Jarman either recreates or refers to a number of Caravaggio’s paintings such as Boy with a Basket of Fruit (1593), The Lute Player (1596), Penitent Magdalene (1594-95), and The Deposition (1602-03). The actors and sets are staged and illuminated in a visual style that echoes the dramatic light infusing Caravaggio’s paintings.
    [Show full text]
  • British Art Cinema
    Introduction: British art cinema 1 Introduction – British art cinema: creativity, experimentation and innovation Paul Newland and Brian Hoyle What is art cinema? Definitions of art cinema have long been contested, but the generic term ‘art cinema’ has generally come to stand for feature-length narrative films that are situated at the margins of mainstream cinema, located some- where between overtly experimental films and more obviously commercial product. Whether it is through a modernist, drifting, episodic approach to storytelling; a complex engagement with high culture; the foregrounding of a distinct authorial voice; or a simple refusal to bow to normal commercial considerations, at its heart the term ‘art cinema’ has come to represent film- making which is distinct from – and often in direct opposition to – popular narrative film. But for Steve Neale, writing in a seminal article published in the journal Screen in 1981, the term ‘art cinema’ applies not just to individ- ual films and film histories but also to patterns of distribution, exhibition, reception and audience engagement.1 Moreover, art cinema, in its cultural and aesthetic aspirations but also its audience, relies heavily upon an appeal to ‘universal’ values of culture and art. This is reflected in the existence of international festivals, where distribution is sought for these films, and where their status as ‘art’ – and as films ‘to be taken seriously’ – is confirmed and re-stated through prizes and awards. Writing in 2013, David Andrews argued that art cinema should
    [Show full text]
  • Document Version Publisher Pdf
    Kent Academic Repository Full text document (pdf) Citation for published version Brydon, Lavinia (2013) The Nostalgic Gardens of Derek Jarman’s England. Dandelion, 4 (2). pp. 1-15. DOI Link to record in KAR http://kar.kent.ac.uk/50297/ Document Version Publisher pdf Copyright & reuse Content in the Kent Academic Repository is made available for research purposes. Unless otherwise stated all content is protected by copyright and in the absence of an open licence (eg Creative Commons), permissions for further reuse of content should be sought from the publisher, author or other copyright holder. Versions of research The version in the Kent Academic Repository may differ from the final published version. Users are advised to check http://kar.kent.ac.uk for the status of the paper. Users should always cite the published version of record. Enquiries For any further enquiries regarding the licence status of this document, please contact: [email protected] If you believe this document infringes copyright then please contact the KAR admin team with the take-down information provided at http://kar.kent.ac.uk/contact.html Lavinia Brydon is Lecturer in Film at the University of Kent. She was awarded her PhD in 2012 from Queen Mary, University of London, for a thesis which examined the space of the garden in British film culture. Her research interests extend to film theory, especially questions of auteurship, identity and the concept of national cinema. [email protected] Article The Nostalgic Gardens of Derek Jarman’s England Lavinia Brydon / __________________________________________ Paradoxes, ambiguities and inconsistencies pervade the work of Derek Jarman.
    [Show full text]
  • Physical Motifs and Concentric Amplification in Godard/Lully's Armide
    Physical Motifs and Concentric Amplification in Godard/Lully's Armide Edward D. Latham Introduction: "Aria" and Genre The role of operatic music in film is traditionally diegetic. For example, in films like The Shawshank Redemption (1994), Philadelphia (1993), and The Godfather III (1990), there is a dramatic motivation for the presence of the music and/or a visual cue that lets the audience know that the characters can actually hear it. Typically, the use of operatic music is also a cultural cue for the exotic or incongruous; it distances the viewer from the onscreen image because of its explicitly performative nature. In Philadelphia, for example, the main character (played by Tom Hanks), "performs" a Puccini aria by lip-synching to a recording of Maria Callas and performing elaborately stylized staging. The setting for this scene immediately cues the audience to the other-worldliness of the aria by bathing Hanks's apartment in lurid red lighting and using jarring camera angles and close-ups. In The Godfather III, as in Dangerous Liaisons (1988), Moonstruck (1987), and Pretty Woman (1990), the role of operatic music is even more explicitly diegetic, since all four depict actual opera performances attended by the characters in the film. In The Shawshank Redemption, the main character plays a Mozart duet over the loudspeakers at Shawshank Prison. What if, however, operatic music were used in a nondiegetic context, as the fundamental thread that binds a film together? Films such as Raging Bull (1980), A Room With A View (1986) and, more recently, The Rock (1996), have experimented with this idea in a limited context, combining opera excerpts with a more traditional film score.
    [Show full text]