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Cuaderno-CCU-Mayo-Junio-18.Pdf
1 2 La noticia de la primera sesión del Cineclub de Granada Periódico “Ideal”, miércoles 2 de febrero de 1949. El CINECLUB UNIVERSITARIO se crea en 1949 con el nombre de “Cineclub de Granada”. Será en 1953 cuando pase a llamarse con su actual denominación. Así pues en este curso 2017-2018, cumplimos 64 (68) años. 3 MAYO-JUNIO 2018 MAY-JUNE 2018 UN ROSTRO EN LA PANTALLA (V): A FACE ON THE SCREEN (V): MICHAEL CAINE (part 1: the 60’s) MICHAEL CAINE (1ª parte: los años 60) (celebrating Caine’s 85th birthday) (celebrando su 85 cumpleaños) Viernes 18 mayo / Friday 18th may 21 h. ZULÚ (1964) Cy Endfield ( ZULU ) v.o.s.e. / OV film with Spanish subtitles Martes 22 mayo / Tuesday 22th may 21 h. IPCRESS (1965) Sidney J. Furie v.o.s.e. / OV film with Spanish subtitles Viernes25 mayo / Friday 25th may 21 h. ALFIE (1966) Lewis Gilbert v.o.s.e. / OV film with Spanish subtitles Martes 5 junio / Tuesday 5th june 21 h. LA CAJA DE LAS SORPRESAS (1966) Bryan Forbes ( THE WRONG BOX ) v.o.s.e. / OV film with Spanish subtitles Viernes 8 junio / Friday 8th june 21 h. FUNERAL EN BERLÍN (1966) Guy Hamilton ( FUNERAL IN BERLÍN ) v.o.s.e. / OV film with Spanish subtitles Todas las proyecciones en la Sala Máxima de la ANTIGUA FACULTAD DE MEDICINA (Av. de Madrid). Entrada libre hasta completar aforo All projections at the Assembly Hall in the Former Medical College (Av. de Madrid) Free admission up to full room 4 5 “ (…) Existen unos ocho kilometros de papel de periódico y al menos siete biografías que hablan de mí (Dios sabe por qué), así que ¿por qué añadir algo a todo ello? Quizá con objeto de que, para variar, el disco suene en mi propio tocadiscos. -
War Cinema– Or How British Films Learned to Stop Worrying and Love the Affluent Society
1 THE PROFESSIONAL OFFICER CLASS IN POST- WAR CINEMA– OR HOW BRITISH FILMS LEARNED TO STOP WORRYING AND LOVE THE AFFLUENT SOCIETY A thesis submitted for the degree of Doctor of Philosophy by Andrew Roberts College of Business, Arts and Social Sciences of Brunel University 22nd September2014 2 ABSTRACT My central argument is that mainstream British cinema of the 1951 – 1965 period marked the end of the paternalism, as exemplified by a professional ‘officer class’, as consumerism gradually came to be perceived as the norm as opposed to a post-war enemy. The starting point is 1951, the year of the Conservative victory in the General Election and a time which most films were still locally funded. The closing point is 1965, by which point the vast majority of British films were funded by the USA and often featured a youthful and proudly affluent hero. Thus, this fourteen year describes how British cinema moved away from the People as Hero guided by middle class professionals in the face of consumerism. Over the course of this work, I will analyse the creation of the archetypes of post-war films and detail how the impact of consumerism and increased Hollywood involvement in the UK film industry affected their personae. However, parallel with this apparently linear process were those films that questioned or attacked the wartime consensus model. As memories of the war receded, and the Rank/ABPC studio model collapsed, there was an increasing sense of deracination across a variety of popular British cinematic genres. From the beginning of our period there is a number films that infer that the “Myth of the Blitz”, as developed in a cinematic sense, was just that and our period ends with films that convey a sense of a fragmenting society. -
Sidney J. Furie Book Subtitle: Life and Films Book Author(S): DANIEL KREMER Published By: University Press of Kentucky
University Press of Kentucky Chapter Title: Through a Glass Refracted: The Wild Angles Picture Show Book Title: Sidney J. Furie Book Subtitle: Life and Films Book Author(s): DANIEL KREMER Published by: University Press of Kentucky. (2015) Stable URL: https://www.jstor.org/stable/j.ctt17t74zd.9 JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms University Press of Kentucky is collaborating with JSTOR to digitize, preserve and extend access to Sidney J. Furie This content downloaded from 86.9.45.239 on Wed, 19 Feb 2020 15:22:52 UTC All use subject to https://about.jstor.org/terms Chapter 5 Through a Glass Refracted The Wild Angles Picture Show Insubordinate. Insolent. A trickster. —Harry Palmer’s B-107 profile in The Ipcress File Furie returned from the Canary Islands to discover he was invited to a spe- cial prerelease screening of Joseph Losey’s King and Country, starring Dirk Bogarde. Losey was still riding high from his critical success with The Servant the year before, and his follow-up was hotly anticipated. Furie had shrugged off the two Cliff Richard pictures by that time, feeling they had served their purpose as preliminary name-makers. -
Len Deighton's Political Skepticism in the Ipcress File
Connotations Vol. 26 (2016/2017) “An Unparalleled Plethora of Idiocy”: Len Deighton’s Political Skepticism in The Ipcress File* ROBERT LANCE SNYDER A widespread critical bias holds that the spy story, which at its incep- tion drew on elements of adventure romance and detective fiction, is formula-driven. Despite John G. Cawelti’s efforts to illuminate the cultural significance of literary formulas,1 the genre still tends to be regarded with a certain degree of suspicion in academic circles. Part of its discredited status is owing to the spy story’s continuing associa- tion with the word “thriller,” a tag, as Michael Denning points out, that was adopted in the late nineteenth century “together with ‘shocker’ as a designation for the proliferating cheap sensational fiction which emerged at the moment when a mass-produced culture started to come into being in Britain” (18). He therefore supplements “Cawelti’s somewhat neutral term, ‘formula,’” with Fredric Jameson’s concept of an embedded “ideologeme” or unifying topos, emphasizing that “formulas in popular fiction never appear inertly, simply to be catalogued, but emerge as part of antagonistic collective discourses” (15). A fictional narrative critiques, then, what Jameson in The Political Unconscious refers to as a “pseudoidea—a conceptual or belief system, an abstract value, an opinion or prejudice—or [...] protonarrative, a kind of ultimate class fantasy” (87). The target of that critique in the spy thriller, according to Denning, is the Manichean binary of “Us” versus “Them,” or “Good” versus “Evil,” inherited from its anteced- ents. *For debates inspired by this article, please check the Connotations website at <http://www.connotations.de/debate/len-deightons-political-skepticism-in-the- ipcress-file/>. -
The MGM Soundtrack Treasury
FSM Box 03 The MGM Soundtrack Treasury Supplemental Liner Notes Contents The Apartment 1 The Fortune Cookie 3 How to Murder Your Wife 4 Duel at Diablo 7 The Russians Are Coming, The Russians Are Coming 9 The Fugitive Kind 11 A Rage to Live 15 Goodbye Again 17 The Happy Ending 21 Billion Dollar Brain 26 Shake Hands With the Devil 31 The Charge of the Light Brigade 35 The Honey Pot 37 Pussycat, Pussycat, I Love You 40 The Hills Run Red 43 Hornets’ Nest 45 The 7th Dawn 47 The Glory Guys 50 Hannibal Brooks 53 The Final Option 56 Liner notes ©2008 Film Score Monthly, 6311 Romaine Street, Suite 7109, Hollywood CA 90038. These notes may be printed or archived electronically for personal use only. For a complete catalog of all FSM releases, please visit: http://www.filmscoremonthly.com The Apartment © P 1960, 2008 Metro-Goldwyn-Mayer Studios Inc. The Fortune Cookie © P 1966, 2008 Metro-Goldwyn- Mayer Studios Inc. How to Murder Your Wife © P 1965, 2008 George Axelrod and Jalem Productions Inc. Duel at Di- ablo © P 1965, 2008 Meredith Nelson Wiltsie, Peter Nelson, Theodore Nelson, Ralph Nelson Jr. and Fred Engel. The Russians Are Coming, The Russians Are Coming © P 1966, 2008 Metro-Goldwyn-Mayer Studios Inc. The Fugitive Kind © P 1960, 2008 Metro-Goldwyn-Mayer Studios Inc. A Rage to Live © P 1965, 2008 Metro-Goldwyn-Mayer Studios Inc. and U.S. Trust Company. Goodbye Again © P 1961, 2008 Metro-Goldwyn-Mayer Studios Inc. The Happy Ending © P 1969, 2008 Pax Enterprises Inc. -
Ken Russell Als Regisseur
Repositorium für die Medienwissenschaft Tarek Krohn; Hans Jürgen Wulff Ken Russell als Regisseur. Chronologische Filmographie 2010 https://doi.org/10.25969/mediarep/12739 Veröffentlichungsversion / published version Buch / book Empfohlene Zitierung / Suggested Citation: Krohn, Tarek; Wulff, Hans Jürgen: Ken Russell als Regisseur. Chronologische Filmographie. Hamburg: Universität Hamburg, Institut für Germanistik 2010 (Medienwissenschaft: Berichte und Papiere 110). DOI: https://doi.org/10.25969/mediarep/12739. Erstmalig hier erschienen / Initial publication here: https://doi.org/http://berichte.derwulff.de/0110_10.pdf Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell - Keine Bearbeitungen 4.0/ Attribution - Non Commercial - No Derivatives 4.0/ License. For Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz more information see: finden Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0/ https://creativecommons.org/licenses/by-nc-nd/4.0/ Medienwissenschaft / Hamburg: Berichte und Papiere 110, 2010: Ken Russell. Redaktion und Copyright dieser Ausgabe: Tarek Krohn u. Hans J. Wulff. URL: http://www.rrz.uni-hamburg.de/Medien/berichte/arbeiten/0110_10.pdf. Letzte Änderung: 26.2.2012. Inhalt: Zum Tod Ken Russells / Julian Lucks Ken Russell als Regisseur: Chronologische Filmographie / komp. v. Tarek Krohn u. Hans J. Wulff Ken Russell – Bibliographie / komp. v. Hans J. Wulff in Zusammenarb. mit Tarek Krohn Julian Lux SAVAGE MESSIAH (1972) und MAHLER (1974), Histori- Zum Tod Ken Russells endramen wie der berüchtigte THE DEVILS (1971), Li- teraturverfilmungen (u.a. SALOMES LAST DANCE, 1988), Musicals wie die Rock-Oper TOMMY (1975) mit der britischen Band „The Who“, Milieustudien „Ken Russell ist tot“, so echot es seit dem 27. -
It Was Hard to Get Away from Secret Agents and Spy Books and Films In
A lot of that is due to the fantastic score of film sequence, we’ve left it as is because et’s face it – it was hard to get away Richard Rodney Bennett. By 1967, Bennett it’s a terrific listen. from secret agents and spy books and was already one of my favorite film com - Lfilms in the 1960s. Why? Oh, a little posers, solely due to his brilliant score to 1982’s The Final Option (called Who Dares phenomenon called James Bond. When Dr. Far From The Madding Crowd , which is all Wins in the UK), was a topical political No was released in 1962, no one could I’d heard at that point. But the minute that thriller produced by Euan Lloyd. It starred have expected what would ultimately hap - incredible main title music for Brain started Lewis Collins (very Bond-like, and appar - pen, the Bond mania that would sweep the I knew he was going to be in my pantheon ently in the running as a post-Roger Moore world. From Russia, With Love and espe - of greats. And from that point on, both in Bond), Judy Davis, Ingrid Pitt, Richard Wid - cially Goldfinger would cement the Bond discovering his earlier scores for films like mark, Edward Woodward, Robert Webber craze then, now, and most likely forever. The Mark, The Nanny, Billy Liar , and his and a lot of other good actors. The film has Suddenly the world was rife with Bond work subsequent to Brain , he never disap - some exciting and taut action set pieces, wannabes, in books and films and TV. -
The American Villain
The American Villain The Portrayal of Richmond Valentine in Kingsman: The Secret Service BA Thesis Rozemarijn Zwitser First Supervisor: Dr. C.J.J. Louttit Second Supervisor: Prof. dr. O. Dekkers 15 August 2018 Zwitser / 2 ENGELSE TAAL EN CULTUUR Teacher who will receive this document: Dr. C.J.J. Louttit Title of document: BA Thesis Name of course: 1718 Bachelor Werkstuk Engelse Letterkunde Date of submission: 15/08/2018 The work submitted here is the sole responsibility of the undersigned, who has neither committed plagiarism nor colluded in its production. Signed Name of student: Rozemarijn Zwitser Zwitser / 3 ABSTRACT By investigating the significance of cultural heritage in the portrayal of the villain throughout popular British spy cinema this thesis aims to demonstrate how the villain from Kingsman: The Secret Service is both a continuation as well as a discontinuation of the British spy villain archetype. It will do so by studying archetypal villains in all kinds of cinema as are already established in academic literature on villainy in film, which includes several interpretations on how to classify and distinguish between types of villains and by investigating which of these types fits the villain from the film Kingsman: The Secret Service best and argue why that is the case. The choice to portray the villain as American is discussed in light of the function that a villain inherently occupies within the narrative. Since that function is generally perceived as representing an anti-type to the hero, both of which represent cultural identity in terms of “self” and “otherness”, this particular villain’s heritage compared to the main outline of the plot and the cultural heritage of the actors chosen to portray the main characters is telling, especially in a transatlantic framework. -
The Ipcress File
CINEMA The Ipcress File GIANCARLO ZAPPOLI ondra. Uno scienziato di prestigio, prende l’utilizzo, ma sul quale è tracciata il dottor Radcliffe, scompare dal va - la scritta «Ipcress». Palmer e Dalby rie - Lgone del treno su cui era stato ac - scono a trattare la liberazione dello scien - compagnato da un agente dei Servizi di ziato dietro pagamento di un riscatto. Nel sicurezza britannici, che viene trovato corso dello scambio, però, Harry uccide un morto. Il sergente Harry Palmer, a cui sono agente americano di cui non sospettava la affidati incarichi di appostamento, viene presenza. Radcliffe, restituito alla vita nor - convocato dal suo diretto superiore, il co - male, può finalmente presentare al con - lonnello Ross. Entrambi debbono recarsi sesso accademico le teorie elaborate nel in ufficio – dissimulato all’interno di un Uf - campo della fisica della materia. Un im - ficio di collocamento al lavoro – in cui in - provviso malore testimonia che non solo contrano il maggiore Dalby. Costui si è non ricorda di essere stato sequestrato ma assunto l’onere di impegnare i suoi uomini che la sua memoria, sul versante scienti - Harry Palmer compare sugli schermi nel 1965 quando un suo collega, James Bond, ha già nella ricerca di Radcliffe, considerato che fico, è stata cancellata. Ora, però, Palmer conquistato l’attenzione mondiale. Il suo è un personaggio che fa dell’ understatement negli ultimi due anni 126 scienziati hanno è nel mirino dei Servizi americani che in - la propria regola di vita e a cui manca qualsiasi tocco di esotismo e d’azione spettacolare. abbandonato il lavoro che facevano per il tendono vendicare la scomparsa del loro Ma è proprio questo il suo punto di forza unito a un’interpretazione – dell’allora poco noto Governo.