DOCSLIB.ORG

Jane Austen and Performance, DOI 10.1007/978-3-319-43988-4 188 APPENDIX: JANE AUSTEN on the SCOTTISH STAGE, 1940–1960

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Jane Austen and Performance, DOI 10.1007/978-3-319-43988-4 188 APPENDIX: JANE AUSTEN on the SCOTTISH STAGE, 1940–1960 APPENDIX:JANE AUSTEN ON THE SCOTTISH STAGE, 1940–1960 CHRONOLOGICAL 1942 Pride and Prejudice (adapted by Helen Jerome) by the Dundee Repertory Theatre Company at the Dundee Repertory Theatre, Dundee, 27 April–2 May Pride and Prejudice by the Wilson Barrett Company, dir. Gordon Blyth, at the Royal Lyceum Theatre, Edinburgh, week of 26 September 1943 Pride and Prejudice by the Wilson Barrett Company, dir. Gordon Blyth, at the Royal Lyceum Theatre, Edinburgh, week of 26 September; and in Glasgow (exact dates unknown) 1944 Emma (adapted by Gordon Glennon) with Anna Neagle, English com- pany on tour, at the Royal Lyceum Theatre, Edinburgh, week of 15 May; at the Theatre Royal, Glasgow, week of 3 May; and at the King’s Theatre, Glasgow, week of 31 July This list includes performances that have been identified, but it is by no means exhaustive. © The Author(s) 2017 187 M. Cano, Jane Austen and Performance, DOI 10.1007/978-3-319-43988-4 188 APPENDIX: JANE AUSTEN ON THE SCOTTISH STAGE, 1940–1960 1945 Pride and Prejudice by the Wilson Barrett Company at the Royal Lyceum Theatre, Edinburgh, autumn season 1946 Emma (fragments) by the Kirkcaldy Blue Triangle Players (amateur drama club) at the Kirkcaldy District Drama Festival, Kirkcaldy, 15 February. The performance won first place Emma (adapted by Gordon Glennon) by the Perth Repertory Company, in Perth and Kirkcaldy, week of 6 May Emma by the Wilson Barrett Company at the Royal Lyceum Theatre, Edinburgh, 27 May–1 June; and at the Alhambra Theatre, Glasgow, week of 23 September 1947 Pride and Prejudice (adapted by Helen Jerome) by the Wilson Barrett Company at the Alhambra Theatre, Glasgow, 9–14 June; and at the Royal Lyceum Theatre, Edinburgh, 10–15 November 1950 Pride and Prejudice by the Perth Repertory Company, in Kirkcaldy, 20 and 27 February; and in Perth, 20–25 February Northanger Abbey (adapted by Constance Cox) by the Dundee Repertory Theatre Company at the Dundee Repertory Theatre, Dundee, 28 August– 10 September 1952 Pride and Prejudice (adapted by Helen Jerome) by the Wilson Barrett Company at the Alhambra Theatre, Glasgow, 9–14 June; at the Royal Lyceum Theatre, Edinburgh, 1–30 June; in Aberdeen between 5 May and 9 August (exact dates unknown); and in South Africa (winter 1952) 1954 Northanger Abbey (adapted by Constance Cox) by the Wilson Barrett Company at the Royal Lyceum Theatre, Edinburgh, 22–27 March Northanger Abbey by the Laurel Bank School at the Laurel Bank School Hall, Glasgow, exact dates unknown APPENDIX: JANE AUSTEN ON THE SCOTTISH STAGE, 1940–1960 189 1958 Emma by the Laurel Bank School at the Laurel Bank School Hall, Glasgow, exact date unknown BY LOCATION Aberdeen 1952: Pride and Prejudice (adapted by Helen Jerome), Wilson Barrett Company, between 5 May and 9 August 1952 (exact dates unknown) Dundee 1942: Pride and Prejudice (adapted by Helen Jerome), Dundee Repertory Theatre Company, Dundee Repertory Theatre, 27 April–2 May 1950: Northanger Abbey (adapted by Constance Cox), Dundee Repertory Theatre Company, Dundee Repertory Theatre, 28 August–10 September Edinburgh 1942: Pride and Prejudice, Wilson Barrett Company, dir. Gordon Blyth, Royal Lyceum Theatre, week of 26 September 1943: Pride and Prejudice, Wilson Barrett Company, Royal Lyceum Theatre, week of 15 November 1944: Emma (adapted by Gordon Glennon) with Anna Neagle, English company on tour at the Royal Lyceum Theatre, week of 15 May 1945: Pride and Prejudice, Wilson Barrett Company, Royal Lyceum Theatre, autumn season 1946: Emma, Wilson Barrett Company, Royal Lyceum Theatre, 27 May–1 June 1947: Pride and Prejudice (adapted by Helen Jerome), Wilson Barrett Company, Royal Lyceum Theatre, 10–15 November 1952: Pride and Prejudice (adapted by Helen Jerome), Wilson Barrett Company, Royal Lyceum Theatre, 1–30 June 1954: Northanger Abbey (adapted by Constance Cox), Wilson Barrett Company, Royal Lyceum Theatre, 22–27 March Glasgow 1943: Pride and Prejudice, Wilson Barrett Company, dir. Gordon Blyth, exact dates unknown 190 APPENDIX: JANE AUSTEN ON THE SCOTTISH STAGE, 1940–1960 1944: Emma (adapted by Gordon Glennon) with Anna Neagle, English company on tour, Theatre Royal, week of 3 May; King’s Theatre, week of 31 July 1946: Emma, Wilson Barrett Company, Alhambra Theatre, week of 23 September 1947: Pride and Prejudice (adapted by Helen Jerome), Wilson Barrett Company, Alhambra Theatre, 9–14 June 1952: Pride and Prejudice (adapted by Helen Jerome), Wilson Barrett Company, Alhambra Theatre, 9–14 June 1954: Northanger Abbey, Laurel Bank School, Laurel Bank School Hall, exact dates unknown 1958: Emma, Laurel Bank School, Laurel Bank School Hall, exact dates unknown Kirkcaldy 1946: Emma (adapted by Gordon Glennon), Perth Repertory Company, week of 6 May 1946: Emma (fragments), Kirkcaldy Blue Triangle Players (amateur drama club), Kirkcaldy District Drama Festival, 15 February 1950: Pride and Prejudice, Perth Repertory Company, 20 and 27 February Perth 1946: Emma (adapted by Gordon Glennon), Perth Repertory Company, week of 6 May 1950: Pride and Prejudice, Perth Repertory Company, 20–25 February BY COMPANY Dundee Repertory Company 1942: Pride and Prejudice (adapted by Helen Jerome), Dundee Repertory Theatre, 27 April–2 May 1950: Northanger Abbey (adapted by Constance Cox), Dundee Repertory Theatre, 28 August–10 September Kirkcaldy Blue Triangle Players (amateur drama club) 1946: Emma (fragments), Kirkcaldy District Drama Festival, 15 February. The performance won first place APPENDIX: JANE AUSTEN ON THE SCOTTISH STAGE, 1940–1960 191 Laurel Bank School (Glasgow) 1954: Northanger Abbey, Laurel Bank School Hall, Glasgow, exact date unknown 1958: Emma, Laurel Bank School Hall, Glasgow, exact date unknown Perth Repertory Company 1946: Emma (adapted by Gordon Glennon), in Perth and Kirkcaldy, week of 6 May 1950: Pride and Prejudice, in Kirkcaldy, 20 and 27 February; in Perth, 20–25 February Wilson Barrett 1942: Pride and Prejudice, dir. Gordon Blyth, Royal Lyceum Theatre, Edinburgh, week of 26 September 1943: Pride and Prejudice, dir. Gordon Blyth, Royal Lyceum Theatre, Edinburgh, week of 26 September; and in Glasgow (exact date unknown) 1945: Pride and Prejudice, Royal Lyceum Theatre, Edinburgh, autumn season 1946: Emma, Royal Lyceum Theatre, Edinburgh, 27 May–1 June; Alhambra Theatre, Glasgow, week of 23 September 1947: Pride and Prejudice (adapted by Helen Jerome), Alhambra Theatre, Glasgow, 9–14 June; Royal Lyceum Theatre, Edinburgh, 10–15 November 1952: Pride and Prejudice (adapted by Helen Jerome), Alhambra Theatre, Glasgow, 9–14 June; Royal Lyceum Theatre, Edinburgh, 1–30 June; in Aberdeen between 5 May and 9 August (exact dates unknown); and in South Africa (winter 1952) 1954: Northanger Abbey (adapted by Constance Cox), Royal Lyceum Theatre, Edinburgh, 22–27 March BIBLIOGRAPHY PRIMARY MATERIALS Aiken, Joan. 1994. Eliza’s Daughter. London: Victor Gollancz. Aiken, Joan. 1997. Emma Watson. London: Indigo. Aiken, Joan. 1984/2008. Mansfield Park Revisited. Naperville: Sourcebooks. Aiken, Joan. 1998. The Youngest Miss Ward. London: Victor Gollancz. Austen, Jane. 1997. Jane Austen’s Letters, ed. Deirdre Le Faye 3rd. Oxford: Oxford University Press. Austen, Jane. 1811–18/1933–69. The Works of Jane Austen, ed. R. W. Chapman, 3rd. Oxford: Oxford University Press. Barrington, E. 1922. The Darcys of Rosings. In The Ladies! A Shining Constellation of Wit and Beauty,235–268. Boston: Atlantic Monthly Press. https://archive. org/stream/ladiesashiningc01beckgoog#page/n9/mode/2up. BBC Radio. 1927. Reading from Jane Austen’s Pride and Prejudice, 24 May, 2.55–3 p.m. Bonavia-Hunt, Dorothy Alice. 1949. Pemberley Shades. London: Allan Wingate. Boyle, Nina. 1921. What Became of Mr. Desmond. New York: T. Seltzer. Brinton, Sybil. 1913. Old Friends and New Fancies. London: Holden & Hardingham. Brown, Edith. 1930. Susan Price; Or, Resolution. London: John Lane. Brown, Edith, and Francis Brown. 1928. The Watsons by Jane Austen Continued & Completed by Edith (Her Great-Grand Niece) & Francis Brown, in Accordance with Her Intentions. London: Elkin Matthews & Marrot. Campbell, Judy. 1948. Emma: Screenplay. BBC, 23 May. Clark, Trevor. 1926. Interlude from Studio: Mr Trevor Clark reading “Mr Collins’ Proposal” from “Pride and Prejudice” by Jane Austen. BBC Radio, 30 September, 8.55–9.10 pm. © The Author(s) 2017 193 M. Cano, Jane Austen and Performance, DOI 10.1007/978-3-319-43988-4 194 BIBLIOGRAPHY Coates, John. 1958. The Watsons: Jane Austen’s Fragment Continued & Completed by John Coates. New York: Thomas Y. Crowell Company. Coke, Cyril. 1980. dir. Pride and Prejudice. UK: BBC Miniseries. Cox, Constance. 1950. Northanger Abbey: A Comedy in Three Acts. London: Fortune. Favorite Story. 1947. Program 48: ‘Pride and Prejudice’. KFI, Los Angeles Origination: Ziv Syndication. Fell, Alison. 1999. The Mistress of Lilliput. London: Doubleday. Fielding, Helen. 1996. Bridget Jones’s Diary. London: Picador. Filippi, Rosina. 1895. Duologues and Scenes from Jane Austen’s Novels. London: J. M. Dent. Glennon, Gordon. 1945. Emma: A Play. London: Macmillan. Grahame-Smith, Seth. 2009. Pride and Prejudice and Zombies: The Classic Regency Romance. Now with Ultraviolent Zombie Mayhem! Philadelphia: Quirk Books. Hamilton, Cicely. 1910. A Pageant of Great Women. London: The Suffrage Shop. Hanff, Helen. 1957. Emma Teleplay. Matinee Theatre Series, Season 2, Episode 266. NBC Matinee Theater, 16 September. Headland, A. R., and H. A. Treble. 1924. Pride and Prejudice. In A Dramatic Reader, Book IV, 69–141. Oxford: Clarendon. https://archive.org/stream/ dramaticreaderbo02head#page/n3/mode/2up. Heckerling, Amy. 1995. dir. Clueless. US: Paramount Pictures. Hines, Margaret et al. 1928. Reading from Pride and Prejudice (Jane Austen). BBC Radio Daventry, 7 January, 9.30–10.30 p.m. Hubback, Catherine Anne. 1850. The Younger Sister. London: Newby. Irwin, Inez Haynes. 1920. Out of the Air. New York: Grosset & Dunlap. Kendall, Jane. 1942. Pride and Prejudice: Adapted from Jane Austen’s Novel. Chicago: Dramatic Publishing Company. Kennett, John. 1955. Pride and Prejudice: A Play. London: Blackie. King, Lavinia. 1908. The Suffragette. The New Age, 30 May 3(5): 91–2.
Load more

Recommended publications
  • Eliza Calvert Hall: Kentucky Author and Suffragist
    University of Kentucky UKnowledge Literature in English, North America English Language and Literature 2007 Eliza Calvert Hall: Kentucky Author and Suffragist Lynn E. Niedermeier Click here to let us know how access to this document benefits ou.y Thanks to the University of Kentucky Libraries and the University Press of Kentucky, this book is freely available to current faculty, students, and staff at the University of Kentucky. Find other University of Kentucky Books at uknowledge.uky.edu/upk. For more information, please contact UKnowledge at [email protected]. Recommended Citation Niedermeier, Lynn E., "Eliza Calvert Hall: Kentucky Author and Suffragist" (2007). Literature in English, North America. 54. https://uknowledge.uky.edu/upk_english_language_and_literature_north_america/54 Eliza Calvert Hall Eliza Calvert Hall Kentucky Author and Suffragist LYNN E. NIEDERMEIER THE UNIVERSITY PRESS OF KENTUCKY Frontispiece: Eliza Calvert Hall, after the publication of A Book of Hand-Woven Coverlets. The Colonial Coverlet Guild of America adopted the work as its official book. (Courtesy DuPage County Historical Museum, Wheaton, 111.) Publication of this volume was made possible in part by a grant from the National Endowment for the Humanities. Copyright © 2007 by The University Press of Kentucky Scholarly publisher for the Commonwealth, serving Bellarmine University, Berea College, Centre College of Kentucky, Eastern Kentucky University, The Filson Historical Society, Georgetown College, Kentucky Historical Society, Kentucky State University, Morehead State University, Murray State University, Northern Kentucky University, Transylvania University, University of Kentucky, University of Louisville, and Western Kentucky University. All rights reserved. Editorial and Sales Offices: The University Press of Kentucky 663 South Limestone Street, Lexington, Kentucky 40508-4008 www.kentuckypress.com 11 10 09 08 07 5 4 3 2 1 Library of Congress Cataloging-in-Publication Data Niedermeier, Lynn E., 1956- Eliza Calvert Hall : Kentucky author and suffragist / Lynn E.
    [Show full text]
  • Kirk Douglas in Cat and Mouse! the Flame of Love
    They just pushed him too far! Kirk Douglas in Cat and Mouse! Also on release this month: The Flame of Love Seven Nights in Japan Charley Moon The Extra Day Ballad in Blue Don’t Bother to Knock Spring in Park Lane Wonderful Things Memoirs of a Survivor Those Were the Days Up Jumped a Swagman Home at Seven Nothing But the Best Julie Christie stars in an award-winning adaptation of Doris Lessing’s famous dystopian novel. This complex, haunting science-fiction feature is presented in a Set in the exotic surroundings of Russia before the First brand-new transfer from the original film elements in World War, The Flame of Love tells the tragic story of the its as-exhibited theatrical aspect ratio. doomed love between a young Chinese dancing girl and the adjutant to a Russian Grand Duke. One of five British films Set in Britain at an unspecified point in the near- featuring Chinese-American actress Anna May Wong, The future, Memoirs of a Survivor tells the story of ‘D’, a Flame of Love (also known as Hai-Tang) was the star’s first housewife trying to carry on after a cataclysmic war ‘talkie’, made during her stay in London in the early 1930s, that has left society in a state of collapse. Rubbish is when Hollywood’s proscription of love scenes between piled high in the streets among near-derelict buildings Asian and Caucasian actors deprived Wong of leading roles. covered with graffiti; the electricity supply is variable, and water is now collected from a van.
    [Show full text]
  • The President's Commission on the Celebration of Women in American
    The President’s Commission on Susan B. Elizabeth the Celebration of Anthony Cady Women in Stanton American History March 1, 1999 Sojourner Lucretia Ida B. Truth Mott Wells “Because we must tell and retell, learn and relearn, these women’s stories, and we must make it our personal mission, in our everyday lives, to pass these stories on to our daughters and sons. Because we cannot—we must not—ever forget that the rights and opportunities we enjoy as women today were not just bestowed upon us by some benevolent ruler. They were fought for, agonized over, marched for, jailed for and even died for by brave and persistent women and men who came before us.... That is one of the great joys and beauties of the American experiment. We are always striving to build and move toward a more perfect union, that we on every occasion keep faith with our founding ideas and translate them into reality.” Hillary Rodham Clinton On the occasion of the 150th Anniversary of the First Women’s Rights Convention Seneca Falls, NY July 16, 1998 Celebrating Women’s History Recommendations to President William Jefferson Clinton from the President’s Commission on the Celebration of Women in American History Commission Co-Chairs: Ann Lewis and Beth Newburger Commission Members: Dr. Johnnetta B. Cole, J. Michael Cook, Dr. Barbara Goldsmith, LaDonna Harris, Gloria Johnson, Dr. Elaine Kim, Dr. Ellen Ochoa, Anna Eleanor Roosevelt, Irene Wurtzel March 1, 1999 Table of Contents Executive Order 13090 ................................................................................1
    [Show full text]
  • Shail, Robert, British Film Directors
    BRITISH FILM DIRECTORS INTERNATIONAL FILM DIRECTOrs Series Editor: Robert Shail This series of reference guides covers the key film directors of a particular nation or continent. Each volume introduces the work of 100 contemporary and historically important figures, with entries arranged in alphabetical order as an A–Z. The Introduction to each volume sets out the existing context in relation to the study of the national cinema in question, and the place of the film director within the given production/cultural context. Each entry includes both a select bibliography and a complete filmography, and an index of film titles is provided for easy cross-referencing. BRITISH FILM DIRECTORS A CRITI Robert Shail British national cinema has produced an exceptional track record of innovative, ca creative and internationally recognised filmmakers, amongst them Alfred Hitchcock, Michael Powell and David Lean. This tradition continues today with L GUIDE the work of directors as diverse as Neil Jordan, Stephen Frears, Mike Leigh and Ken Loach. This concise, authoritative volume analyses critically the work of 100 British directors, from the innovators of the silent period to contemporary auteurs. An introduction places the individual entries in context and examines the role and status of the director within British film production. Balancing academic rigour ROBE with accessibility, British Film Directors provides an indispensable reference source for film students at all levels, as well as for the general cinema enthusiast. R Key Features T SHAIL • A complete list of each director’s British feature films • Suggested further reading on each filmmaker • A comprehensive career overview, including biographical information and an assessment of the director’s current critical standing Robert Shail is a Lecturer in Film Studies at the University of Wales Lampeter.
    [Show full text]
  • Three Men in a Boat the Passionate Stranger Dreaming
    Only hard men wear cravats! See These Dangerous Years! Also on release this month: Three Men in a Boat This is My Street The Passionate Stranger The Bailiffs Dreaming The Flying Squad Elstree Calling Drake of England Laburnum Grove Loyalties Death is a Woman King’s Rhapsody The Comedy Man Mister Ten Per Cent All The Way Up Dead Men Are Dangerous Murder in Soho Hide and Seek Legendary crooner Frankie Vaughan stars with George Ian Hendry, June Ritchie, John Hurt, Annette Andre Baker, Kenneth Cope and Thora Hird in this 1957 and Mike Pratt feature among an outstanding cast drama directed by Herbert Wilcox. The first of four films in this mid-sixties realist drama from noted director produced by Wilcox’s wife Anna Neagle and starring Sidney Hayers. This Is My Street is presented Vaughan, These Dangerous Years is presented here in here in a brand-new transfer from the original film a brand-new transfer from the original film elements in elements in its as-exhibited theatrical aspect ratio. its as-exhibited theatrical aspect ratio. Jubilee Close, a drab street of decaying houses in Dave, a young Liverpudlian gang-leader and would-be London’s Battersea, is home to a cross-section of rock ‘n’ roll star, is conscripted into the army where, to working-class families. Yearning to escape from this everyone’s surprise, the rebellious youth makes good. depressing environment is the pretty, ambitious But then he is tricked by the camp bully into crossing Margery Graham; the victim of an enforced marriage... a minefield, causing the death of his best friend.
    [Show full text]
  • Discovering Amy Johnson at the Hull History Centre
    Discovering Amy Johnson at the Hull History Centre Worship Street, Hull, HU2 8BG 01482 317500 www.hullhistorycentre.org.uk Introduction The Hull History Centre is home to the Hull City Archives, the Hull Local Studies collections and the University of Hull Archives, and between us we hold archive collections, local studies collections and books, photographs, newspapers, maps and plans. Finding what you are looking for can prove daunting, so we have created a number of guides to help you. This guide relates to Amy Johnson, the world-famous pilot who was born in Hull in July 1903, became the first women to fly solo to Australia in 1931, but died tragically young in January 1941. Many of the books in the reading list can be borrowed from our library if you are a member of Hull libraries. If you are not yet a member, you can join when you visit the Centre. The items listed within the Local Studies and City Archives relate to records found within collections not necessarily wholly relating to Amy Johnson, but which may prove useful to your research. There is only one collection solely related to Amy, and that is the collection of letters to Hans Areggar at L DIAJ. These letters have been digitised and can be viewed via our Amy Johnson Letters web page on the History Centre web site. These lists are not exhaustive and our on-line catalogue may also help you to find what you are looking for. Type Amy Johnson into the search engine and it will bring up any records or books we hold relating to her.
    [Show full text]
  • (Washington, DC). 1940-02-03
    American Premiere battles on the cinder paths, syn- sity, "Olympia” is completely devoid ^ cronizatlon of muscle In the fancy of Nazi nonsense in any form. I When Films J. 8. 1 Apply Power, ‘Olympia* diving events a to the Brings always beauty • __ To the Belasco eye. Form at Its greatest in the javelin throw and They Do a Dramatic Job The filming of the 11th Olympiad, pole vault, the With Sandy Again latter contest five hours into Just recently released under the lasting Micha Auer will be featured with the with the title had its first Ameri- night photographers Baby Sandy in the Universal star- ‘Gone With the Wind’ Remains "Olympia,” still grinding away. The throng is let’s next picture, “Sandy Is a can showing last night at the At the and Earle beheld urging the contestants; in- Lady The popular comic appeared Palace, Keeps Belasco Theater where it proved dividual rooters groan and yell in with the baby actress in her first itself entirely worthy of advance turn quite candidly before the peer- film, “East Side of Heaven,” and ‘The 69th’ lens. Field announcers drone Fighting notices. ing in her second, “Unexpected Father.” their reports in stentorian voices By JAY CARMODY. The 1936 will games, you remem- as the contestants wage their wars. A pair of prominent local marquees, those of the Palace and the ber, were those in which the Ameri- It may be said in all truth that the _AMUSEMENTS.__ Earle, testify this week that when the movies turn full power a upon can contingent, headed by Jess atmosphere and the feeling of full- good story, they can do a highly dramatic job.
    [Show full text]
  • The Western Mistic, February 11, 1938
    Minnesota State University Moorhead RED: a Repository of Digital Collections The Western Mistic Student Newspapers 2-11-1938 The Western Mistic, February 11, 1938 Moorhead State Teachers College Follow this and additional works at: https://red.mnstate.edu/western-mistic Recommended Citation Moorhead State Teachers College, "The Western Mistic, February 11, 1938" (1938). The Western Mistic. 224. https://red.mnstate.edu/western-mistic/224 This News Article is brought to you for free and open access by the Student Newspapers at RED: a Repository of Digital Collections. It has been accepted for inclusion in The Western Mistic by an authorized administrator of RED: a Repository of Digital Collections. For more information, please contact [email protected]. FAMOUS PIANIST BRUSH UP FOR HERE TUESDAY THE WESTE TONIGHT'S PARTY WESTERN MINNESOTA STATE TEACHERS COLLEGE Vol. 40 Moorhead, Minnesota, February 11, 1938 Berlin Pastor Renowned Pianist Three Strive Tex Lura, Ezra Walz Speaks Before For Editorship Student Body Of Yearbook Feature Program Tonight Hard Time Party Climax­ Dr. Ewart E. Turner Talks Artdur Grove, Ruth Hori- Cobbers, Iowa en, Carol Raff In Race ed by Finals of W hisker In Chapel On Present Handicap—Grove Rules. Situation In Germany For Election As Editor Win Debate Tc.x Lura and his mandolin-schot- Dr. Norman H. Baker, Fergus Falls, Two sophomores and a junior will be Tw« iiSTr w , rn i * specialty! Uncle Bill Walz, secretary of Ottertall County Medical competing for the important position fwo JLVi'C Men's Teams basso square-dance callers! Leapin' Society, will address the students in of editor-in-chief of the Dragon when Win 9, Lose 7; Two Wo­ Leo Anderson, Virginia Reeler—and chapel Wednesday, February 16.
    [Show full text]
  • The Film Music of William Alwyn (1905 – 1985), Volume 4
    William Alwyn,1960 William © Wolf Suschitzky / Lebrecht Music & Arts Photo Library The Film Music of William Alwyn (1905 – 1985), Volume 4 premiere recordings Suite from ‘The Black Tent’ (1956) 15:21 Reconstructed and arranged by Philip Lane 1 1 Main Titles and Opening Scene. Moderato 2:37 2 2 Arab Scene. Moderato 3:37 3 3 In the Camp. Moderato 4:03 4 4 Nocturne and Finale. Moderato – Poco meno mosso – Moderato 5:02 Suite from ‘On Approval’ (1944) 6:11 Reconstructed and arranged by Philip Lane 5 1 Title Music. Moderato – Vivace – A tempo di valse – 1:08 6 2 Polka. Tempo di polka 1:05 7 3 Proposal Waltz. Moderato – Tempo di valse 1:32 8 4 The Lancers. Vivace – Poco meno mosso – Tempo I – Poco meno mosso – Tempo I 2:23 3 Suite from ‘The Master of Ballantrae’ (1953) 5:52 Reconstructed and arranged by Philip Lane 9 1 Main Titles. Moderato 1:22 10 2 Jamie and Alison. Adagio – [ ] – A tempo I 2:18 11 3 Spanish Dance. Vivace – A tempo giusto ma meno 2:12 12 Prelude from ‘Fortune Is a Woman’ (1957) 4:41 Arranged by Philip Lane Moderato – Broader (Andante espressivo) – Più agitato – Moderato – Più mosso – Più mosso – Con moto 13 Mermaid’s Song (1947) 3:27 Composed for Miranda Arranged by Philip Lane Charlotte Trepass soprano Andante 4 14 Prelude from ‘Saturday Island’ (1952) 2:54 Reconstructed and arranged by Philip Lane Allegro Suite from ‘Shake Hands with the Devil’ (1959) 14:06 Reconstructed and arranged by Philip Lane 15 1 Dublin 1921.
    [Show full text]
  • Guide to the William K
    Guide to the William K. Everson Collection George Amberg Memorial Film Study Center Department of Cinema Studies Tisch School of the Arts New York University Descriptive Summary Creator: Everson, William Keith Title: William K. Everson Collection Dates: 1894-1997 Historical/Biographical Note William K. Everson: Selected Bibliography I. Books by Everson Shakespeare in Hollywood. New York: US Information Service, 1957. The Western, From Silents to Cinerama. New York: Orion Press, 1962 (co-authored with George N. Fenin). The American Movie. New York: Atheneum, 1963. The Bad Guys: A Pictorial History of the Movie Villain. New York: Citadel Press, 1964. The Films of Laurel and Hardy. New York: Citadel Press, 1967. The Art of W.C. Fields. Indianapolis: Bobbs-Merrill, 1967. A Pictorial History of the Western Film. Secaucus, N.J.: Citadel Press, 1969. The Films of Hal Roach. New York: Museum of Modern Art, 1971. The Detective in Film. Secaucus, N.J.: Citadel Press, 1972. The Western, from Silents to the Seventies. Rev. ed. New York: Grossman, 1973. (Co-authored with George N. Fenin). Classics of the Horror Film. Secaucus, N.J.: Citadel Press, 1974. Claudette Colbert. New York: Pyramid Publications, 1976. American Silent Film. New York: Oxford University Press, 1978, Love in the Film. Secaucus, N.J.: Citadel Press, 1979. More Classics of the Horror Film. Secaucus, N.J.: Citadel Press, 1986. The Hollywood Western: 90 Years of Cowboys and Indians, Train Robbers, Sheriffs and Gunslingers, and Assorted Heroes and Desperados. Secaucus, N.J.: Carol Pub. Group, 1992. Hollywood Bedlam: Classic Screwball Comedies. Secaucus, N.J.: Carol Pub. Group, 1994.
    [Show full text]
  • Inventory to Archival Boxes in the Motion Picture, Broadcasting, and Recorded Sound Division of the Library of Congress
    INVENTORY TO ARCHIVAL BOXES IN THE MOTION PICTURE, BROADCASTING, AND RECORDED SOUND DIVISION OF THE LIBRARY OF CONGRESS Compiled by MBRS Staff (Last Update December 2017) Introduction The following is an inventory of film and television related paper and manuscript materials held by the Motion Picture, Broadcasting and Recorded Sound Division of the Library of Congress. Our collection of paper materials includes continuities, scripts, tie-in-books, scrapbooks, press releases, newsreel summaries, publicity notebooks, press books, lobby cards, theater programs, production notes, and much more. These items have been acquired through copyright deposit, purchased, or gifted to the division. How to Use this Inventory The inventory is organized by box number with each letter representing a specific box type. The majority of the boxes listed include content information. Please note that over the years, the content of the boxes has been described in different ways and are not consistent. The “card” column used to refer to a set of card catalogs that documented our holdings of particular paper materials: press book, posters, continuity, reviews, and other. The majority of this information has been entered into our Merged Audiovisual Information System (MAVIS) database. Boxes indicating “MAVIS” in the last column have catalog records within the new database. To locate material, use the CTRL-F function to search the document by keyword, title, or format. Paper and manuscript materials are also listed in the MAVIS database. This database is only accessible on-site in the Moving Image Research Center. If you are unable to locate a specific item in this inventory, please contact the reading room.
    [Show full text]
  • Reconstructing Boundaries: Gender, War and Empire in British Cinema, 1945-1950
    University of Huddersfield Repository Webster, Wendy Reconstructing Boundaries: Gender, war and empire in British cinema, 1945-1950 Original Citation Webster, Wendy (2003) Reconstructing Boundaries: Gender, war and empire in British cinema, 1945-1950. Historical Journal of Film, Radio, and Television, 23 (1). pp. 43-57. ISSN 0143-9685 This version is available at http://eprints.hud.ac.uk/id/eprint/13016/ 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/ 1 Reconstructing boundaries: gender, war and empire in British cinema, 1945-50 In Against the Wind (1947), a British film released soon after the Second World War, the fate of Max -- who is shown working for the British-led resistance in Belgium -- is sealed by two women. 1 The film is careful to establish that Max (Jack Warner) does not identify as British before he is revealed as a traitor.
    [Show full text]