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TPTV Schedule Dec 10Th - 16Th 2018
TPTV Schedule Dec 10th - 16th 2018 DATE TIME PROGRAMME SYNOPSIS Mon 10 6:00 The Case of 1949. Drama. Made at Merton Park Studios, based on a true story, Dec 18 Charles Peace directed by Norman Lee. The film recounts the exploits through the trial of Charles Peace. Starring Michael Martin-Harvey. Mon 10 7:45 Stagecoach West A Place of Still Waters. Western with Wayne Rogers & Robert Bray, who Dec 18 run a stagecoach line in the Old West where they come across a wide variety of killers, robbers and ladies in distress. Mon 10 8:45 Glad Tidings 1953. Drama. Colonel's adult children object to him marrying an Dec 18 American widow. Starring Barbara Kelly and Raymond Huntley. Mon 10 10:05 Sleeping Car To 1948. Drama. Director: John Paddy Carstairs. Stars Jean Kent, Bonar Dec 18 Trieste Colleano, Albert Lieven & David Tomlinson. Agents break into an embassy in Paris to steal a diary filled with political secrets. Mon 10 11:55 Hell in the Pacific 1968. Adventure. Directed by John Boorman and starring Lee Marvin Dec 18 and Toshiro Mifune. During World War II, an American pilot and a Japanese navy captain are deserted on an island in the Pacific Ocean Mon 10 14:00 A Family At War 1971. Clash By Night. Created by John Finch. Stars John McKelvey & Dec 18 Keith Drinkel. A still-blind Phillip encounters an old enemy who once shot one of his comrades in the Spanish Civil War. (S2, E16) Mon 10 15:00 Windom's Way 1957. Drama. Directed by Ronald Neame. -
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. -
"Sounds Like a Spy Story": the Espionage Thrillers of Alfred
University of Mary Washington Eagle Scholar Student Research Submissions 4-29-2016 "Sounds Like a Spy Story": The Espionage Thrillers of Alfred Hitchcock in Twentieth-Century English and American Society, from The Man Who Knew Too Much (1934) to Topaz (1969) Kimberly M. Humphries Follow this and additional works at: https://scholar.umw.edu/student_research Part of the History Commons Recommended Citation Humphries, Kimberly M., ""Sounds Like a Spy Story": The Espionage Thrillers of Alfred Hitchcock in Twentieth-Century English and American Society, from The Man Who Knew Too Much (1934) to Topaz (1969)" (2016). Student Research Submissions. 47. https://scholar.umw.edu/student_research/47 This Honors Project is brought to you for free and open access by Eagle Scholar. It has been accepted for inclusion in Student Research Submissions by an authorized administrator of Eagle Scholar. For more information, please contact [email protected]. "SOUNDS LIKE A SPY STORY": THE ESPIONAGE THRILLERS OF ALFRED HITCHCOCK IN TWENTIETH-CENTURY ENGLISH AND AMERICAN SOCIETY, FROM THE MAN WHO KNEW TOO MUCH (1934) TO TOPAZ (1969) An honors paper submitted to the Department of History and American Studies of the University of Mary Washington in partial fulfillment of the requirements for Departmental Honors Kimberly M Humphries April 2016 By signing your name below, you affirm that this work is the complete and final version of your paper submitted in partial fulfillment of a degree from the University of Mary Washington. You affirm the University of Mary Washington honor pledge: "I hereby declare upon my word of honor that I have neither given nor received unauthorized help on this work." Kimberly M. -
Film & Literature
Name_____________________ Date__________________ Film & Literature Mr. Corbo Film & Literature “Underneath their surfaces, all movies, even the most blatantly commercial ones, contain layers of complexity and meaning that can be studied, analyzed and appreciated.” --Richard Barsam, Looking at Movies Curriculum Outline Form and Function: To equip students, by raising their awareness of the development and complexities of the cinema, to read and write about films as trained and informed viewers. From this base, students can progress to a deeper understanding of film and the proper in-depth study of cinema. By the end of this course, you will have a deeper sense of the major components of film form and function and also an understanding of the “language” of film. You will write essays which will discuss and analyze several of the films we will study using accurate vocabulary and language relating to cinematic methods and techniques. Just as an author uses literary devices to convey ideas in a story or novel, filmmakers use specific techniques to present their ideas on screen in the world of the film. Tentative Film List: The Godfather (dir: Francis Ford Coppola); Rushmore (dir: Wes Anderson); Do the Right Thing (dir: Spike Lee); The Dark Knight (dir: Christopher Nolan); Psycho (dir: Alfred Hitchcock); The Graduate (dir: Mike Nichols); Office Space (dir: Mike Judge); Donnie Darko (dir: Richard Kelly); The Hurt Locker (dir: Kathryn Bigelow); The Ice Storm (dir: Ang Lee); Bicycle Thives (dir: Vittorio di Sica); On the Waterfront (dir: Elia Kazan); Traffic (dir: Steven Soderbergh); Batman (dir: Tim Burton); GoodFellas (dir: Martin Scorsese); Mean Girls (dir: Mark Waters); Pulp Fiction (dir: Quentin Tarantino); The Silence of the Lambs (dir: Jonathan Demme); The Third Man (dir: Carol Reed); The Lord of the Rings trilogy (dir: Peter Jackson); The Wizard of Oz (dir: Victor Fleming); Edward Scissorhands (dir: Tim Burton); Raiders of the Lost Ark (dir: Steven Spielberg); Star Wars trilogy (dirs: George Lucas, et. -
Electric Scotland's Weekly Newsletter for November 3Rd, 2017
Electric Scotland's Weekly Newsletter for November 3rd, 2017 To see what we've added to the Electric Scotland site view our What's New page at: http://www.electricscotland.com/whatsnew.htm To see what we've added to the Electric Canadian site view our What's New page at: http://www.electriccanadian.com/whatsnew.htm For the latest news from Scotland see our ScotNews feed at: http://www.electricscotland.com/ Electric Scotland News Got some 70 kids in for the Halloween night. Mostly they come between 6 and 8 pm so you have a busy 2 hours. As it happens I had enough sweets to give to all with 2 wee mars bars left over which I confess I ate myself. I published some comments in various newspaper sites this week trying to voice some reason into the Brexit and Independence debates. Not sure it will do anything but at least I felt better having published them. Scottish News from this weeks newspapers Note that this is a selection and more can be read in our ScotNews feed on our index page where we list news from the past 1-2 weeks. I am partly doing this to build an archive of modern news from and about Scotland as all the newsletters are archived and also indexed on Google and other search engines. I might also add that in newspapers such as the Guardian, Scotsman, Courier, etc. you will find many comments which can be just as interesting as the news story itself and of course you can also add your own comments if you wish. -
Photography and Cinema
Photography and Cinema David Campany Photography and Cinema EXPOSURES is a series of books on photography designed to explore the rich history of the medium from thematic perspectives. Each title presents a striking collection of approximately80 images and an engaging, accessible text that offers intriguing insights into a specific theme or subject. Series editors: Mark Haworth-Booth and Peter Hamilton Also published Photography and Australia Helen Ennis Photography and Spirit John Harvey Photography and Cinema David Campany reaktion books For Polly Published by Reaktion Books Ltd 33 Great Sutton Street London ec1v 0dx www.reaktionbooks.co.uk First published 2008 Copyright © David Campany 2008 All rights reserved No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the publishers. Printed and bound in China by C&C Offset Printing Co., Ltd British Library Cataloguing in Publication Data Campany, David Photography and cinema. – (Exposures) 1. Photography – History 2. Motion pictures – History I. Title 770.9 isbn–13: 978 1 86189 351 2 Contents Introduction 7 one Stillness 22 two Paper Cinema 60 three Photography in Film 94 four Art and the Film Still 119 Afterword 146 References 148 Select Bibliography 154 Acknowledgements 156 Photo Acknowledgements 157 Index 158 ‘ . everything starts in the middle . ’ Graham Lee, 1967 Introduction Opening Movement On 11 June 1895 the French Congress of Photographic Societies (Congrès des sociétés photographiques de France) was gathered in Lyon. Photography had been in existence for about sixty years, but cinema was a new inven- tion. -
TPTV Schedule Nov 25Th – Dec 1St 2019
TPTV Schedule Nov 25th – Dec 1st 2019 Date Time Programme Synopsis Mon 25 00:00 Sudden Fear 1952. Drama. Directed by David Miller. Stars Joan Crawford, Jack Palance, Gloria Nov 19 Grahame & Bruce Bennett. After an actor marries a rich playwright, he plots with his mistress how to get rid of her. (SUBTITLES AVAILABLE) Mon 25 02:15 Beat Girl 1960. Drama. Directed by Edmond T. Greville and starring Noelle Adam, Christopher Nov 19 Lee and Oliver Reed. Paul, a divorcee, marries a French lady but his daughter is determined to spoil the relationship. Mon 25 04:00 Last Curtain 1937. An insurance investigator tracks a series of robberies to a gang who are hiding Nov 19 the stolen jewels in the produce of a bakery. First film from Joss Ambler, filmed at Pinewood. Mon 25 05:20 Honey West 1965. Matter of Wife and Death. Classic crime series produced by Aaron Spelling and Nov 19 starring Anne Francis. Someone tries to sink a ship carrying Honey and a woman who hired her. Mon 25 05:50 Dog Gone Early 1940s cartoon where 'dog' wants to find out how to win friends and influence Nov 19 Kitten cats and gets a few more kittens than he bargained for! Mon 25 06:00 Meet Mr 1954. Crime drama directed by Charles Saunders. Private detective Slim Callaghan Nov 19 Callaghan (Derrick De Marney) is hired to find out why a rich uncle changed his will. (SUBTITLES AVAILABLE) Mon 25 07:45 Say It With 1934. Drama musical. Directed by John Baxter. Two well-loved market flower sellers Nov 19 Flowers (Mary Clare and Ben Field) fall on hard times. -
University of Huddersfield Repository
University of Huddersfield Repository Billam, Alistair It Always Rains on Sunday: Early Social Realism in Post-War British Cinema Original Citation Billam, Alistair (2018) It Always Rains on Sunday: Early Social Realism in Post-War British Cinema. Masters thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/id/eprint/34583/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ Submission in fulfilment of Masters by Research University of Huddersfield 2016 It Always Rains on Sunday: Early Social Realism in Post-War British Cinema Alistair Billam Contents Introduction ............................................................................................................................................ 3 Chapter 1: Ealing and post-war British cinema. ................................................................................... 12 Chapter 2: The community and social realism in It Always Rains on Sunday ...................................... 25 Chapter 3: Robert Hamer and It Always Rains on Sunday – the wider context. -
* Hc Omslag Film Architecture 22-05-2007 17:10 Pagina 1
* hc omslag Film Architecture 22-05-2007 17:10 Pagina 1 Film Architecture and the Transnational Imagination: Set Design in 1930s European Cinema presents for the first time a comparative study of European film set design in HARRIS AND STREET BERGFELDER, IMAGINATION FILM ARCHITECTURE AND THE TRANSNATIONAL the late 1920s and 1930s. Based on a wealth of designers' drawings, film stills and archival documents, the book FILM FILM offers a new insight into the development and signifi- cance of transnational artistic collaboration during this CULTURE CULTURE period. IN TRANSITION IN TRANSITION European cinema from the late 1920s to the late 1930s was famous for its attention to detail in terms of set design and visual effect. Focusing on developments in Britain, France, and Germany, this book provides a comprehensive analysis of the practices, styles, and function of cine- matic production design during this period, and its influence on subsequent filmmaking patterns. Tim Bergfelder is Professor of Film at the University of Southampton. He is the author of International Adventures (2005), and co- editor of The German Cinema Book (2002) and The Titanic in Myth and Memory (2004). Sarah Street is Professor of Film at the Uni- versity of Bristol. She is the author of British Cinema in Documents (2000), Transatlantic Crossings: British Feature Films in the USA (2002) and Black Narcis- sus (2004). Sue Harris is Reader in French cinema at Queen Mary, University of London. She is the author of Bertrand Blier (2001) and co-editor of France in Focus: Film -
The New School, Everybody Comes to Rick's
Narrative Section of a Successful Application The attached document contains the grant narrative and selected portions of a previously funded grant application. It is not intended to serve as a model or to indicate particular areas that are of interest to the Endowment, but to give you a sense of how a successful application may be crafted. Every successful application is different, and each applicant is urged to prepare a proposal that reflects his or her unique project and aspirations. Prospective applicants should consult the Research Programs application guidelines at https://www.neh.gov/grants/research/public- scholar-program for instructions. Formatting requirements, including page limits, may have changed since this application was submitted. Applicants are also strongly encouraged to consult with the NEH Division of Research Programs staff well before a grant deadline. Note: The attachment only contains the grant narrative and selected portions, not the entire funded application. In addition, certain portions may have been redacted to protect the privacy interests of an individual and/or to protect confidential commercial and financial information and/or to protect copyrighted materials. Project Title: Everybody Comes to Rick’s: How “Casablanca” Taught Us to Love Movies Institution: The New School Project Director: Noah Isenberg Grant Program: Public Scholar Program 400 Seventh Street, S.W., Washington, D.C. 20506 P 202.606.8200 F 202.606.8204 E [email protected] www.neh.gov Everybody Comes to Rick’s: How Casablanca Taught Us to Love Movies On Thanksgiving Day 1942, the lucky ticket holders who filled the vast, opulent 1,600-seat auditorium at Warner Brothers’ Hollywood Theatre in midtown Manhattan—where today the Times Square Church stands—were treated to the world premiere of Casablanca, the studio’s highly anticipated wartime drama. -
The North of England in British Wartime Film, 1941 to 1946. Alan
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by CLoK The North of England in British Wartime Film, 1941 to 1946. Alan Hughes, University of Central Lancashire The North of England is a place-myth as much as a material reality. Conceptually it exists as the location where the economic, political, sociological, as well as climatological and geomorphological, phenomena particular to the region are reified into a set of socio-cultural qualities that serve to define it as different to conceptualisations of England and ‘Englishness’. Whilst the abstract nature of such a construction means that the geographical boundaries of the North are implicitly ill-defined, for ease of reference, and to maintain objectivity in defining individual texts as Northern films, this paper will adhere to the notion of a ‘seven county North’ (i.e. the pre-1974 counties of Cumberland, Westmorland, Northumberland, County Durham, Lancashire, Yorkshire, and Cheshire) that is increasingly being used as the geographical template for the North of England within social and cultural history.1 The British film industry in 1941 As 1940 drew to a close in Britain any memories of the phoney war of the spring of that year were likely to seem but distant recollections of a bygone age long dispersed by the brutal realities of the conflict. Outside of the immediate theatres of conflict the domestic industries that had catered for the demands of an increasingly affluent and consuming population were orientated towards the needs of a war economy as plant, machinery, and labour shifted into war production. -
James Stewart: the Trouble with Urban Modernity in Verligo and Liberly Valance
MA MAJOR RESEARCH PAPER James Stewart: The Trouble with Urban Modernity in Verligo and Liberly Valance ALEX MORRIS Supervisor: Edward Siopek The Major Research Paper is submitted in partial fulfillment of the requirements for the degree of Master of Arts Joint Graduate Program in Communication & Culture Ryerson University - York University Toronto, Ontario, Canada Sept. 21, 2009 Table of Contents Introduction: Post-War Stewart and the Dark Turn in Hollywood ...................................... 2 Chapter 1: Vertigo: An Architecture for Double Vision ..................................................... 13 Chapter 2: Liberty Valance: Masculine Anxiety in the Cinematic "Wild West" ................ 24 Works Cited and Consulted .............................................................................44 1 Introduction Legendary 20th Century Hollywood film star and American everyman James Maitland Stewart saw merit and enduring intrinsic reward more in his extensive career as a decorated military serviceman, which began a year before Pearl Harbor, well before his nation joined the fighting in the European theatre of the Second World War, and ended long after his controversial peace-time promotion to Brigadier General decades later than in his lifelong career as a cherished and profoundly successful screen actor. For him, as for his father and grandfather before him, who, between the two of them, saw action in three major American wars, serving the nation militarily was as good as it got. When asked by an interviewer some 50 years after the end of his wartime military service about his WWII memories, writes biographer Jonathan Coe in his book, Jimmy Stewart: A Wonderful Life, Stewart remarks that his military experience was "something that I think about almost everyday: one of the greatest experiences of my life." "Greater than being in the movies?" countered the reporter.