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Pr-Dvd-Holdings-As-Of-September-18
CALL # LOCATION TITLE AUTHOR BINGE BOX COMEDIES prmnd Comedies binge box (includes Airplane! --Ferris Bueller's Day Off --The First Wives Club --Happy Gilmore)[videorecording] / Princeton Public Library. BINGE BOX CONCERTS AND MUSICIANSprmnd Concerts and musicians binge box (Includes Brad Paisley: Life Amplified Live Tour, Live from WV --Close to You: Remembering the Carpenters --John Sebastian Presents Folk Rewind: My Music --Roy Orbison and Friends: Black and White Night)[videorecording] / Princeton Public Library. BINGE BOX MUSICALS prmnd Musicals binge box (includes Mamma Mia! --Moulin Rouge --Rodgers and Hammerstein's Cinderella [DVD] --West Side Story) [videorecording] / Princeton Public Library. BINGE BOX ROMANTIC COMEDIESprmnd Romantic comedies binge box (includes Hitch --P.S. I Love You --The Wedding Date --While You Were Sleeping)[videorecording] / Princeton Public Library. DVD 001.942 ALI DISC 1-3 prmdv Aliens, abductions & extraordinary sightings [videorecording]. DVD 001.942 BES prmdv Best of ancient aliens [videorecording] / A&E Television Networks History executive producer, Kevin Burns. DVD 004.09 CRE prmdv The creation of the computer [videorecording] / executive producer, Bob Jaffe written and produced by Donald Sellers created by Bruce Nash History channel executive producers, Charlie Maday, Gerald W. Abrams Jaffe Productions Hearst Entertainment Television in association with the History Channel. DVD 133.3 UNE DISC 1-2 prmdv The unexplained [videorecording] / produced by Towers Productions, Inc. for A&E Network executive producer, Michael Cascio. DVD 158.2 WEL prmdv We'll meet again [videorecording] / producers, Simon Harries [and three others] director, Ashok Prasad [and five others]. DVD 158.2 WEL prmdv We'll meet again. Season 2 [videorecording] / director, Luc Tremoulet producer, Page Shepherd. -
E-Guide Filming in London & the South East
e-Guide Filming in London & the South East London’s most iconic film locations Creating reality: What London’s studios can offer filmmakers The changing face of film: SFX, Make-up & Prosthetics Production Intelligence: What’s shooting? IN COLLABORATION WITH ... FILMING IN LONDON AND THE SOUTH EAST DESPITE VARIOUS HURDLES, LONDON AND THE SOUTH EAST STILL CREATE TOP PRODUCTIONS Britain’s TV and film production industry is on the rise. Recently the UK has seen a dramatic increase in the amount of home-grown and international productions that have been filming here, specifically at studios and locations in London and the South East. he worldwide reputation of the UK and Film London, said that drama as a filming destination has always production in London is up by 50% Tbeen strong, however, lately it on ten years ago. A huge margin if you has been so popular that line producers consider the major studios around the are worried the supply of great studios world which are readily available. and crew cannot match the increasing The thriving state of the industry also demand. throws a spanner into the works. At the same time, the recent closures With the high increase in productions of Teddington, Wimbledon, Waterloo filming, the demand for skilled crew has and other studio spaces signify the increased. Line producers have been increasing attitude of landlords to turn hard pressed at times to fill certain their land into real estate. The dramatic roles, as crew is frequently booked increase in house prices in areas on other projects. This is certainly associated with certain studios makes something the industry has to fix if it more feasible for land owners to cut London and the South East are going studios loose, thus capitalising on the to be seen as continuing dominant current revenue opportunities available. -
Merton Business Directory
MERTON COUNCIL futureMerton From our easy to access offices, close to Wimbledon station, TWM Solicitors is an established law firm that has been advising people in the Wimbledon and Merton areas for generations. Wimbledon is one of six offices across South West London and Surrey that TWM has, making us one of the largest law firms in this area. We are accredited by the Merton Bu Law Society so you can be sure our service levels will be of the highest standard. s ine ss We provide a personal and professional service meeting people’s needs as individuals Directory as well as business law advice for companies and local organisations. Details about our full range of services can be found online at www.twmsolicitors.com. Alternatively, you can call and speak to a member of our team on a no cost, no obligation basis. Merton Business Directory www.merton.gov.uk/futureMerton www.twmsolicitors.com Businesses, get active! Working together for you and your Get the latest local business information direct to your desktop: family, in your everyday life. networking with your local businesses has never been easier or cheaper. Call now for your activation code and you can be up and marketing to a number of local businesses in as little as 10 minutes. 020 8773 3060 Want to get active? Level 1 activation allows you to: • Mail merge • Email merge • Print labels • Print reports Activate Level 1 for £150+VAT Want to keep up-to-date? Level 2 activation allows your data to be updated as businesses submit new Personal Injury | Immigration | Family Law | Employment Law information. -
Hliebing Dissertation Revised 05092012 3
Copyright by Hans-Martin Liebing 2012 The Dissertation Committee for Hans-Martin Liebing certifies that this is the approved version of the following dissertation: Transforming European Cinema : Transnational Filmmaking in the Era of Global Conglomerate Hollywood Committee: Thomas Schatz, Supervisor Hans-Bernhard Moeller Charles Ramírez Berg Joseph D. Straubhaar Howard Suber Transforming European Cinema : Transnational Filmmaking in the Era of Global Conglomerate Hollywood by Hans-Martin Liebing, M.A.; M.F.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2012 Dedication In loving memory of Christa Liebing-Cornely and Martha and Robert Cornely Acknowledgements I would like to thank my committee members Tom Schatz, Charles Ramírez Berg, Joe Straubhaar, Bernd Moeller and Howard Suber for their generous support and inspiring insights during the dissertation writing process. Tom encouraged me to pursue this project and has supported it every step of the way. I can not thank him enough for making this journey exciting and memorable. Howard’s classes on Film Structure and Strategic Thinking at The University of California, Los Angeles, have shaped my perception of the entertainment industry, and having him on my committee has been a great privilege. Charles’ extensive knowledge about narrative strategies and Joe’s unparalleled global media expertise were invaluable for the writing of this dissertation. Bernd served as my guiding light in the complex European cinema arena and helped me keep perspective. I consider myself very fortunate for having such an accomplished and supportive group of individuals on my doctoral committee. -
British Films 1971-1981
Preface This is a reproduction of the original 1983 publication, issued now in the interests of historical research. We have resisted the temptations of hindsight to change, or comment on, the text other than to correct spelling errors. The document therefore represents the period in which it was created, as well as the hard work of former colleagues of the BFI. Researchers will notice that the continuing debate about the definitions as to what constitutes a “British” production was topical, even then, and that criteria being considered in 1983 are still valid. Also note that the Dept of Trade registration scheme ceased in May 1985 and that the Eady Levy was abolished in the same year. Finally, please note that we have included reminders in one or two places to indicate where information could be misleading if taken for current. David Sharp Deputy Head (User Services) BFI National Library August 2005 ISBN: 0 85170 149 3 © BFI Information Services 2005 British Films 1971 – 1981: - back cover text to original 1983 publication. What makes a film British? Is it the source of its finance or the nationality of the production company and/or a certain percentage of its cast and crew? Is it possible to define a British content? These were the questions which had to be addressed in compiling British Films 1971 – 1981. The publication includes commercial features either made and/or released in Britain between 1971 and 1981 and lists them alphabetically and by year of registration (where appropriate). Information given for each film includes production company, studio and/or major location, running time, director and references to trade paper production charts and Monthly Film Bulletin reviews as source of more detailed information. -
Robert Hartford-Davis and British Exploitation Cinema of the 1960S
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of East Anglia digital repository Corrupted, Tormented and Damned: Reframing British Exploitation Cinema and The films of Robert Hartford-Davis This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that use of any information derived there from must be in accordance with current UK Copyright Law. In addition, any quotation or extract must include full attribution. Michael Ahmed, M.A., B.A. PhD University of East Anglia Faculty of Film and Television Studies January 2013 Abstract The American exploitation film functioned as an alternative to mainstream Hollywood cinema, and served as a way of introducing to audiences shocking, controversial themes, as well as narratives that major American studios were reluctant to explore. Whereas American exploitation cinema developed in parallel to mainstream Hollywood, exploitation cinema in Britain has no such historical equivalent. Furthermore, the definition of exploitation, in terms of the British industry, is currently used to describe (according to the Encyclopedia of British Film) either poor quality sex comedies from the 1970s, a handful of horror films, or as a loosely fixed generic description dependent upon prevailing critical or academic orthodoxies. However, exploitation was a term used by the British industry in the 1960s to describe a wide-ranging and eclectic variety of films – these films included, ―kitchen-sink dramas‖, comedies, musicals, westerns, as well as many films from Continental Europe and Scandinavia. Therefore, the current description of an exploitation film in Britain has changed a great deal from its original meaning. -
Working Title Films and Transatlantic British Cinema Nathaniel
Working Title Films and Transatlantic British Cinema Nathaniel Townsend PhD University of York Theatre, Film and Television September 2014 2 Abstract This thesis presents a business history of the London-based film production company, Working Title Films. The focus is on the creative and business structures and processes through which Working Title has operated and, in turn, the individual and collective agency of the key players responsible for developing and maintaining these institutional determinants. The same set of research questions are applied to the principal filmmaking institutions with which Working Title has collaborated, and, more particularly, examines how Working Title has negotiated creative and business relationships with various larger film businesses. By taking a chronological approach to Working Title’s evolution, a detailed account of the company’s years as an independent production company (1984-1990), a subsidiary of PolyGram Filmed Entertainment (1990-1998) and a subsidiary of Universal Pictures (1998-present) is provided. The thesis also offers a historical and conceptual framework through which the business history of Working Title is analysed. In the first instance, this involves a reconsideration of the relationship between the film industries and cultures of Britain and Hollywood which combines the discourses of national cinema with more recent scholarship about transnational cinema. This conceptual reinterpretation is subsequently applied to three indicative business histories from the 1930s and 1940s: London Films, MGM-British and the Rank Organisation — and then to Working Title itself. The central concept of the thesis — ‘Transatlantic British Cinema’ — describes a type of cultural production that challenges orthodox accounts of British cinema as national cinema and indicates the ways in which representations of Britain and ‘Britishness’ function within transnational film culture. -
The Bottle Yard Studios –
The Bottle Yard Studios – Positioning and Planning for the Future Final Report to Bristol City Council by Olsberg•SPI th 29 May 2020 The Bottle Yard Studios – Positioning and Planning Contents 1. Executive Summary ..................................................................................................................... 2 1.1. Objectives of the Study ......................................................................................................... 2 1.2. Key Findings .......................................................................................................................... 2 2. Film and Television Production in the UK ..................................................................................... 6 2.1. The Global Production Deluge............................................................................................... 6 2.2. UK Production Levels ............................................................................................................ 9 2.3. Anticipated Trajectory of Film and Television Expenditure .................................................. 12 3. The UK Studio Market ................................................................................................................. 15 3.1. The UK Studio Market .......................................................................................................... 15 3.2. The UK Studio Pipeline ......................................................................................................... 18 3.3. Relevant Market -
Proof of Evidence
SUNNY VOHRA PROOF OF EVIDENCE Introduction 1.1 My name is Sunny Vohra and I am the Chairman of Twickenham Studios. I am an affiliated member of the Association of Certified and Chartered Accountants. I am a serial entrepreneur who started in hotels in 1971 in UK and Kenya, commercial and residential property and also in the automobile parts industry for the last 20 years. Our original family business was the assembly, wholesale and retail sales of bicycles and their spare parts, a business which was started in the early 1950’s by my Grandfather in East Africa and is still running today as a going concern. We are one of the largest bicycle businesses in Africa. 1.2 I have been an avid fan of the film and television industry ever since I was a child and grew up watching movies on both the big and small screen. For me it was always a fascination as to how films and television shows were made. 1.3 I’m the kind of guy that if I had any free time I would go and sit in an empty cinema in the middle of the afternoon even if I was alone just so that I could watch a movie on the big screen and in absolute silence. My involvement in the Studios 1.4 I always wanted to be involved in the industry in some shape, form or other and it was like a dream come true when an opportunity arose in 2011 when I was asked by a film producer to meet him at Twickenham Film Studios to look at a slate of films that he wanted to make. -
ADULT FICTIONAL FILMS on DVD | UPDATED APRIL 2015 TITLE YEAR (500) Days of Summer (Motion Picture)
CASE MEMORIAL LIBRARY | ADULT FICTIONAL FILMS ON DVD | UPDATED APRIL 2015 TITLE YEAR (500) days of summer (Motion picture);"(500) days of Summer [videorecording] / Fox Searchlight Pictures presents a Watermark production2009 produced by Jessica Tuchinsky 10,000 BC [videorecording] / produced by Michael Wimer, Roland Emmerich, Mark Gordon written by Roland Emmerich, Harold Kloser directed2008 by Roland Emmerich. 100 years of the New York Yankees [videorecording]. 2003 12 angry men [videorecording] / MGM/UA Orion-Nova production produced by Henry Fonda and Reginald Rose directed by Sidney Lumet2001 story and screenplay, Reginald Rose. 12 rounds (Motion picture : 2009);"12 rounds [videorecording] / produced by Mark Gordon ... [et al.] written by Daniel Kunka directed by2009 Renny Harlin." 12 years a slave [videorecording] / Regency Enterprises and River Road Entertainment present a River Road, Plan B and New Regency production2013 in association with Film4, a film by Steve McQueen. 127 hours [videorecording] / produced by Danny Boyle, Christian Colson, John Smithson screenplay by Danny Boyle, Simon Beaufoy directed2011 by Danny Boyle. 13 conversations about one thing [videorecording] / directed by Jill Sprecher. 2001 13 going on 30 [videorecording] / Revolution Studios presents a Roth/Arnold production a Gina Matthews production. 2004 16 blocks [videorecording] / Warner Bros. in association with Alcon Entertainment and Millennium Films presents an Emmett/Furla Films and2006 Cheyenne Enterprises production for Equity Pictures Medienfonds GmbH & Co. KG III & Nu Image Entertainment GmbH produced by Randall Emmett, Avi Lerner, Arnold Rifkin, John Thompson, Jim Van Wyck, Bruce Willis written by Richard Wenk directed by Richard Donner. 17 again [videorecording] / New Line Cinema presents an Offspring Entertainment production produced by Adam Shankman, Jennifer Gibgot2009 written by Jason Filardi directed by Burr Steers. -
Russian Theatre Festival Soho Theatre, 1-4 February 2010
Russian Theatre Festival Soho Theatre, 1-4 February 2010 1st Russian Theatre Festival in the UK – Premieres of four new Russian-language plays translated into English. Dreams by NATALYA KOLYADA (1 Feb 2010) 7:30 pm Director: Simon Stokes Zoe Aldrich (Olga) Theatre includes: Her Naked Skin (National Theatre), Taking Care of Baby (Hampstead Theatre/Birmingham Rep), Top Girls and Woman in Mind (Watford Palace), Macbeth, The Changeling, The Winter’s Tale and Twelfth Night (Shakespeare at the Tobacco Factory, Bristol /Barbican), Peter Pan (Birmingham Rep), Much Ado About Nothing (Cheek by Jowl), The Rover and An Ideal Husband (Salisbury Playhouse), The Broken Heart (Lyric Hammersmith). TV includes: Hollyoaks, Silent Witness, and The Knock. Radio: Travels in West Africa (Book of the Week). Abigail Davies (Anna) Professional theatre includes: Standing Wave (as Delia Derbyshire) at The Tron Theatre, Glasgow. Theatron directed by Pamela Carter for the LIFT Festival, Laura in San Diego also at The Tron, written and directed by David Greig, for which she won the Best Actress Inaugural Award 2003. Television appearances include: Paradox as Amelia James (series regular) BBC; H.G.Wells-A Life In Pictures; Lenny Blue for Granada TV and The Bill. Film: Take Out dir Miles Chalcraft. Rebecca Peyton (Tatyana) Theatre credits include *Hothouse *(Arcola Theatre), *Troubleshooters *(Soho Theatre), *Julius Caesar* (Barbican), *Soldiers* (Finborough Theatre), *Electra*(The Gate) and *Asylum Dialogues * (Tricycle Theatre & tour). TV and film credits include *Casualty*, *Stan*, *All Friends Here*, *The Rat Trap* and *Bloody Mary*. Rebecca co-wrote and performed her one-woman *Sometimes I Laugh Like My Sister* which premiered it in Switzerland in December. -
A Case Study of Production Processes on Television Police Drama “The Bill”
The London School of Economics and Political Science Watching the Cops: a case study of production processes on television police drama “The Bill” Marianne Colbran A thesis submitted to the Department of Sociology of the London School of Economics for the degree of Doctor of Philosophy, September 2011 Page 1 of 312 Declaration I certify that the thesis I have presented for examination for the PhD degree of the London School of Economics and Political Science is solely my own work other than where I have clearly indicated that it is the work of others (in which case the extent of any work carried out jointly by me and any other person is clearly identified in it). The copyright of this thesis rests with the author. Quotation from it is permitted, provided that full acknowledgement is made. This thesis may not be reproduced without my prior written consent. I warrant that this authorisation does not, to the best of my belief, infringe the rights of any third party. I declare that my thesis consists of 88,000 words. Page 2 of 312 Abstract This thesis examines the process of storytelling on television police drama, The Bill. It explores how factors such as commercial imperatives, working processes and artistic constraints affected representation of the police. The study argues that, in the early days of the show, stories originated with the freelance writers and were based on research and observation of police work. Representation of the police was favourable, partly due to the ideological views of the makers and partly due to the format: stories had to be resolved within a half-hour timeslot, which militated against writers being able to tell stories about issues such as racism, sexism and corruption.