Kenneth Colley

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Kenneth Colley Film Title Role Director Producer Scar Tissue Weaver Scott Michell Sterling Pictures Ltd Holding On Philip Henderson Afonso Reis Sousa Altered Perceptions Hold Back The Night Bob Phil Davis Parallax Pictures Shadow Run Larcombe Geoffrey Reeve Majestic Films &TV Robert Ryland's Last Journey Archdale Gracia Querejeta Alta Films Brassed Off Greasley Mark Herman Channel 4 Films La Vie De Boheme Balayeur de Rues Aki Kaurismaki Sputnik I Hired A Contract Killer The Killer Aki Kaurismaki Esselte Video The Last Island Nick Marleen Gorris First Floor Features The Rainbow Mr Brunt Ken Russell Vestron Pictures A Summer Story Jim Piers Haggard ITC The Whistle Blower Bill Pickett Simon Langton Portreeve Return To Waterloo The Traveller Ray Davies Waterloo Films Star Wars: Return of The Jedi Admiral Piett Marcus Farquand Lucas Film Firefox Kontarsky Clint Eastwood Malpaso Company Giro City Martin Karl Francis Silverealm Ltd Star Wars: The Empire Strikes BackAdmiral Piett Irvin Kershner Lucas Film Life Of Brian Jesus Terry Jones HandMade Films The Artists Partnership 21-22 Warwick Street, Soho, London W1B 5NE (020) 7439 1456 Jabberwocky 1st Fanatic Terry Gilliam Python Films Flame Tony Devlin Richard Loncraine Goodtimes Enterprises Lisztomania Frederic Chopin Ken Russell Goodtimes Enterprises Juggernaut Detective Brown Richard Lester David V. Picker productions Mahler Krenek Ken Russell Goodtimes Enterprises Hitler: The Last 10 Days Boldt Ennio de concini Tomorrow Enterprises The Triple Echo Provo Corporal Michael Apted Hemdale The Music Lovers Tchaikovsky Ken Russell Russ-Arts The Devils Legrand Ken Russell Russo Productions Performances Tony Farrell Donald Cammell Goodtimes Enterprises Television Title Role Director Producer Peaky Blinders Vincente Changretta Tim Mielants BBC Holby City Dudley Clarke Various BBC The Scar Bentik (lead) US TV Vera Ron Winterson Various ITV Misfits Old Dark Rudy Various Clerkenwell for E4 Mrs Bradley Mysteries Archie Burrington James Hawes BBC Casualty Arthur Cobb Various BBC The Bill 'Slinging Mud' Mr Barker Various Thames Always & Everyone Joseph Jon East/ P Smith Granada Dangerfield Bill Hunter Various BBC Heartbeat VIII Clive Harris Gerry Mill Yorkshire Cruel Earth Mark Various Granada Peak Practice Stan Jordan Alan Grint Carlton Wycliffe Sam Peploe Martyn Friend HTV The Bill'Boiling Point' Spt. Shannon Various Thames Solomon & Sheba Nathan Robert M Young Dino de Laurentiis & Co. The Bill 'Who Cares' Patrick Houghton Various Thames Moving Story (Series I) Ken Utley Various Paravision The Artists Partnership 21-22 Warwick Street, Soho, London W1B 5NE (020) 7439 1456 Moving Story (series 2) Ken Utley Various Paravision Unnatural Causes Gerry Reckless John Davies Anglia Between The Lines Tattersall Various BBC Inspector Morse Patrick Dawson Various Zenith Minder Ron Various Euston Films Casualty Paddy Various BBC The Plot To Kill Hitler Keitel Lawrence Schiller Jadran Film Poirot Matthew Davenheim Various LWT Great Writers Inspector Heat LWT Casanova Le Duc US TV Timewatch Napoleon Various BBC The Artists Partnership 21-22 Warwick Street, Soho, London W1B 5NE (020) 7439 1456.

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Blockbusters: Films and the Books About Them Display Maggie Mason Smith Clemson University, [email protected]
Clemson University TigerPrints Presentations University Libraries 5-2017 Blockbusters: Films and the Books About Them Display Maggie Mason Smith Clemson University, [email protected] Follow this and additional works at: https://tigerprints.clemson.edu/lib_pres Part of the Library and Information Science Commons Recommended Citation Mason Smith, Maggie, "Blockbusters: Films and the Books About Them Display" (2017). Presentations. 105. https://tigerprints.clemson.edu/lib_pres/105 This Display is brought to you for free and open access by the University Libraries at TigerPrints. It has been accepted for inclusion in Presentations by an authorized administrator of TigerPrints. For more information, please contact [email protected]. Blockbusters: Films and the Books About Them Display May 2017 Blockbusters: Films and the Books About Them Display Photograph taken by Micki Reid, Cooper Library Public Information Coordinator Display Description The Summer Blockbuster Season has started! Along with some great films, our new display features books about the making of blockbusters and their cultural impact as well as books on famous blockbuster directors Spielberg, Lucas, and Cameron. Come by Cooper throughout the month of May to check out the Star Wars series and Star Wars Propaganda; Jaws and Just When you thought it was Safe: A Jaws Companion; The Dark Knight trilogy and Hunting the Dark Knight; plus much more! *Blockbusters on display were chosen based on AMC’s list of Top 100 Blockbusters and Box Office Mojo’s list of All Time Domestic Grosses. - Posted on Clemson University Libraries’ Blog, May 2nd 2017 Films on Display • The Amazing Spider-Man. Dir. Marc Webb. Perf. Andrew Garfield, Emma Stone, Rhys Ifans.
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Models of Time Travel
MODELS OF TIME TRAVEL A COMPARATIVE STUDY USING FILMS Guy Roland Micklethwait A thesis submitted for the degree of Doctor of Philosophy of The Australian National University July 2012 National Centre for the Public Awareness of Science ANU College of Physical and Mathematical Sciences APPENDIX I: FILMS REVIEWED Each of the following film reviews has been reduced to two pages. The first page of each of each review is objective; it includes factual information about the film and a synopsis not of the plot, but of how temporal phenomena were treated in the plot. The second page of the review is subjective; it includes the genre where I placed the film, my general comments and then a brief discussion about which model of time I felt was being used and why. It finishes with a diagrammatic representation of the timeline used in the film. Note that if a film has only one diagram, it is because the different journeys are using the same model of time in the same way. Sometimes several journeys are made. The present moment on any timeline is always taken at the start point of the first time travel journey, which is placed at the origin of the graph. The blue lines with arrows show where the time traveller’s trip began and ended. They can also be used to show how information is transmitted from one point on the timeline to another. When choosing a model of time for a particular film, I am not looking at what happened in the plot, but rather the type of timeline used in the film to describe the possible outcomes, as opposed to what happened.
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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.
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Leslie Caron
COUNCIL FILE NO. t)q .~~f7:; COUNCIL DISTRICT NO. 13 APPROVAL FOR ACCELERATED PROCESSING DIRECT TO CITY COUNCIL The attached Council File may be processed directly to Council pursuant to the procedure approved June 26, 1990, (CF 83-1075-81) without being referred to the Public Works Committee because the action on the file checked below is deemed to be routine and/or administrative in nature: -} A. Future Street Acceptance. -} B. Quitclaim of Easement(s). -} C. Dedication of Easement(s). -} D. Release of Restriction(s) . ..10 E. Request for Star in Hollywood Walk of Fame. -} F. Brass Plaque(s) in San Pedro Sport Walk. -} G. Resolution to Vacate or Ordinance submitted in response to Council action. -} H. Approval of plans/specifications submitted by Los Angeles County Flood Control District. APPROVAL/DISAPPROVAL FOR ACCELERATED PROCESSING: APPROVED DISAPPROVED* Council Office of the District Public Works Committee Chairperson 'DISAPPROVED FILES WILL BE REFERRED TO THE PUBLIC WORKS COMMITTEE. Please return to Council Index Section, Room 615 City Hall City Clerk Processing: Date notice and report copy mailed to interested parties advising of Council date for this item. Date scheduled in Council. AFTER COUNCIL ACTION: ___ -f} Send copy of adopted report to the Real Estate Section, Development Services Division, Bureau of Engineering (Mail Stop No. 515) for further processing. __ ---J} Other: . .;~ ';, PLEASE DO NOT DETACH THIS APPROVAL SHEET FROM THE COUNCIL FILE ACCELERATED REVIEW PROCESS - E Office of the City Engineer Los Angeles California To the Honorable Council Of the City of Los Angeles NOV 242009 Honorable Members: C. D. No. 13 SUBJECT: Hollywood Boulevard and Vine Street - Walk of Fame Additional Name in Terrazzo Sidewalk- LESLIE CARON RECOMMENDATIONS: A.
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Cashbox Subscription: Please Check Classification;
July 13, 1985 NEWSPAPER $3.00 v.'r '-I -.-^1 ;3i:v l‘••: • •'i *. •- i-s .{' *. » NE RIAA CERTIFICATIONS ANNOUNCED R.E.M. AFFILIATES LIVE-AID Crass Roots Audience Blossoms TWORK, GEAR FOR Story on Page 13 WEHIND THE BULLETS: TEARS FOR FEARS #1 MTV AWARDS ENTER NEXT PHASE GUEST EDITORIAL: AL KOOPER SUBSCRIPTION ORDER: PLEASE ENTER MY CASHBOX SUBSCRIPTION: PLEASE CHECK CLASSIFICATION; RETAILER ARTIST I NAME VIDEO JUKEBOXES DEALER AMUSEMENT GAMES COMPANY TITLE ONE-STOP VENDING MACHINES DISTRIBUTOR RADIO SYNDICATOR ADDRESS BUSINESS HOME APT. NO. RACK JOBBER RADIO CONSULTANT PUBLISHER INDEPENDENT PROMOTION CITY STATE/PROVINCE/COUNTRY ZIP RECORD COMPANY INDEPENDENT MARKETING RADIO OTHER: NATURE OF BUSINESS PAYMENT ENCLOSED SIGNATURE DATE USA OUTSIDE USA FOR 1 YEAR I YEAR (52 ISSUES) $125.00 AIRMAIL $195.00 6 MONTHS (26 ISSUES) S75.00 1 YEAR FIRST CLASS/AIRMAIL SI 80.00 01SHBCK (Including Canada & Mexico) 330 WEST 58TH STREET • NEW YORK, NEW YORK 10019 ' 01SH BOX HE INTERNATIONAL MUSIC / COIN MACHINE / HOME ENTERTAINMENT WEEKLY VOLUME XLIX — NUMBER 5 — July 13, 1985 C4SHBO( Guest Editorial : T Taking Care Of Our Own ^ GEORGE ALBERT i. President and Publisher By A I Kooper MARK ALBERT 1 The recent and upcoming gargantuan Ethiopian benefits once In a very true sense. Bob Geldof has helped reawaken our social Vice President and General Manager “ again raise an issue that has troubled me for as long as I’ve been conscience; now we must use it to address problems much closer i SPENCE BERLAND a part of this industry. We, in the American music business do to home.
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The New Hollywood Films
The New Hollywood Films The following is a chronological list of those films that are generally considered to be "New Hollywood" productions. Shadows (1959) d John Cassavetes First independent American Film. Who's Afraid of Virginia Woolf? (1966) d. Mike Nichols Bonnie and Clyde (1967) d. Arthur Penn The Graduate (1967) d. Mike Nichols In Cold Blood (1967) d. Richard Brooks The Dirty Dozen (1967) d. Robert Aldrich Dont Look Back (1967) d. D.A. Pennebaker Point Blank (1967) d. John Boorman Coogan's Bluff (1968) – d. Don Siegel Greetings (1968) d. Brian De Palma 2001: A Space Odyssey (1968) d. Stanley Kubrick Planet of the Apes (1968) d. Franklin J. Schaffner Petulia (1968) d. Richard Lester Rosemary's Baby (1968) – d. Roman Polanski The Producers (1968) d. Mel Brooks Bullitt (1968) d. Peter Yates Night of the Living Dead (1968) – d. George Romero Head (1968) d. Bob Rafelson Alice's Restaurant (1969) d. Arthur Penn Easy Rider (1969) d. Dennis Hopper Medium Cool (1969) d. Haskell Wexler Midnight Cowboy (1969) d. John Schlesinger The Rain People (1969) – d. Francis Ford Coppola Take the Money and Run (1969) d. Woody Allen The Wild Bunch (1969) d. Sam Peckinpah Bob & Carol & Ted & Alice (1969) d. Paul Mazursky Butch Cassidy & the Sundance Kid (1969) d. George Roy Hill They Shoot Horses, Don't They? (1969) – d. Sydney Pollack Alex in Wonderland (1970) d. Paul Mazursky Catch-22 (1970) d. Mike Nichols MASH (1970) d. Robert Altman Love Story (1970) d. Arthur Hiller Airport (1970) d. George Seaton The Strawberry Statement (1970) d.
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Any Gods out There? Perceptions of Religion from Star Wars and Star Trek
Journal of Religion & Film Volume 7 Issue 2 October 2003 Article 3 October 2003 Any Gods Out There? Perceptions of Religion from Star Wars and Star Trek John S. Schultes Vanderbilt University, [email protected] Follow this and additional works at: https://digitalcommons.unomaha.edu/jrf Recommended Citation Schultes, John S. (2003) "Any Gods Out There? Perceptions of Religion from Star Wars and Star Trek," Journal of Religion & Film: Vol. 7 : Iss. 2 , Article 3. Available at: https://digitalcommons.unomaha.edu/jrf/vol7/iss2/3 This Article is brought to you for free and open access by DigitalCommons@UNO. It has been accepted for inclusion in Journal of Religion & Film by an authorized editor of DigitalCommons@UNO. For more information, please contact [email protected]. Any Gods Out There? Perceptions of Religion from Star Wars and Star Trek Abstract Hollywood films and eligionr have an ongoing rocky relationship, especially in the realm of science fiction. A brief comparison study of the two giants of mainstream sci-fi, Star Wars and Star Trek reveals the differing attitudes toward religion expressed in the genre. Star Trek presents an evolving perspective, from critical secular humanism to begrudging personalized faith, while Star Wars presents an ambiguous mythological foundation for mystical experience that is in more ways universal. This article is available in Journal of Religion & Film: https://digitalcommons.unomaha.edu/jrf/vol7/iss2/3 Schultes: Any Gods Out There? Science Fiction has come of age in the 21st century. From its humble beginnings, "Sci- Fi" has been used to express the desires and dreams of those generations who looked up at the stars and imagined life on other planets and space travel, those who actually saw the beginning of the space age, and those who still dare to imagine a universe with wonders beyond what we have today.
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UNIVERSITY of Southern CALIFORNIA 11 Jan
UNIVERSAL CITY STUDIOS. INC. AN MCA INC. COMPANY r November 15, 1971 Dr. Bernard _R. Kantor, Chairman Division of Cinema University <;:>f S.outhern California University Park Los Angeles, Calif. 90007 Dear Dr. Kantor: Forgive my delay in answering your nice letter and I want to assure you I am very thrilled about being so honored by the Delta Kappa Al ha, and I most certainly will be present at the . anquet on February 6th. Cordia ~ l I ' Edi ~'h EH:mp 100 UNIVERSAL CITY PLAZA • UNIVERSAL CITY, CALIFORNIA 91608 • 985-4321 CONSOLIDATED FILM I DU TRIES 959 North Seward Street • Hollywood, California 90038 I (213) 462 3161 telu 06 74257 1 ubte eddr n CONSOLFILM SIDNEY P SOLOW February 15, 1972 President 1r. David Fertik President, DKA Uni ersity of Southern California Cinema Department Los Angels, California 90007 Dear Dave: This is to let you know how grateful I am to K for electing me to honorary membership. This is an honor, I must confess, that I ha e for many years dar d to hope that I would someday receive. So ;ou have made a dre m c me true. 'I he award and he widespread publici : th· t it achieved brought me many letters and phone calls of congra ulations . I have enjoyel teaching thee last twent, -four years in the Cinema Department. It is a boost to one's self-rep ct to be accepted b: youn , intelligent people --e peciall, those who are intere.ted in film-m·king . Please e t nJ my thanks to all t e ho ~ere responsible for selec ing me for honor ry~ m er_hip.
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Awards & Nominations
VICKI HIATT MUSIC SUPERVISOR / EDITOR AWARDS & NOMINATIONS GOLDEN REEL AWARD ALI NOMINATION (2001) Best Sound Editing -Music, Feature Film, Domestic and Foreign GOLDEN REEL AWARD THE ROAD TO EL DORADO NOMINATION (2000) Best Sound Editing-Music, Animation FEATURE FILM THE ARK & THE AARDVARK Keith Kjarvak, Kurt Rauer, prod. Unified Pictures John Stevenson, dir. Music Editor HOTEL TRANSYLVANIA 3 Michelle Murdocca, prod. Sony Pictures Animation Gendy Tartakovsy, dir. Music Editor SURF’S UP 2: WAVEMANIA Toby Chu, Composer Sony Pictures Animation Michelle Wong, prod. Music Editor Henry Wu, dir. HALF MAGIC Alex Wurman, Composer Magic Bubble Productions Bill Sheinberg, prod. Music Consultant Heather Graham, dir. HOW TO TRAIN YOUR DRAGON 3 John Powell, Composer DreamWorks Animation Bonnie Arnold, prod. Music Editor Dean DeBlois, dir. LIFE BRIEFLY Tom Howe, Composer Thousand Dream Prods. Erika Armin, James Brubaker, prods. Music Editor Dan Ireland, dir. EMOJI Michelle Raimo, prod. Sony Pictures Animation Anthony Leondis, dir. Music Editor BOSS BABY Denise Nolan Cascino, Ramsey Ann Naito, prods. DreamWorks Animation Tom McGrath, dir. Music Editor The Gorfaine/Schwartz Agency, Inc. (818) 260-8500 1 VICKI HIATT MUSIC SUPERVISOR / EDITOR INDISCRETION Toby Chu, Composer Granfallon Productions Alexandra Baranska, Thomas Beach, Laura Boersma, prods. Music Supervisor John Stewart Muller, dir. SO B. IT Nick Urata, Composer Branded Pictures J. Todd Harris, Orien Richman, prods. Music Supervisor Stephen Gyllenhaal, dir. CAPTAIN UNDERPANTS Teddy Shapiro, Composer DreamWorks Animation Mark Swift, prod. Music Editor David Soren, dir. TROLLS Christophe Beck, Composer DreamWorks Animation Gina Shay, prod. Music Editor Mike Mitchell, dir. FLAWED DOGS Berkeley Breathed, exec. prod. DreamWorks Animation Noah Baumbauch, dir.
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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.
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Not Showing at This Cinema
greenlit just before he died, was an adaptation of A PIN TO SEE THE NIGHT Walter Hamilton’s 1968 novel All the Little Animals, exploring the friendship between a boy and an THE PEEPSHOW CREATURES old man who patrols roads at night collecting the Dir: Robert Hamer 1949 Dir: Val Guest 1957 roadkill. Reeves prepared a treatment, locations Adaptation of a 1934 novel by F. Tennyson Jesse Robert Neville is the last man on earth after a were scouted and Arthur Lowe was to play the about a young woman wrongly convicted as an mysterious plague has turned the rest of the lead. Thirty years later the book was adapted for accomplice when her lover murders her husband; a population into vampires who swarm around his the screen and directed by Jeremy Thomas starring thinly fictionalised account of Edith Thompson and house every night, hungering for his blood. By day, John Hurt and Christian Bale. the Ilford Murder case of 1922. With Margaret he hunts out the vampires’ lairs and kills them Lockwood in the lead, this was something of a with stakes through the heart, while obsessively dream project that Robert Hamer tried to get off searching for an antidote and trying to work out the ground at Ealing. Despite a dazzling CV that the cause of his immunity. Richard Matheson wrote ISHTAR includes the masterpiece Kind Hearts and Coronets the screenplay for The Night Creatures for Hammer Dir: Donald Cammell 1971-73 (1949), Hamer was unable to persuade studio Films in 1957 based on his own hugely influential The co-director of Performance (1970), Cammell boss Michael Balcon to back the project.
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A Study of the Theoretical Position Within Metzian Film Semiotics of Sound in Cinema Kathryn L
Eastern Illinois University The Keep Masters Theses Student Theses & Publications 1983 The oundS and the Theory: A Study of the Theoretical Position within Metzian Film Semiotics of Sound in Cinema Kathryn L. Ingle Eastern Illinois University This research is a product of the graduate program in Speech Communication at Eastern Illinois University. Find out more about the program. Recommended Citation Ingle, Kathryn L., "The oundS and the Theory: A Study of the Theoretical Position within Metzian Film Semiotics of Sound in Cinema" (1983). Masters Theses. 2888. https://thekeep.eiu.edu/theses/2888 This is brought to you for free and open access by the Student Theses & Publications at The Keep. It has been accepted for inclusion in Masters Theses by an authorized administrator of The Keep. For more information, please contact [email protected]. THESIS REPRODUCTION CERTIFICATE TO: Graduate Degree Candidates who have written formal theses. SUBJECT: Permission to reproduce theses. The University Library is receiving a number of requests from other institutions asking permission to reproduce dissertations for inclusion in their library holdings. Although no copyright laws are involved, we feel that professional courtesy demands that permission be obtained from the author before we allow theses to be copied. Please sign one of the following statements: Booth Library of Eastern Illinois University has my permission to lend my thesis to a reputable college or university for the purpose of copying it for inclusion in that institution's library or research holdings. Date Author I respectfully request Booth Library of Eastern Illinois University not allow my thesis be reproduced because -�� Date Author m THE SOUND AND THE THEORY (TITLE) BY Kathryn L.
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