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Annual Report and Accounts 2004/2005
THE BFI PRESENTSANNUAL REPORT AND ACCOUNTS 2004/2005 WWW.BFI.ORG.UK The bfi annual report 2004-2005 2 The British Film Institute at a glance 4 Director’s foreword 9 The bfi’s cultural commitment 13 Governors’ report 13 – 20 Reaching out (13) What you saw (13) Big screen, little screen (14) bfi online (14) Working with our partners (15) Where you saw it (16) Big, bigger, biggest (16) Accessibility (18) Festivals (19) Looking forward: Aims for 2005–2006 Reaching out 22 – 25 Looking after the past to enrich the future (24) Consciousness raising (25) Looking forward: Aims for 2005–2006 Film and TV heritage 26 – 27 Archive Spectacular The Mitchell & Kenyon Collection 28 – 31 Lifelong learning (30) Best practice (30) bfi National Library (30) Sight & Sound (31) bfi Publishing (31) Looking forward: Aims for 2005–2006 Lifelong learning 32 – 35 About the bfi (33) Summary of legal objectives (33) Partnerships and collaborations 36 – 42 How the bfi is governed (37) Governors (37/38) Methods of appointment (39) Organisational structure (40) Statement of Governors’ responsibilities (41) bfi Executive (42) Risk management statement 43 – 54 Financial review (44) Statement of financial activities (45) Consolidated and charity balance sheets (46) Consolidated cash flow statement (47) Reference details (52) Independent auditors’ report 55 – 74 Appendices The bfi annual report 2004-2005 The bfi annual report 2004-2005 The British Film Institute at a glance What we do How we did: The British Film .4 million Up 46% People saw a film distributed Visits to -
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. -
HATTIE JACQUES Born Josephine Edwina Jacques on February 7" 1922 She Went on to Become a Nationally Recognised Figure in the British Cinema of the 1950S and 60S
Hattie Jacaues Born 127 High St 1922 Chapter Twelve HATTIE JACQUES Born Josephine Edwina Jacques on February 7" 1922 she went on to become a nationally recognised figure in the British cinema of the 1950s and 60s. Her father, Robin Jacques was in the army and stationed at Shorncliffe Camp at the time of her birth. The Register of Electors shows the Jacques family residing at a house called Channel View in Sunnyside Road. (The register shows the name spelled as JAQUES, without the C. Whether Hattie changed the spelling or whether it was an error on the part of those who printed the register I don’t know) Hattie, as she was known, made her entrance into the world in the pleasant seaside village of Sandgate, mid way between Folkestone to the east and Hythe to the west. Initially Hattie trained as a hairdresser but as with many people of her generation the war caused her life to take a different course. Mandatory work saw Hattie first undertaking nursing duties and then working in North London as a welder Even in her twenties she was of a generous size and maybe as defence she honed her sense of humour after finding she had a talent for making people laugh. She first became involved in show business through her brother who had a job as the lift operator at the premises of the Little Theatre located then on the top floor of 43 Kings Street in Covent Garden. At end of the war the Little Theatre found itself in new premises under the railway arches below Charing Cross Station. -
Home Sweet Home
FINAL-1 Sat, Jun 30, 2018 5:22:48 PM tvupdateYour Weekly Guide to TV Entertainment For the week of July 8 - 14, 2018 Home sweet home Patricia Clarkson stars in “Sharp Objects” INSIDE •Sports highlights Page 2 •TV Word Search Page 2 •Family Favorites Page 4 •Hollywood Q&A Page14 When a big city crime reporter (Amy Adams, “Arrival,” 2016) returns to her hometown to cover a string of gruesome killings, not all is what it seems. Jean-Marc Vallée (“Dallas Buyers Club,” 2013) reunites with HBO to helm another beloved novel adaptation in Gillian Flynn’s “Sharp Objects,” premiering Sunday, July 8, on HBO. The ensemble cast also includes Patricia Clarkson (“House of Cards”) and Chris Messina (“The Mindy Project”). WANTED WANTED MOTORCYCLES, SNOWMOBILES, OR ATVS GOLD/DIAMONDS BUY SELL ✦ 37 years in business; A+ rating with the BBB. TRADE Salem, NH • Derry, NH • Hampstead, NH • Hooksett, NH ✦ For the record, there is only one authentic CASH FOR GOLD, Bay 4 Newburyport, MA • North Andover, MA • Lowell, MA Group Page Shell PARTS & ACCESSORIES IT’S MOLD ALLERGY SEASON We Need: SALESMotorsports & SERVICE DON’T LET IT GET YOU DOWN 5 x 3” Gold • Silver • Coins • Diamonds MASS. MOTORCYCLE 1 x 3” Are you suffering from itchy eyes, sneezing, sinusitis or INSPECTIONS asthma? Alleviate your mold allergies this season. We are the ORIGINAL and only AUTHENTIC Call or schedule your appointment online with New England Allergy today. CASH FOR GOLD Appointments Available Now on the Methuen line, above Enterprise Rent-A-Car 978-683-4299 at 527 So. Broadway, Rte. -
Catalogo Novedades Dvd Abril 2013
CINE INTERNACIONAL AGUA PARA ALTA SOCIEDAD ELEFANTES DIR.: Francis Lawrence DIR.: Charles Walters INT.: Reese Witherspoon, INT.: Bing Crosby, Grace Robert Pattinson, Christoph Kelly, Frank Sinatra Waltz AÑO: 1956 AÑO: 2011 PREMIOS: 2 nominaciones PREMIOS: al Óscar. AMANECER (parte 1) ARGO DIR.: Bill Condon DIR.: Ben Affleck INT.: Kristen Stewart, Robert INT.: Ben Affleck, Bryan Pattinson, Taylor Lautner Cranston, Alan Arkin AÑO: 2011 AÑO: 2012 PREMIOS: PREMIOS: 3 Óscar, 2 Globos de Oro, 3 Premios BAFTA, 1 Premio César, 2 Critics Choice Awards. CINE INTERNACIONAL 1 THE ARTIST BREVE ENCUENTRO DIR.: Michel Hazanavicius DIR.: David Lean INT.: Jean Dujardin, INT.: Celia Johnson, Trevor Bérénica Bejo, James Howard, Stanley Holloway Cromwell AÑO: 1945 AÑO: 2011 PREMIOS: 3 nominaciones PREMIOS: 5 Óscar, 3 al Óscar, Gran Premio del Globos de Oro, 7 premios Festival de Cannes, mejor BAFTA, 6 premios César, actriz del Círculo de Críticos mejor actor Festival de de Nueva York. Cannes. CACHÉ (ESCONDIDO) LA CALUMNIA DIR.: Michael Haneke DIR.: William Wyler INT.: Daniel Auteil, Juliete INT.: Audrey Hepburn, Binoche, Maurice Bénichou Shirley MacLaine, James Garner AÑO: 2005 AÑO: 1961 PREMIOS: 3 premios del Festival de Cannes, 5 PREMIOS: 5 nominaciones premios Academia de Cine al Óscar. Europeo CINE INTERNACIONAL 2 EL CARDENAL LA CINTA BLANCA DIR.: Otto Preminger DIR.: Michael Haneke INT.: Tom Tryon, John INT.: Susanne Lothar, Ulrich Huston, Romy Schneider Tukur, Burghart Klaussner AÑO: 1963 AÑO: 2009 PREMIOS: 6 nominaciones PREMIOS: Palma de Oro de al Óscar y 3 Globos de Oro. Festival de Cannes, Globo de Oro mejor película de habla no inglesa, premio FIPRESCI, 3 premios del cine europeo. -
The Copyright of This Recording Is Vested in the BECTU History Project
Elizabeth Furse Tape 1 Side A This recording was transcribed by funds from the AHRC-funded ‘History of Women in British Film and Television project, 1933-1989’, led by Dr Melanie Bell (Principal Investigator, University of Leeds) and Dr Vicky Ball (Co-Investigator, De Montfort University). (2015). COPYRIGHT: No use may be made of any interview material without the permission of the BECTU History Project (http://www.historyproject.org.uk/). Copyright of interview material is vested in the BECTU History Project (formerly the ACTT History Project) and the right to publish some excerpts may not be allowed. CITATION: Women’s Work in British Film and Television, Elizabeth Furse, http://bufvc.ac.uk/bectu/oral-histories/bectu-oh [date accessed] By accessing this transcript, I confirm that I am a student or staff member at a UK Higher Education Institution or member of the BUFVC and agree that this material will be used solely for educational, research, scholarly and non-commercial purposes only. I understand that the transcript may be reproduced in part for these purposes under the Fair Dealing provisions of the 1988 Copyright, Designs and Patents Act. For the purposes of the Act, the use is subject to the following: The work must be used solely to illustrate a point The use must not be for commercial purposes The use must be fair dealing (meaning that only a limited part of work that is necessary for the research project can be used) The use must be accompanied by a sufficient acknowledgement. Guidelines for citation and proper acknowledgement must be followed (see above). -
The Amazing Mr Blunden
K graphic The Amazing Mr Blunden UK : 1972 : dir. Lionel Jeffries : Hemdale : 99 min prod: Barry Levinson : scr: Lionel Jeffries : dir.ph.: Gerry Fisher Garry Miller; Lynne Frederick; Marc Granger; Rosalyn Landor ………….……………………… Laurence Naismith; Diana Dors; James Villiers; Madeline Smith; David Lodge; Dorothy Alison Stuart Lock; Deddie Davis Ref: Pages Sources Stills Words Ω Copy on VHS Last Viewed 2065b 3½ 14 3 1,770 - No c1992 Lynne Frederick looks on while brother Garry Warren gets acquainted with an agreeable old spirit… Source: Film Review 1973-74 Leonard Maltin’s TV Movies and Video Halliwell’s Film Guide review: Guide review: “In 1918, a widow and her two children meet a “Dickensian fantasy about a genial ghost who kindly gentleman who offers them work in his takes two children back in time to help two old mansion. Here they meet two ghost mistreated tots. Colourful family film whose children, discover that he is a ghost too, and only liability is a somewhat muddled storyline. travel a hundred years back in time to right a *** ” wicked wrong. Involved ghost story for intellectual children, made generally palatable by oodles of period charm and good acting. ** Speelfilm Encyclopedie review - identical to ” above “Easy period charm.. fills every crevice.” – Clyde Jeavons Film Review 1973-74 review: hardly claim credit for the work of a baby who effortlessly steals every scene he appears in. “Following up his big success with his first film-directing assignment ("THE RAILWAY Jeffries’ laconic method assumes acceptance of CHILDREN") actor Lionel Jeffries stayed the supernatural with an agreeable common with the youngsters in his Hemdale movie sense which stays on the safe side of "THE AMAZING MR BLUNDEN", in smugness, and his ghosts are splendidly solid. -
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. -
Film Club Sky 328 Newsletter Freesat 306 MAY/JUNE 2020 Virgin 445
Freeview 81 Film Club Sky 328 newsletter Freesat 306 MAY/JUNE 2020 Virgin 445 Dear Supporters of Film and TV History, Hoping as usual that you are all safe and well in these troubled times. Our cinema doors are still well and truly open, I’m pleased to say, the channel has been transmitting 24 hours a day 7 days a week on air with a number of premières for you all and orders have been posted out to you all every day as normal. It’s looking like a difficult few months ahead with lack of advertising on the channel, as you all know it’s the adverts that help us pay for the channel to be transmitted to you all for free and without them it’s very difficult. But we are confident we can get over the next few months. All we ask is that you keep on spreading the word about the channel in any way you can. Our audiences are strong with 4 million viewers per week , but it’s spreading the word that’s going to help us get over this. Can you believe it Talking Pictures TV is FIVE Years Old later this month?! There’s some very interesting selections in this months newsletter. Firstly, a terrific deal on The Humphrey Jennings Collections – one of Britain’s greatest filmmakers. I know lots of you have enjoyed the shorts from the Imperial War Museum archive that we have brought to Talking Pictures and a selection of these can be found on these DVD collections. -
MARJORIE BEEBE—Ian
#10 silent comedy, slapstick, music hall. CONTENTS 3 DVD news 4Lost STAN LAUREL footage resurfaces 5 Comedy classes with Britain’s greatest screen co- median, WILL HAY 15 Sennett’s comedienne MARJORIE BEEBE—Ian 19 Did STAN LAUREL & LUPINO LANE almost form a team? 20 Revelations and rarities : LAUREL & HARDY, RAYMOND GRIFFITH, WALTER FORDE & more make appearances at Kennington Bioscope’s SILENT LAUGHTER SATURDAY 25The final part of our examination of CHARLEY CHASE’s career with a look at his films from 1934-40 31 SCREENING NOTES/DVD reviews: Exploring British Comedies of the 1930s . MORE ‘ACCIDENTALLY CRITERION PRESERVED’ GEMS COLLECTION MAKES UK DEBUT Ben Model’s Undercrank productions continues to be a wonderful source of rare silent comedies. Ben has two new DVDs, one out now and another due WITH HAROLD for Autumn release. ‘FOUND AT MOSTLY LOST’, presents a selection of pre- LLOYD viously lost films identified at the ‘Mostly Lost’ event at the Library of Con- gress. Amongst the most interesting are Snub Pollard’s ‘15 MINUTES’ , The celebrated Criterion Collec- George Ovey in ‘JERRY’S PERFECT DAY’, Jimmie Adams in ‘GRIEF’, Monty tion BluRays have begun being Banks in ‘IN AND OUT’ and Hank Mann in ‘THE NICKEL SNATCHER’/ ‘FOUND released in the UK, starting AT MOSTLY LOST is available now; more information is at with Harold Lloyd’s ‘SPEEDY’. www.undercrankproductions.com Extra features include a com- mentary, plus documentaries The 4th volume of the ‘ACCIDENTALLY PRESERVED’ series, showcasing on Lloyd’s making of the film ‘orphaned’ films, many of which only survive in a single print, is due soon. -
HP0221 Teddy Darvas
BECTU History Project - Interview No. 221 [Copyright BECTU] Transcription Date: Interview Dates: 8 November 1991 Interviewer: John Legard Interviewee: Teddy Darvas, Editor Tape 1 Side A (Side 1) John Legard: Teddy, let us start with your early days. Can you tell us where you were born and who your parents were and perhaps a little about that part of your life? The beginning. Teddy Darvas: My father was a very poor Jewish boy who was the oldest of, I have forgotten how many brothers and sisters. His father, my grandfather, was a shoemaker or a cobbler who, I think, preferred being in the cafe having a drink and seeing friends. So he never had much money and my father was the one brilliant person who went to school and eventually to university. He won all the prizes at Gymnasium, which is the secondary school, like a grammar school. John Legard: Now, tell me, what part or the world are we talking about? Teddy Darvas: This is Budapest. He was born in Budapest and whenever he won any prizes which were gold sovereigns, all that money went on clothes and things for brothers and sisters. And it was in this Gymnasium that he met Alexander Korda who was in a parallel form. My father was standing for Student's Union and he found somebody was working against him and that turned out to be Alexander Korda, of course the family name was Kelner. They became the very, very greatest of friends. Alex was always known as Laci which is Ladislav really - I don't know why. -
En Garde 3 50 Cents
EN GARDE 3 50 CENTS ®Z7\ ER ED THREE T-o^yneny "R/cc-er <dc-e R h a magazine of personal opinions, natter and comment - especially about Diana Rigg, Patrick MacNee and THE AVENGERS CONTENTS: TACKING ..........................an editorial .... ,pg.U by ye editor HIOFILE ON DIANA RIGG pg,? by warner bros. IROFIIE ON PATRICK MACNEE •pg.11by warner bros. THE AVENGERS ....... .a review • .......................... pg«l£ by gary crowdus TWO SEASONS - AND A HAIF ... a listing pg ,22 by ye ed TO HONOR HONOR ... .a section for honor, , pg,33 compiled by ed YOU HAVE JUST BEEN MURDERED , ,a review ........................... pg.U8 by rob firebaugh NEWS AND NOTES , , . « • .various tidbits. , • • • • pg .50 by ye editor Front Cover shows a scene from Art Credits; "The Master Minds" , 1966 show. Bacover shows sequence cut out "Walt" • , pages 11 and lb for Yankee audience. R. Schultz . , . pages 3, U, 7, 15, 18, 19,22, 35, E2, and $0 This magazine is irregularly published by: Mr, Richard Schultz, 19159 Helen, Detroit, Michigan, E823E, and: Mr. Gary Crowdus, 27 West 11th street New York City, N.Y., 10011 WELKCMMEN First off, let me apologize for the unfortunate delay in bringing out this third issue* I had already planned to bring this fount of Rigg-oriented enthusiasm out immediately after the production of #2. Like, I got delayed. Some things were added to #3, some were unfortunately dropped, some never arrived, and then I quickly came down with a cold and broke a fingernail* Have you ever tried typing stencils with a broken fingernail? Combined with the usual lethargy, this was, of course, very nearly disastrous* But, here it is* ' I hope you like it.