Widescreen Weekend 2008 Brochure (PDF)

Total Page:16

File Type:pdf, Size:1020Kb

Widescreen Weekend 2008 Brochure (PDF) A5 Booklet_08:Layout 1 28/1/08 15:56 Page 41 THIS IS CINERAMA Friday 7 March Dirs. Merian C. Cooper, Michael Todd, Fred Rickey USA 1952 120 mins (U) The first 3-strip film made. This is the original Cinerama feature The Widescreen Weekend continues to welcome all which launched the widescreen those fans of large format and widescreen films – era, and is about as fun a piece of CinemaScope, VistaVision, 70mm, Cinerama and IMAX – Americana as you are ever likely and presents an array of past classics from the vaults of to see. More than a technological curio, it's a document of its era. the National Media Museum. A weekend to wallow in the nostalgic best of cinema. HAMLET (70mm) Sunday 9 March Widescreen Passes £70 / £45 Dir. Kenneth Branagh GB/USA 1996 242 mins (PG) Available from the box office 0870 70 10 200 Kenneth Branagh, Julie Christie, Derek Jacobi, Kate Winslet, Judi Patrons should note that tickets for 2001: A Space Odyssey are priced Dench, Charlton Heston at £10 or £7.50 concessions Anyone who has seen this Hamlet in 70mm knows there is no better-looking version in colour. The greatest of Kenneth Branagh’s many achievements so 61 far, he boldly presents the full text of Hamlet with an amazing cast of actors. STAR! (70mm) Saturday 8 March Dir. Robert Wise USA 1968 174 mins (U) Julie Andrews, Daniel Massey, Richard Crenna, Jenny Agutter Robert Wise followed his box office hits West Side Story and The Sound of Music with Star! Julie 62 63 Andrews returned to the screen as Gertrude Lawrence and the film charts her rise from the music hall to Broadway stardom. Star! is a spectacular compendium of the best of 20th century popular music as well as an excellent rags-to-riches story. THE BIGGER PICTURE: A HISTORY OF CINEMA EXHIBITION With Tony Sloman Saturday 8 March 61. 2001: A Space Odyssey Regular WSW guest Tony Sloman, 62. The Great Escape 63. Blade Runner a member of the Academy of the Widescreen Weekend, gives an introduction to the history of cinema. 41 A5 Booklet_08:Layout 1 28/1/08 15:56 Page 42 WINDJAMMER CINERAMACANA BLADE RUNNER: Saturday 8 March Sunday 9 March THE FINAL CUT Dir. Louis de Rochemont III One of the most popular events Sunday 9 March Norway/USA 1958 120 mins (U) of the Widescreen Weekend and Dir. Ridley Scott The 50th anniversary of the a great way to wake up on a USA 2007 117 mins (15) release of this film shot in Sunday morning. Cineramacana Harrison Ford, Rutger Hauer, M. Cinemiracle. Widescreen fans brings together all those little Emmet Walsh, Sean Young love it. It’s a great cultural bits and pieces that lie around in A quarter of a century after its experience as a group of cadets people’s cupboards or on dusty release, Blade Runner receives its on a training exercise take the SS shelves in archives and which third and ultimate edit by Christian Radich from Oslo, seldom see the light of a director Ridley Scott. A seminal across the Atlantic and on to New projector. classic of the genre. Screening in York. Featuring great and much digital. sought-after music. HONEYMOON Sunday 9 March 70mm DOUBLE BILL: UK PREMIERE Dir. Michael Powell EDWARD SCISSORHANDS THE SAND PEBBLES GB/Spain 1959 105 mins (adv U) Monday 10 March Saturday 8 March Anthony Steel, Ludmilla Tchérina, Dir. Tim Burton Dir. Robert Wise Antonio, Léonide Massine USA 1990 105 mins (PG) USA 1966 196 mins (PG) A newly married couple Johnny Depp, Winona Ryder Steve McQueen, Richard honeymoon in Spain. Recently An elderly inventor creates Attenborough, Richard Crenna, restored by Charles Doble with Edward, a living being, but dies Candice Bergen, Mako funds from the Martin Scorsese before he can complete the In between The Sound of Music Foundation, this is not only a rare hands. Edward is left alone – but and Star!, Robert Wise delivered a Michael Powell film but also a with a dazzling array of knives classic war epic set in 1920s rare widescreen classic, filmed in and scissors at the ends of his China. The Sand Pebbles boasts an ARC 120. arms. Peggy, the local Avon lady, Oscar-nominated performance by finds him and brings him back to Steve McQueen’s as engineer Jake CINEMATIC SOUND town. There he becomes a star at Holman, who upsets the status FORMATS topiary and hairdressing. A very quo on board the US gunboat San With Dion Hanson peculiar vision of small town Pablo. Remastered digitally at the Friday 7 March America sees Tim Burton at his highest resolution, this new print A special presentation by imaginative best. Edward is one receives its UK premiere. engineer and cinema technology of cinema’s great sympathetic historian Dion Hanson, who takes characters. UK DIGITAL PREMIERE us on a sound journey through THE GREAT ESCAPE the history of cinema. Dion + BRAINSTORM Friday 7 March previously worked for Dolby Dir. Douglas Trumbull Dir. John Sturges Laboratories and was chairman USA 1983 106 mins (15) USA 1963 172 mins (PG) of the Projected Picture Trust. Christopher Walken, Natalie Wood Steve McQueen, James Garner, With a machine that can put you Richard Attenborough, James 2001: into someone else’s experiences Donald, Charles Bronson A SPACE ODYSSEY (70mm) then this could be a great fun An immediate classic on its Friday 7 March experience or learning device. But release, this timeless tale of Dir. Stanley Kubrick the military can also see some courage in adversity remains GB/US 1968 141 mins (U) great potential. Partly shot in notable for the emergence of Keir Dullea, Gary Lockwood, 70mm, this is a great ride and Steve McQueen as a bonafide William Sylvester, Leonard Rossiter action movie from Douglas movie star. Based in part on Paul A film deserving of the Trumbull, the man responsible for Brickhill’s book on the mass description “ground-breaking”, the effects in Kubrick’s 2001. escape from a German prison Kubrick’s 2001: A Space Odyssey camp during WWII, the film goes remains one of the all-time THE MAKING OF HOW off into flights of Hollywood classics of science-fiction cinema. THE WEST WAS WON fancy as McQueen heads for the It is presented during WSW in its Saturday 8 March Swiss border on a stole German original Cinerama format in a Behind the scenes with Dave motorcycle. But it’s the sheer restored 70mm print with six- Strohmaier as he reveals more verve and machismo that drives track magnetic stereo sound on from the Cinerama archive. the story forward. the curved Pictureville screen. 42.
Recommended publications
  • Kam Williams, “The “12 Years a Slave” Interview: Steve Mcqueen”, the New Journal and Guide, February 03, 2014
    Kam Williams, “The “12 Years a Slave” Interview: Steve McQueen”, The new journal and guide, February 03, 2014 Artist and filmmaker Steven Rodney McQueen was born in London on October 9, 1969. His critically-acclaimed directorial debut, Hunger, won the Camera d’Or at the 2008 Cannes Film Festival. He followed that up with the incendiary offering Shame, a well- received, thought-provoking drama about addiction and secrecy in the modern world. In 1996, McQueen was the recipient of an ICA Futures Award. A couple of years later, he won a DAAD artist’s scholarship to Berlin. Besides exhibiting at the ICA and at the Kunsthalle in Zürich, he also won the coveted Turner Prize. He has exhibited at the Art Institute of Chicago, the Musee d’Art Moderne de la Ville de Paris, Documenta, and at the 53rd Venice Biennale as a representative of Great Britain. His artwork can be found in museum collections around the world like the Tate, the Museum of Modern Art, and the Centre Pompidou. In 2003, he was appointed Official War Artist for the Iraq War by the Imperial War Museum and he subsequently produced the poignant and controversial project Queen and Country commemorating the deaths of British soldiers who perished in the conflict by presenting their portraits as a sheet of stamps. Steve and his wife, cultural critic Bianca Stigter, live and work in Amsterdam which is where they are raising their son, Dexter, and daughter, Alex. Here, he talks about his latest film, 12 Years a Slave, which has been nominated for 9 Academy Awards, including Best Picture and Best Director.
    [Show full text]
  • Bibliography for the Study of Shakespeare on Film in Asia and Hollywood
    CLCWeb: Comparative Literature and Culture ISSN 1481-4374 Purdue University Press ©Purdue University Volume 6 (2004) Issue 1 Article 13 Bibliography for the Study of Shakespeare on Film in Asia and Hollywood Lucian Ghita Purdue University Follow this and additional works at: https://docs.lib.purdue.edu/clcweb Part of the Comparative Literature Commons, and the Critical and Cultural Studies Commons Dedicated to the dissemination of scholarly and professional information, Purdue University Press selects, develops, and distributes quality resources in several key subject areas for which its parent university is famous, including business, technology, health, veterinary medicine, and other selected disciplines in the humanities and sciences. CLCWeb: Comparative Literature and Culture, the peer-reviewed, full-text, and open-access learned journal in the humanities and social sciences, publishes new scholarship following tenets of the discipline of comparative literature and the field of cultural studies designated as "comparative cultural studies." Publications in the journal are indexed in the Annual Bibliography of English Language and Literature (Chadwyck-Healey), the Arts and Humanities Citation Index (Thomson Reuters ISI), the Humanities Index (Wilson), Humanities International Complete (EBSCO), the International Bibliography of the Modern Language Association of America, and Scopus (Elsevier). The journal is affiliated with the Purdue University Press monograph series of Books in Comparative Cultural Studies. Contact: <[email protected]> Recommended Citation Ghita, Lucian. "Bibliography for the Study of Shakespeare on Film in Asia and Hollywood." CLCWeb: Comparative Literature and Culture 6.1 (2004): <https://doi.org/10.7771/1481-4374.1216> The above text, published by Purdue University Press ©Purdue University, has been downloaded 2531 times as of 11/ 07/19.
    [Show full text]
  • DVD Movie List by Genre – Dec 2020
    Action # Movie Name Year Director Stars Category mins 560 2012 2009 Roland Emmerich John Cusack, Thandie Newton, Chiwetel Ejiofor Action 158 min 356 10'000 BC 2008 Roland Emmerich Steven Strait, Camilla Bella, Cliff Curtis Action 109 min 408 12 Rounds 2009 Renny Harlin John Cena, Ashley Scott, Aidan Gillen Action 108 min 766 13 hours 2016 Michael Bay John Krasinski, Pablo Schreiber, James Badge Dale Action 144 min 231 A Knight's Tale 2001 Brian Helgeland Heath Ledger, Mark Addy, Rufus Sewell Action 132 min 272 Agent Cody Banks 2003 Harald Zwart Frankie Muniz, Hilary Duff, Andrew Francis Action 102 min 761 American Gangster 2007 Ridley Scott Denzel Washington, Russell Crowe, Chiwetel Ejiofor Action 113 min 817 American Sniper 2014 Clint Eastwood Bradley Cooper, Sienna Miller, Kyle Gallner Action 133 min 409 Armageddon 1998 Michael Bay Bruce Willis, Billy Bob Thornton, Ben Affleck Action 151 min 517 Avengers - Infinity War 2018 Anthony & Joe RussoRobert Downey Jr., Chris Hemsworth, Mark Ruffalo Action 149 min 865 Avengers- Endgame 2019 Tony & Joe Russo Robert Downey Jr, Chris Evans, Mark Ruffalo Action 181 mins 592 Bait 2000 Antoine Fuqua Jamie Foxx, David Morse, Robert Pastorelli Action 119 min 478 Battle of Britain 1969 Guy Hamilton Michael Caine, Trevor Howard, Harry Andrews Action 132 min 551 Beowulf 2007 Robert Zemeckis Ray Winstone, Crispin Glover, Angelina Jolie Action 115 min 747 Best of the Best 1989 Robert Radler Eric Roberts, James Earl Jones, Sally Kirkland Action 97 min 518 Black Panther 2018 Ryan Coogler Chadwick Boseman, Michael B. Jordan, Lupita Nyong'o Action 134 min 526 Blade 1998 Stephen Norrington Wesley Snipes, Stephen Dorff, Kris Kristofferson Action 120 min 531 Blade 2 2002 Guillermo del Toro Wesley Snipes, Kris Kristofferson, Ron Perlman Action 117 min 527 Blade Trinity 2004 David S.
    [Show full text]
  • Master Class with Douglas Trumbull Selected Bibliography 1 the Higher
    Master Class with Douglas Trumbull Selected Bibliography The Higher Learning staff curate digital resource packages to complement and offer further context to the topics and themes discussed during the various Higher Learning events held at TIFF Bell Lightbox. These filmographies, bibliographies, and additional resources include works directly related to guest speakers’ work and careers, and provide additional inspirations and topics to consider; these materials are meant to serve as a jumping-off point for further research. Please refer to the event video to see how topics and themes relate to the Higher Learning event. Redefining the “Cinema of Attractions” (General) Abel, Richard. “The Cinema of Attractions.” in The Cine Goes to Town: French Cinema, 1896-1914. Berkeley: University of California Press, 1994. ---. “The Cinema of Attractions in France, 1896-1904.” in The Silent Cinema Reader. Lee Grieveson and Peter Krämer (eds). London: Routledge, 2006. 63-75. Buckland, Warren. “A Rational Reconstruction of ‘The Cinema of Attractions’.” in The Cinema of Attractions Reloaded. Wanda Strauven (ed). Amsterdam: Amsterdam University Press, 2006. 41- 56. Bukatman, Scott. “Spectacle, Attractions and Visual Pleasure.” in The Cinema of Attractions Reloaded. Wanda Strauven (ed). Amsterdam: Amsterdam University Press, 2006. 71-82. Elsaesser, Thomas. “Discipline through Diegesis: The Rube Film between ‘Attractions’ and ‘Narrative Integration’.” in The Cinema of Attractions Reloaded. Wanda Strauven (ed). Amsterdam: Amsterdam University Press, 2006. 205-223. Gaudreault, André and Tom Gunning. “Early Cinema as a Challenge to Film History.” in The Cinema of Attractions Reloaded. Wanda Strauven (ed). Amsterdam: Amsterdam University Press, 2006. 365-380. Gunning, Tom. “The Cinema of Attractions: Early Film, Its Spectator and the Avant-Garde.” Wide Angle 8.
    [Show full text]
  • International Casting Directors Network Index
    International Casting Directors Network Index 01 Welcome 02 About the ICDN 04 Index of Profiles 06 Profiles of Casting Directors 76 About European Film Promotion 78 Imprint 79 ICDN Membership Application form Gut instinct and hours of research “A great film can feel a lot like a fantastic dinner party. Actors mingle and clash in the best possible lighting, and conversation is fraught with wit and emotion. The director usually gets the bulk of the credit. But before he or she can play the consummate host, someone must carefully select the right guests, send out the invites, and keep track of the RSVPs”. ‘OSCARS: The Role Of Casting Director’ by Monica Corcoran Harel, The Deadline Team, December 6, 2012 Playing one of the key roles in creating that successful “dinner” is the Casting Director, but someone who is often over-looked in the recognition department. Everyone sees the actor at work, but very few people see the hours of research, the intrinsic skills, the gut instinct that the Casting Director puts into finding just the right person for just the right role. It’s a mix of routine and inspiration which brings the characters we come to love, and sometimes to hate, to the big screen. The Casting Director’s delicate work as liaison between director, actors, their agent/manager and the studio/network figures prominently in decisions which can make or break a project. It’s a job that can't garner an Oscar, but its mighty importance is always felt behind the scenes. In July 2013, the Academy of Motion Pictures of Arts and Sciences (AMPAS) created a new branch for Casting Directors, and we are thrilled that a number of members of the International Casting Directors Network are amongst the first Casting Directors invited into the Academy.
    [Show full text]
  • Legacy Effects Impact of Motion Control and CG
    Cory Radtke CVFX: Legacy Effects Impact of Motion Control And CG Imaging In Cinema “It’s easy to create something that has a lot of luster, but it’s very hard to make something that has a lot of depth.” These words, from John Dykstra – a motion control pioneer – encapsulate the state of mind in the film effects industry in the late 60’s. Special effects for cinema had reached a point which at audiences required more impressive visuals that were more detailed and realistic to suspend their disbelief. The weariness had set in, in the 50’s/early 60’s because of the bombardment of super low budget B-movie action and horror films. With the established use of stop motion and optical printing techniques, effects technicians- provoked by visionary filmmakers worked to push the envelope. The content also dictated the advancements necessary to tell/show the stories. One such film that changed the industry forever was Stanley Kubrick’s 2001: A Space Odyssey. The production of the film gave birth to motion control and and slit-scan photography, pushed by a visionary and a vision - “Do it right, do it better then do it all over again”(Costa 5). Kubrick helped open the door to following decades of visual marvels that have since become staples in motion picture effects work. Innovation after innovation, the technical achievements pushed forward by motion-control - soon after included: Star Wars, Close Encounters of the Third Kind, and Superman, and Blade Runner. (Edwards 2-9). As 2001 opened the door to motion-control, subsequent films – most notably Star Wars adapted and advanced the technology with the minds at the newly created ILM, by George Lucas.
    [Show full text]
  • Losing Willwalking a Tightrope to Fame
    A&E [email protected] thursday, 29 november, 2007 Social Losing Will walking a tightrope to fame intercourSe Joe Vanderhelm talks botched audio, improvising scripts, and hoping that his locally filmed Grant MacEwan/University of Alberta Big Band Concert flick—complete with Edmonton scenery and music—has enough pull to reach cult status Monday, 3 December at 7:30pm John L Haar Theatre (10045 155 Street) filmpreview Performing together on the same stage, the Grant Losing Will MacEwan big band and the University of Alberta Runs 7–9 December big band will combine this coming Monday, creat- Directed by Mike Robertson and Arlen Konopaki ing a band the size of which can’t be described with Starring Arlen Konopaki, Joe Vanderhelm, and a simple adjective like big. Rather, it would require a Julian Faid conglomeration of descriptors, like “ginormous” or Metro Cinema “hugelarge.” Conducted by professors Raymond Baril and Dr Tom Dust, the humungollossal group will play BRYAN SAUNDERS a wide selection of jazz standards and should provide Arts & Entertainment Staff an entertaining night for fans of the genre. As Joe Vanderhelm, one of the stars of Highwire Films’ Losing Will, puts it, producing a local Trooper independent movie is a lot like walking on a Thursday, 29 November at 8pm tightrope. Century Casino (13103 Fort Road) “When you think of [a] high-wire act, there’s the chance of falling and the chance of failure, Here they come, classic rock group Trooper, driving in a but that always just makes it all the more inter- bright white sports car on their way through Edmonton.
    [Show full text]
  • Michael Powell and Emeric Pressburger, a MATTER of LIFE and DEATH/ STAIRWAY to HEAVEN (1946, 104 Min)
    December 8 (XXXI:15) Michael Powell and Emeric Pressburger, A MATTER OF LIFE AND DEATH/ STAIRWAY TO HEAVEN (1946, 104 min) (The version of this handout on the website has color images and hot urls.) Written, Produced and Directed by Michael Powell & Emeric Pressburger Music by Allan Gray Cinematography by Jack Cardiff Film Edited by Reginald Mills Camera Operator...Geoffrey Unsworth David Niven…Peter Carter Kim Hunter…June Robert Coote…Bob Kathleen Byron…An Angel Richard Attenborough…An English Pilot Bonar Colleano…An American Pilot Joan Maude…Chief Recorder Marius Goring…Conductor 71 Roger Livesey…Doctor Reeves Robert Atkins…The Vicar Bob Roberts…Dr. Gaertler Hour of Glory (1949), The Red Shoes (1948), Black Narcissus Edwin Max…Dr. Mc.Ewen (1947), A Matter of Life and Death (1946), 'I Know Where I'm Betty Potter…Mrs. Tucker Going!' (1945), A Canterbury Tale (1944), The Life and Death of Abraham Sofaer…The Judge Colonel Blimp (1943), One of Our Aircraft Is Missing (1942), 49th Raymond Massey…Abraham Farlan Parallel (1941), The Thief of Bagdad (1940), Blackout (1940), The Robert Arden…GI Playing Bottom Lion Has Wings (1939), The Edge of the World (1937), Someday Robert Beatty…US Crewman (1935), Something Always Happens (1934), C.O.D. (1932), Hotel Tommy Duggan…Patrick Aloyusius Mahoney Splendide (1932) and My Friend the King (1932). Erik…Spaniel John Longden…Narrator of introduction Emeric Pressburger (b. December 5, 1902 in Miskolc, Austria- Hungary [now Hungary] —d. February 5, 1988, age 85, in Michael Powell (b. September 30, 1905 in Kent, England—d. Saxstead, Suffolk, England) won the 1943 Oscar for Best Writing, February 19, 1990, age 84, in Gloucestershire, England) was Original Story for 49th Parallel (1941) and was nominated the nominated with Emeric Pressburger for an Oscar in 1943 for Best same year for the Best Screenplay for One of Our Aircraft Is Writing, Original Screenplay for One of Our Aircraft Is Missing Missing (1942) which he shared with Michael Powell and 49th (1942).
    [Show full text]
  • Appalling! Terrifying! Wonderful! Blaxploitation and the Cinematic Image of the South
    Antoni Górny Appalling! Terrifying! Wonderful! Blaxploitation and the Cinematic Image of the South Abstract: The so-called blaxploitation genre – a brand of 1970s film-making designed to engage young Black urban viewers – has become synonymous with channeling the political energy of Black Power into larger-than-life Black characters beating “the [White] Man” in real-life urban settings. In spite of their urban focus, however, blaxploitation films repeatedly referenced an idea of the South whose origins lie in antebellum abolitionist propaganda. Developed across the history of American film, this idea became entangled in the post-war era with the Civil Rights struggle by way of the “race problem” film, which identified the South as “racist country,” the privileged site of “racial” injustice as social pathology.1 Recently revived in the widely acclaimed works of Quentin Tarantino (Django Unchained) and Steve McQueen (12 Years a Slave), the two modes of depicting the South put forth in blaxploitation and the “race problem” film continue to hold sway to this day. Yet, while the latter remains indelibly linked, even in this revised perspective, to the abolitionist vision of emancipation as the result of a struggle between idealized, plaintive Blacks and pathological, racist Whites, blaxploitation’s troping of the South as the fulfillment of grotesque White “racial” fantasies offers a more powerful and transformative means of addressing America’s “race problem.” Keywords: blaxploitation, American film, race and racism, slavery, abolitionism The year 2013 was a momentous one for “racial” imagery in Hollywood films. Around the turn of the year, Quentin Tarantino released Django Unchained, a sardonic action- film fantasy about an African slave winning back freedom – and his wife – from the hands of White slave-owners in the antebellum Deep South.
    [Show full text]
  • Summer Classic Film Series, Now in Its 43Rd Year
    Austin has changed a lot over the past decade, but one tradition you can always count on is the Paramount Summer Classic Film Series, now in its 43rd year. We are presenting more than 110 films this summer, so look forward to more well-preserved film prints and dazzling digital restorations, romance and laughs and thrills and more. Escape the unbearable heat (another Austin tradition that isn’t going anywhere) and join us for a three-month-long celebration of the movies! Films screening at SUMMER CLASSIC FILM SERIES the Paramount will be marked with a , while films screening at Stateside will be marked with an . Presented by: A Weekend to Remember – Thurs, May 24 – Sun, May 27 We’re DEFINITELY Not in Kansas Anymore – Sun, June 3 We get the summer started with a weekend of characters and performers you’ll never forget These characters are stepping very far outside their comfort zones OPENING NIGHT FILM! Peter Sellers turns in not one but three incomparably Back to the Future 50TH ANNIVERSARY! hilarious performances, and director Stanley Kubrick Casablanca delivers pitch-dark comedy in this riotous satire of (1985, 116min/color, 35mm) Michael J. Fox, Planet of the Apes (1942, 102min/b&w, 35mm) Humphrey Bogart, Cold War paranoia that suggests we shouldn’t be as Christopher Lloyd, Lea Thompson, and Crispin (1968, 112min/color, 35mm) Charlton Heston, Ingrid Bergman, Paul Henreid, Claude Rains, Conrad worried about the bomb as we are about the inept Glover . Directed by Robert Zemeckis . Time travel- Roddy McDowell, and Kim Hunter. Directed by Veidt, Sydney Greenstreet, and Peter Lorre.
    [Show full text]
  • The Representation of Reality and Fantasy in the Films of Powell and Pressburger: 1939-1946
    The Representation of Reality and Fantasy In the Films of Powell and Pressburger 1939-1946 Valerie Wilson University College London PhD May 2001 ProQuest Number: U642581 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest. ProQuest U642581 Published by ProQuest LLC(2015). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. Microform Edition © ProQuest LLC. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 The Representation of Reality and Fantasy In the Films of Powell and Pressburger: 1939-1946 This thesis will examine the films planned or made by Powell and Pressburger in this period, with these aims: to demonstrate the way the contemporary realities of wartime Britain (political, social, cultural, economic) are represented in these films, and how the realities of British history (together with information supplied by the Ministry of Information and other government ministries) form the basis of much of their propaganda. to chart the changes in the stylistic combination of realism, naturalism, expressionism and surrealism, to show that all of these films are neither purely realist nor seamless products of artifice but carefully constructed narratives which use fantasy genres (spy stories, rural myths, futuristic utopias, dreams and hallucinations) to convey their message.
    [Show full text]
  • Cinematic Hamlet Arose from Two Convictions
    INTRODUCTION Cinematic Hamlet arose from two convictions. The first was a belief, confirmed by the responses of hundreds of university students with whom I have studied the films, that theHamlet s of Lau- rence Olivier, Franco Zeffirelli, Kenneth Branagh, and Michael Almereyda are remarkably success- ful films.1 Numerous filmHamlet s have been made using Shakespeare’s language, but only the four included in this book represent for me out- standing successes. One might admire the fine acting of Nicol Williamson in Tony Richard- son’s 1969 production, or the creative use of ex- treme close-ups of Ian McKellen in Peter Wood’s Hallmark Hall of Fame television production of 1 Introduction 1971, but only four English-language films have thoroughly transformed Shakespeare’s theatrical text into truly effective moving pictures. All four succeed as popularizing treatments accessible to what Olivier’s collabora- tor Alan Dent called “un-Shakespeare-minded audiences.”2 They succeed as highly intelligent and original interpretations of the play capable of delight- ing any audience. Most of all, they are innovative and eloquent translations from the Elizabethan dramatic to the modern cinematic medium. It is clear that these directors have approached adapting Hamlet much as actors have long approached playing the title role, as the ultimate challenge that allows, as Almereyda observes, one’s “reflexes as a film-maker” to be “tested, battered and bettered.”3 An essential factor in the success of the films after Olivier’s is the chal- lenge of tradition. The three films that followed the groundbreaking 1948 version are what a scholar of film remakes labels “true remakes”: works that pay respectful tribute to their predecessors while laboring to surpass them.4 As each has acknowledged explicitly and as my analyses demonstrate, the three later filmmakers self-consciously defined their places in a vigorously evolving tradition of Hamlet films.
    [Show full text]