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Andrew Martin Is an Author, Journalist and Broadcaster. His Previous Books with Profile Are Underground, Overground and Belles and Whistles
ANDREW MARTIN is an author, journalist and broadcaster. His previous books with Profile are Underground, Overground and Belles and Whistles. He has written for the Guardian, Evening Standard, Independent on Sunday, Daily Telegraph and New Statesman, amongst many others. His ‘Jim Stringer’ series of novels based around railways is published by Faber. His latest novel, Soot, is set in late eighteenth-century York. Praise for Night Trains ‘You do not have to be a trainspotter to enjoy this book. It is social history, a kind of epitaph to a way of travel that seems to be lost, at least in Europe.’ Spectator ‘A delightful book … charmingly combines Martin’s own travels, as he recreates journeys on famous trains such as the Orient Express, with a serious, occasionally geeky, history of those elegant wagons lits of the past … Even if you’re not into the detail of rail gauges, this book is the perfect companion as you wait for the 8.10 from Hove.’ Observer ‘Excellent … Mr Martin paints a vivid picture of this world on rails … he proves a witty companion who wears his knowledge lightly’ Country Life ‘Andrew Martin has cornered the train market. He is the Bard of the Buffer, the Balladeer of the Blue Train, the Laureate of Lost Property … I picked up Night Trains knowing that I would be entertained, but also in the hope that his many years of experience would teach me how to sleep on a sleeper … Andrew Martin is the best sort of travel writer: inquisitive, knowledgeable, lively, congenial. He is also very funny, while never letting the humour drive reality, rather than vice versa. -
Constanthuband-Dp.Pdf
Studiocanal et Tamasa présentent [THE CONSTANT HUSBAND] VERSION RESTAURÉE un film de SIDNEY GILLIAT UK - 1955 - 1H44 SORTIE LE 14 DÉCEMBRE 2016 DISTRIBUTION Tamasa PRESSE 5 rue de Charonne 75011 Paris Frédérique Giezendanner Tel : 01 43 59 01 01 Tel : 06 10 37 16 00 [email protected] [email protected] Dans une chambre, un homme reprend conscience. Frappé d’amnésie, il entreprend, avec l’aide d’un spécialiste, d’exhumer son passé. Mais ce qu’il découvre n’est pas vraiment agréable. Marié à une ravissante et tendre femme, il comprend avec effroi que ce passé est bien trouble et que marié maintes fois, on le recherche activement... pour polygamie ! LE REGARD DE CHARLOTTE GARSON Le miroir brisé de la masculinité Alors que l’Amérique a tricoté pendant les années 1930 et 40 les comédies « de remariage », resserrant les liens d’une institution discréditée à coup de brillantes scènes de ménage où époux et épouses s’éduquent mutuellement, le cinéma britannique d’après-guerre conclut film après film qu’il y aura toujours quelque chose de pourri au royaume matrimonial. Plaçant un amnésique face à ses mariages successifs, Un mari presque fidèle met en scène un Candide qui découvre différents ménages – l’un bourgeois et moderne, le suivant populaire et sentimental – sans y trouver la moindre promesse de bonheur. Le contraste entre les deux côtés de l’Atlantique est frappant : dans La Huitième Femme de Barbe Bleue d’Ernst Lubitsch (1938), Claudette Colbert donne du fil à retordre à Gary Cooper dont la fortune lui a permis d’enchaîner sept mariages avant de lui demander sa main, mais les Anglaises de cette comédie de Sidney Gilliat sortie en 1955 sont toutes prêtes à rempiler avec l’homme qui leur cachait sa sextuple vie. -
ANNOUNCEMENT from the Copyright Office, Library of Congress, Washington, D.C
ANNOUNCEMENT from the Copyright Office, Library of Congress, Washington, D.C. 20559-6000 PUBLICATION OF FIFTH LIST OF NOTICES OF INTENT TO ENFORCE COPYRIGHTS RESTORED UNDER THE URUGUAY ROUND AGREEMENTS ACT. COPYRIGHT RESTORATION OF WORKS IN ACCORDANCE WITH THE URUGUAY ROUND AGREEMENTS ACT; LIST IDENTIFYING COPYRIGHTS RESTORED UNDER THE URUGUAY ROUND AGREEMENTS ACT FOR WHICH NOTICES OF INTENT TO ENFORCE RESTORED COPYRIGHTS WERE FILED IN THE COPYRIGHT OFFICE. The following excerpt is taken from Volume 62, Number 163 of the Federal Register for Friday, August 22,1997 (p. 443424854) SUPPLEMENTARY INFORMATION: the work is from a country with which LIBRARY OF CONGRESS the United States did not have copyright I. Background relations at the time of the work's Copyright Off ice publication); and The Uruguay Round General (3) Has at least one author (or in the 37 CFR Chapter II Agreement on Tariffs and Trade and the case of sound recordings, rightholder) Uruguay Round Agreements Act who was, at the time the work was [Docket No. RM 97-3A] (URAA) (Pub. L. 103-465; 108 Stat. 4809 created, a national or domiciliary of an Copyright Restoration of Works in (1994)) provide for the restoration of eligible country. If the work was Accordance With the Uruguay Round copyright in certain works that were in published, it must have been first Agreements Act; List Identifying the public domain in the United States. published in an eligible country and not Copyrights Restored Under the Under section 104.4 of title 17 of the published in the United States within 30 Uruguay Round Agreements Act for United States Code as provided by the days of first publication. -
Notes and References
Notes and References CHAPTER 1 To provide an intellectual and cultural framework for examining Carol Reed's films, a history of the British cinema from its origins through to the Second World War is offered in this chapter. Although Reed began directing in 1935, 1939 seemed a tidier, more logical cut-off point for the survey. All the information in the chapter is synthesized from several excellent works on the subject: Roy Armes's A Critical History of the British Cinema, Ernest Betts' The Film Business, Ivan Butler's Cinema in Britain, Denis Gifford's British Film Catalogue, Rachel Low's History of the British Film, and George Perry's The Great British Picture Show. CHAPTER 2 1. Michael Korda, Charmed Lives (New York, 1979) p. 229; Madeleine Bingham, The Great Lover (London, 1978). 2. Frances Donaldson, The Actor-Managers (London, 1970) p. 165. 3. Interview with the author. Unless otherwise identified, all quota tions in this study from Max Reed, Michael Korda and Andrew Birkin derive from interviews. 4. C. A. Lejeune, 'Portrait of England's No.1 Director', New York Times, 7 September 1941, p. 3. 5. Harvey Breit, ' "I Give the Public What I Like" " New York Times Magazine, 15January 1950, pp. 18-19. 6. Korda, Charmed Lives, p. 244. 7. Kevin Thomas, 'Director of "Eagle" Stays Unflappable', The Los Angeles Times, 24 August 1969. CHAPTER 3 1. Michael Voigt, 'Pictures of Innocence: Sir Carol Reed', Focus on Film, no. 17 (Spring 1974) 34. 2. 'Midshipman Easy', The Times, 23 December 1935. 271 272 Notes and References 3. -
TPTV Schedule Sept 23Rd– Sept 29Th 2019 Date Time Programme Synopsis Mon 23 06:00 Music Hall 1934
TPTV Schedule Sept 23rd– Sept 29th 2019 Date Time Programme Synopsis Mon 23 06:00 Music Hall 1934. Musical. Director: John Baxter. Stars George Carney, Ben Field, Mark Daly Sep 19 & Helena Pickard. A rare film put out by Twickenham Film Studios which includes many original music hall acts. (SUBTITLES AVAILABLE) Mon 23 07:20 Windbag The Sailor 1936. Comedy. Directed by William Beaudine. Stars Will Hay, Moore Marriott, Sep 19 Graham Moffatt & Norma Varden. A sea captain's tall tales are tested when he is coerced into commanding an unseaworthy ship. Mon 23 09:00 Challenge For Robin 1967. Adventure. Director C.M Pennington Richards. Stars Barrie Ingham, James Sep 19 Hood Hayter & Leon Greene. Robin de Courtenay, a Norman noble, is framed by his cousin for murder and so he flees to Nottingham Mon 23 11:00 Stagecoach West High Lonesome. Western with Wayne Rogers & Robert Bray, who run a Sep 19 stagecoach line in the Old West where they come across a wide variety of killers, robbers and ladies in distress. Mon 23 12:00 The Big Job 1965. Comedy. A gang of crooks are caught on a big job. 15 years later they find Sep 19 their loot is now buried under a police station. Stars Sidney James, Sylvia Syms, Dick Emery & Joan Sims. Mon 23 13:45 The Grayson Case In the style of early Edgar Lustgarten, Crime Cameo, The Grayson Case narrated Sep 19 by J. St John Barry, proves how married Sally Turner's affair with the painter Edwin Grayson led to murder. -
Contents PROOF
PROOF Contents List of Illustrations viii Acknowledgements ix Prologue: From Pinewood to Hollywood 1 Introduction: The British Connection: Themes and Theory 6 1 Early Invaders: The First British Wave 30 2 Sound and Vision: British Filmmakers and the Politics of Pre-War Hollywood 63 3 Movies for the Masses: The British in the Second World War 107 4 Post-War Directions: Ealing Escapism and the Menace of McCarthy 127 5 Atlantic Crossing 152 Notes 174 Select Bibliography 185 Index 189 vii July 22, 2010 7:29 MAC/PNL Page-vii 9780230_229235_01_prex PROOF 1 Early Invaders: The First British Wave “I went to Worthing to recover from Hollywood.” Playwright and screenwriter Edward Knoblock’s quote about wanting to get away from California after a spell in the film community appears to match much of the British reaction to Hollywood in the formative years Illustration 3 Edward Knoblock, 4th from left relaxing with friends. Photograph reproduced courtesy of the National Portrait Gallery, London. 30 July 22, 2010 7:50 MAC/PNL Page-30 9780230_229235_04_cha01 PROOF Early Invaders: The First British Wave 31 of film. What drove Knoblock to the Sussex seaside town after the expo- sure of Los Angeles is not entirely clear, but the impulse to retreat to a world of quintessential Englishness has often appeared to be the rai- son d’être for many British writers and directors of the era who were quickly appalled by the brash commercialism of the Hollywood film industry. In Knoblock’s case, it was an even more fascinating compunc- tion that took hold of him because he was American born (originally Edward Knoblauch of German parents in New York in 1874), but ended up residing in Britain for much of his life. -
HISTORY of the CINEMA INDUSTRY Copied from an Old Library Book by Unknown Publisher
HISTORY OF THE CINEMA INDUSTRY Copied from an old library book by unknown publisher. Additional information about Gaumont Organisation added by Laurence George ‘Max’ Miller. HISTORY OF THE CINEMA INDUSTRY Copied from an old library book by unknown publisher. Additional information about Gaumont Organisation added by Laurence George ‘Max’ Miller. 1896 LUMIERE Bros., with M. Trewiy as cameraman, gave first Commercial film show at the Polytechnic Regent Street, London. 1897 Walter & Turner First film renting company in Great Britain. 1898 GAUMONT Company is set up in Great Britain by A.C. Bromhead and T.A. Welsch 1901 Cricks & Sharp, Production Co., starts up at Mitcham, Surrey. PATHE establishes a branch in London. 1905 WALTURDAW CO. is formed by Walter & Turner 1906 HALE'S TOURS opens in Oxford St. London. Audience sees travelogues while seated (and shaken), in a mock-up railway coach. 1907 SOUND RECORDING SYSTEMS: GAUMONT synchronised sound and film known as the "Chronophonograph' and the "Elgephone", invented by Leon Gaumont in 1902. Cinematophone" (Walturdaw), and "Vivaphone, are well established. “Kinematograph Weekly” launched. 1908 GAUMONT organizes the first TRADE SHOW. Two early British cinema circuits: "Electric Theatre" and "Biograph' launched. 1909 PROVINCIAL CINEMATOGRAPH THEATRES LTD. is formed, with Ralph Jupp announced as Managing Director. CONTINUOUS PERFORMANCES became the general rule in cinemas. 1910 FILM. "From Gypsy hands", Cricks and Martin, producers. 1911 FILM: "Scott's Antartic Expedition' by GAUMONT FILM: "Sydney Street siege" by GAUMONT 1912 BRITISH BOARD OF FILM CENSORS established. MERTON PARK STUDIOS and BUSHEY STUDIOS opened "The Derby" (GAUMONT). One of the most famous scoops of all time; Gaumont cameraman photographs death of a suffragette Emily Davison, who threw herself in front of King's horse. -
Federal Register / Vol. 62, No. 163 / Friday, August 22, 1997 / Notice
44842 Federal Register / Vol. 62, No. 163 / Friday, August 22, 1997 / Notice LIBRARY OF CONGRESS copyright law for the reasons listed herein serve as constructive notice to all below in (2). Specifically, for restoration reliance parties. Copyright Office of copyright, a work must be an original II. Corrections Procedure [Docket No. 97±3A] work of authorship that: (1) Is not in the public domain in its The Copyright Office has promulgated Copyright Restoration of Works in source country through expiration of final regulations that provide for filing Accordance With the Uruguay Round term of protection; NIEs with the Office. 60 FR 50414 (Sept. Agreements Act; List Identifying (2) Is in the public domain in the 29, 1995). As required by 17 U.S.C. Copyrights Restored Under the United States due to: 104A(e)(1)(A)(iii), the Office's final Uruguay Round Agreements Act for (i) Noncompliance with formalities regulation included provisions for the Which Notices of Intent To Enforce imposed at any time by United States correction of minor errors or omissions. Restored Copyrights Were Filed in the copyright law, including failure of In response to requests for more detailed Copyright Office renewal, publishing the work without a instructions for correcting all kinds of proper notice, or failure to comply with errors made in filing NIEs, the Office AGENCY: Copyright Office, Library of any manufacturing requirements; (ii) published further instructions in a Congress. lack of subject matter protection in the proposed regulation on July 30, 1997. 62 ACTION: Publication of fifth list of case of sound recordings fixed before FR 40780 (1997). -
Gordon Conway
Gordon Conway: An Inventory of Her Papers at the Harry Ransom Center Descriptive Summary Creator: Conway, Gordon, 1894-1956 Title: Gordon Conway Papers Dates: 1864-1986 Extent: 39 document boxes, 19 oversize boxes (osb) (27.51 linear feet), 7 oversize folders (osf) Abstract: The Gordon Conway Papers, 1864-1986, document the personal and professional activities of Gordon Conway, American fashion illustrator and costume designer, with the bulk of the collection dating from the 1910s to the 1930s. The papers also contain materials that belonged to Conway’s mother, Tommie Conway, and Raye Virginia Allen, who wrote a biography of Conway, Gordon Conway: Fashioning a New Woman . Call Number: Performing Arts Collection PA-00019 Language: English, French, and German Access: Open for research. Two posters are restricted due to their fragile condition, and will not be paged. Administrative Information Acquisition: Gift, 1991 (G9170) Processed by: Ancelyn Krivak, 2013 Repository: The University of Texas at Austin, Harry Ransom Center Conway, Gordon, 1894-1956 Performing Arts Collection PA-00019 Biographical Sketch Gordon Conway was born in Cleburne, Texas, in December 1894, the daughter of Jack Conway, who had served as mayor of Cleburne, and Tommie Conway. She was raised in Dallas and attended the National Cathedral School in Washington, D.C. After her graduation in 1912, Conway enrolled at finishing schools in Lausanne, Switzerland and Rome, and travelled around Europe. After seeing some of Conway’s impromptu sketches at a London dinner party, an acquaintance recommended her to Heyworth Campbell, art editor for Condé Nast’s publications. Conway returned to the United States and met with Campbell in New York in 1916, and within a year he was publishing her illustrations in Vogue and Vanity Fair. -
Guide to the Motion Picture Stills Collection 1920-1934
University of Chicago Library Guide to the Motion Picture Stills Collection 1920-1934 © 2006 University of Chicago Library Table of Contents Descriptive Summary 3 Information on Use 3 Access 3 Citation 3 Scope Note 3 Related Resources 5 Subject Headings 5 INVENTORY 6 Series I: Actors and Actresses 6 Series II: Motion Picture Stills 171 Series III: Scrapbooks 285 Subseries 1: Scrapbooks; Individual Actors and Actresses 285 Subseries 2: Miscellaneous Scrapbooks 296 Series IV: Vitaphone Stills 297 Series V: Large Film Stills and Marquee Cards 300 Series VI: Coming Attractions, Glass Lantern Slides 302 Series VII: Duplicate Film Stills 302 Series VIII: Index Cards 302 Descriptive Summary Identifier ICU.SPCL.MOTIONPICTURE Title Motion Picture Stills. Collection Date 1920-1934 Size 87.5 linear feet (139 boxes) Repository Special Collections Research Center University of Chicago Library 1100 East 57th Street Chicago, Illinois 60637 U.S.A. Abstract Contains approximately 30,000 black and white photographs of movie stills, production shots, and portrait photographs of actors. Includes 8" x 10" photographs, 187 scrapbooks devoted to individual film stars, marquee cards, and glass lantern slides announcing coming attractions from Pathe and other movie studios. Information on Use Access No restrictions. Citation When quoting material from this collection, the preferred citation is: Motion Picture Stills. Collection, [Box #, Folder #], Special Collections Research Center, University of Chicago Library Scope Note The Motion Picture Stills Collection features a group of approximately 30,000 black and white photographs of movie stills, production shots, and portrait photographs of actors. The first half of this collection consists of these 8" x 10" photographs. -
British Films 1927 - 1939 Was Originally Produced in 1986 by BFI Library Services
Contents The contents of this PDF document can be navigated quickly by using the “bookmarks” facility. Forword.............................................................................................................................................1 Part 1: Chronology ..........................................................................................................................2 Part 2: Annual “In Production” Charts ......................................................................................47 Alphabetical Title Index ...............................................................................................................96 Part 3: Statistics...........................................................................................................................110 Films Released in the UK................................................................................................111 The Distribution of British Films...................................................................................118 British Cinema Statistics ................................................................................................120 British Studios..................................................................................................................129 British Feature Production..............................................................................................133 British Film Companies and Investment .....................................................................138 Films Certified -
100 YEARS at the PHOENIX Archive of an Oxford Cinema 1913 – 2013
100 YEARS AT THE PHOENIX Archive of an Oxford Cinema 1913 – 2013 Hiu M Chan Dedicated to the Phoenix and Oxford with love This archive is part of a post-graduate research project and so is work-in-progress. While every effort has been made to weed out errors and inconsistencies – derived from the source material (newspaper microfi che archives) – some will have inevitably slipped through. If you spot any errors and omissions please get in touch via the website http://phoenixcentenary.wordpress.com and we will update the database. The publishers are not responsible for the verifi cation of the entries; that is my remit. Thank you. Hiu M Chan and the Phoenix Centenary Project Published in conjunction with the centenary of the Oxford Phoenix Picture, 57 Walton Street, Oxford OX2 6AE © Hiu M Chan, 2013 All right reserved No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form by any means, electronic or mechanical, without prior written permission of the author. ISBN 978-0-9567405-5-7 Design: Nick Withers Associate Editor: James Harrison Film lists typeset in Helvetica Neue Digitally printed and bound in England by Charlesworth Press, Wakefi eld, Yorkshire A special limited hardback edition was also published exclusively for use in the cinema on the 100th anniversary, 15th March 2013. For further details, research feedback, or to input any updates, corrections or amendments please contact: www.hiuandfi lm.com Oxfordfolio, 100A Cowley Road, Oxford OX4 1JE Preface 15th March 2013 marks the 100th anniversary of the Phoenix Picturehouse Cinema in Oxford.