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Film and the Festival of Britain sarah easen T F Britain, from 3 May to 30 September 1951, aimed to provide respite from the effects of World War II by celebrating the nation’s past achievements in the arts, industry and science, as well as looking hopefully to a future of progress and prosperity. It marked the halfway point of the century, a natural moment at which to take stock and examine advances in British society. The Director General of the Festival, Gerald Barry, promised ‘a year of fun, fantasy and colour’, an interlude of ‘fun and games’ after the long run of wartime austerity.1 Film was integral to the Festival of Britain. It related to the Festival’s three main areas of concern, the arts, industry and science. Britain’s role in international film culture had already been established by the growth of the British documentary movement since the 1930s. The Festival of Britain therefore seemed a natural place to demonstrate the fruits of British film production. The Festival of Britain site in London on the South Bank featured a purpose-built film theatre, the Telekinema, for big-screen public television broadcasts and the showing of specially commissioned Festival films.2 The Television Pavilion also displayed a brief history of the new medium. Cinemas around the nation featured seasons of classic British film- making. The exhibitions themselves also used film as a tool for expressing concepts and processes that could not easily be displayed. So film was not only a medium for the exposition of ideas within the Festival of Britain exhibitions, it also contributed to the entertainment on offer. -
Cd Discography
THE WILLIAM ALWYN FO UNDATION WILLIAM ALWYN CD DISCOGRAPHY Andrew Peter Knowles [A listing of Alwyn works currently available on compact disc] WILLIAM ALWYN CD DISCOGRAPHY The following list of recorded works by William Alwyn is arranged alphabetically by record company and includes only those discs that are to my knowledge currently available. All deletions have been excluded from the listing. Record companies that have released only one CD of a work(s) are listed at the end of the main section under the heading of Miscellaneous. All of these discs may be purchased on line through the following sites: www.amazon.co.uk , www.amazon.com , www.mdt.co.uk , and some directly through the record companies themselves. I have indicated the respective website addresses of these companies that offer this service after the record company name below. Alternatively, you can purchase through your local record shop. ASV - WHITELINE Suite of Scottish Dances (Brian Kay’s British Light Music Discoveries) Royal Ballet Sinfonia/Gavin Sutherland (CDWHL-2113) Also on British Light Music World Premieres (CDWHL-2116) Overture: The Moor of Venice – Orchestral version (British Light Overtures 2) Royal Ballet Sinfonia/Gavin Sutherland (CDWHL-2137) CHANDOS (www.chandos.net ) Piano Concertos 1 & 2 Overture to a Masque Elizabethan Dances Howard Shelley-Piano/LSO/Richard Hickox (CHAN 9935) [2] Symphony No. 1 Piano Concerto No. 1 Howard Shelley-Piano/LSO/Richard Hickox (CHAN 9155) Symphony No. 2 Overture to a Masque Symphonic Prelude: The Magic Island Overture Derby Day Fanfare for a Joyful Occasion LSO/Richard Hickox (CHAN 9093) Symphony No. -
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. -
File Stardom in the Following Decade
Margaret Rutherford, Alastair Sim, eccentricity and the British character actor WILSON, Chris Available from the Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/17393/ A Sheffield Hallam University thesis This thesis is protected by copyright which belongs to the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Please visit http://shura.shu.ac.uk/17393/ and http://shura.shu.ac.uk/information.html for further details about copyright and re-use permissions. Sheffield Hallam University Learning and IT Services Adsetts Centre City Campus 2S>22 Sheffield S1 1WB 101 826 201 6 Return to Learning Centre of issue Fines are charged at 50p per hour REFERENCE Margaret Rutherford, Alastair Sim, Eccentricity and the British Character Actor by Chris Wilson A thesis submitted in partial fulfilment of the requirements of Sheffield Hallam University for the degree of Doctor of Philosophy September 2005 I should like to dedicate this thesis to my mother who died peacefully on July 1st, 2005. She loved the work of both actors, and I like to think she would have approved. Abstract The thesis is in the form of four sections, with an introduction and conclusion. The text should be used in conjunction with the annotated filmography. The introduction includes my initial impressions of Margaret Rutherford and Alastair Sim's work, and its significance for British cinema as a whole. -
Green for Danger (United Artists Pressbook, 1946)
THE SCREEN’S UNPARALLELED ADVENTURE IN SUSPENSE! J. ARTHUR RANK SALLY GRAY - TREVOR HOWARD - ROSAMOND JOHN "GREEN FOR RANGER" and fnedettiitiq. ALASTAIR SIM r)(t4ftecfo% @ac&Ult I rrt Arilll MEGS JUDY MOORE LtU UtNN • JENKINS * CAMPBELL* MARRIOTT Directed by SIDNEY GILLIAT • Produced by FRANK LAUNDER and SIDNEY GILLIAT From the novel by CHRISTIANA BRAND • Screenplay by SIDNEY GILLIAT and CLAUDE GUERNEY • AN INDIVIDUAL PICTURE Here’s what the show-wise editors of 12 - great national magazines told an estimated 90,000,000 readers about ^ '-^7 IL-: . another must-see . exciting entertain¬ ment . particularly delightful is Alastair Sim ..—Good Housekeeping able mystery ..—Movie Life . choice comedy amid melodrama; prize performance by Alastair Sim as a Scotland Yard sleuth . highly recommended . —Pic Magazine ". tense, absorbing melodrama . intro¬ duces the very effective warp of comedy into its woof of murder . Alastair Sim as the idiosyncratic (but, mark you, successful) Scot¬ land Yard sleuth is superb . —Promenade . engrossing murder mystery—a delightful mixture of thrills, chills and chuckles—introduc¬ ing a new film detective with a rare instinct for homicide and humor—this Alastair Sim is price¬ less ..—Cue Magazine "It has all the ingredients of a really first-class thriller. but the best thing about the picture is Alastair Sim . don't miss 'Green for Danger.' It's one of the best murder mysteries we've seen in a long time." —Motion Picture . one of the most unusual we've ever seen 1—Movie Show ". intelligent, baffling whodunit . the dia¬ log is eminently superior stuff, the same going for direction, production and acting all around. -
1 Hp0103 Roy Ward Baker
HP0103 ROY WARD BAKER – Transcript. COPYRIGHT ACTT HISTORY PROJECT 1989 DATE 5th, 12th, 19th, 26th, October and 6th November 1989. A further recording dated 16th October 1996 is also included towards the end of this transcript. Roy Fowler suggests this was as a result of his regular lunches with Roy Ward Baker, at which they decided that some matters covered needed further detail. [DS 2017] Interviewer Roy Fowler [RF]. This transcript is not verbatim. SIDE 1 TAPE 1 RF: When and where were you born? RWB: London in 1916 in Hornsey. RF: Did your family have any connection with the business you ultimately entered? RWB: None whatsoever, no history of it in the family. RF: Was it an ambition on your part or was it an accidental entry eventually into films? How did you come into the business? RWB: I was fairly lucky in that I knew exactly what I wanted to do or at least I thought I did. At the age of something like fourteen I’d had rather a chequered upbringing in an educa- tional sense and lived in a lot of different places. I had been taken to see silent movies when I was a child It was obviously premature because usually I was carried out in scream- ing hysterics. There was one famous one called The Chess Player which was very dramatic and German and all that. I had no feeling for films. I had seen one or two Charlie Chaplin films which people showed at children's parties in those days on a 16mm projector. -
Journal of the Conductors Guild
Journal of the Conductors Guild Volume 22, Nos. 1 & 2 Winter/Spring - Summer/Fall 2001 6219 N. Sheridan Rd., Chicago, IL 60660 Table of Contents T: (773) 764-7563; F: (773) 764-7564 Commentary page 1 E-mail: [email protected] [email protected] The Metronome Indications in page 2 Website: www.conductorsguild.org Beethoven’s Symphonies by Max Rudolf Officers Harlan Parker, President Tonu Kalam, Secretary A Pilot Study of the Expressive page 14 Emily Freeman Brown, President-elect Frederick Peter Morden, Treasurer Gestures Used by Classical Michael Griffith, Vice-President Wes Kenney, Past-President Orchestra Conductors Board of Directors by Thüring Bräm and Penny Boyes Braem Virginia A. Allen Jonathan D. Green* Lawrence L. Smith Beauty’s Plea: An Introduction page 30 Henry Bloch* Murray Gross Mariusz Smolij to the Music of William Alwyn Glenn Block Alan Harler Jonathan Sternberg* by Brian Murphy Mark Cedel Thomas Joiner Alton Thompson Charles P. Conrad* Anthony LaGruth Diane M. Wittry Organizing and Conducting page 45 William H. Curry Michael Luxner Burton Zipser* the College-Community Orchestra Sandra Dackow Kirk Muspratt * ex-officio Allan Dennis Melinda O’Neal by Victor Vallo Jr. Robert Freeman Mark Scatterday Advisory Council A Study of Student Community page 51 Orchestras in the United States Adrian Gnam Charles Ansbacher Donald Portnoy and Canada Michael Charry Samuel Jones Barbara Schubert by Dr. Lynn Schenbeck and Sergiu Comissiona Daniel Lewis Gunther Schuller Harold Farberman Larry Newland Rebecca Jones Rose Lukas Foss Maurice Peress Engaging the Head Voice: page 66 Theodore Thomas Award Winners Simple Exercises for Amateur Claudio Abbado Frederick Fennel Robert Shaw Community Choirs Maurice Abravanel Margaret Hillis Leonard Slatkin by Welborne E. -
Notes and References
Notes and References CHAPTER 1 To provide an intellectual and cultural framework for examining Carol Reed's films, a history of the British cinema from its origins through to the Second World War is offered in this chapter. Although Reed began directing in 1935, 1939 seemed a tidier, more logical cut-off point for the survey. All the information in the chapter is synthesized from several excellent works on the subject: Roy Armes's A Critical History of the British Cinema, Ernest Betts' The Film Business, Ivan Butler's Cinema in Britain, Denis Gifford's British Film Catalogue, Rachel Low's History of the British Film, and George Perry's The Great British Picture Show. CHAPTER 2 1. Michael Korda, Charmed Lives (New York, 1979) p. 229; Madeleine Bingham, The Great Lover (London, 1978). 2. Frances Donaldson, The Actor-Managers (London, 1970) p. 165. 3. Interview with the author. Unless otherwise identified, all quota tions in this study from Max Reed, Michael Korda and Andrew Birkin derive from interviews. 4. C. A. Lejeune, 'Portrait of England's No.1 Director', New York Times, 7 September 1941, p. 3. 5. Harvey Breit, ' "I Give the Public What I Like" " New York Times Magazine, 15January 1950, pp. 18-19. 6. Korda, Charmed Lives, p. 244. 7. Kevin Thomas, 'Director of "Eagle" Stays Unflappable', The Los Angeles Times, 24 August 1969. CHAPTER 3 1. Michael Voigt, 'Pictures of Innocence: Sir Carol Reed', Focus on Film, no. 17 (Spring 1974) 34. 2. 'Midshipman Easy', The Times, 23 December 1935. 271 272 Notes and References 3. -
PDF (Final Accepted Dissertation for MA by Thesis)
Durham E-Theses Neoclassicism in the Music of William Alwyn: Selected Works 1938-45 SWEET, ELIZABETH How to cite: SWEET, ELIZABETH (2016) Neoclassicism in the Music of William Alwyn: Selected Works 1938-45, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/11796/ Use policy This work is licensed under a Creative Commons Public Domain Dedication 1.0 (CC0) Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk Neoclassicism in the Music of William Alwyn Selected Works 1938-45 Elizabeth Sweet Neoclassicism in the Music of William Alwyn Elizabeth Sweet Material Abstract In 1938 William Alwyn made the radical decision to abandon his previous composition methods and based future works upon the neoclassical compositional aesthetic. The second work to emerge was the Divertimento for Solo Flute, a composition on a single stave with substantial implicit contrapuntal writing. This thesis will examine both the Continental European and British musical context in the period leading up to Alwyn’s 1938 compositional crisis in order to provide a model for neoclassicism. This model will be used to assess Alwyn’s neoclassical compositions to evaluate Alwyn as a composer in the light of his stated wish to become a Bach or Beethoven. It will also include a brief musical biography in order to contextualise Alwyn’s neoclassical compositions within the wider body of his work. i Neoclassicism in the Music of William Alwyn Selected Works 1938-45 Elizabeth Sweet Submitted for the Degree of Master of Arts by Research Department of Music University of Durham 2016 ii Contents INTRODUCTION................................................................................................................. -
Arrow Academy Arrow Acade Arrow Academy Arrow Academy Arrow Academy Arrow Academy Row Academy Arrow Academy Academy
ARROW ACADEMY ARROW ACADEMY ARROW ACADEMY ARROW ACADEMY ARROW ACADEMY ARROW ACADEMY ARROW ACADEMY ARROW ACADEMY ARROW ACADEMY ARROW ACADEMY CONTENTS 4 Cast and Crew 7 Page to Screen: The Screenwriter and Novelist Behind The Running Man (2019) by Barry Forshaw 17 Nowhere to Run: The Making of Carol Reed’s Last Thriller (2019) by Henry Blyth 35 Those Were the Days! (2010) by John Harris 43 About the Transfer ARROW ACADEMY ARROW ACADEMY ARROW ACADEMY ARROW2 ACADEMY 3 ARROW ACADEMY ARROW ACADEMY ARROW ACADEMY ARROW ACADEMY ARROW ACADEMY ARROW ACADEMY CAST Laurence Harvey Rex Lee Remick Stella Alan Bates Stephen Felix Aylmer Parson Eleanor Summerfield Hilda Tanner Allan Cuthbertson Jenkins Harold Goldblatt Tom Webster Noel Purcell Miles Bleeker Ramsay Ames Madge Penderby Fernando Rey Police Official Juanjo Menéndez Roberto (as Juan Jose Menendez) Eddie Byrne Sam Crewdson Colin Gordon Solicitor John Meillon Jim Jerome Roger Delgado Spanish Doctor Fortunio Bonanova Spanish Bank Manager CREW Directed and Produced by Carol Reed ARROW ACADEMY ARROW ACADEMY Screenplay by John Mortimer From the novel “The Ballad of the Running Man” by Shelley Smith Associate Producer John R. Sloan Cinematography by Robert Krasker Editor Bert Bates Music by William Alwyn Art Director John Stoll ARROW ACADEMY ARROW4 ACADEMY 5 ARROW ACADEMY ARROW ACADEMY ARROW ACADEMY ARROW ACADEMY ARROW ACADEMY ARROW ACADEMY PAGE TO SCREEN THE SCREENWRITER AND NOVELIST BEHIND THE RUNNING MAN by Barry Forshaw Battling the Bloody Censors: John Mortimer “Bloody censors! Why should adults have to have their viewing or reading checked for ‘moral content’ by people with limited horizons?” When John Mortimer said this to me at a book launch at London’s Ivy restaurant, he had probably forgotten that we had had this conversation before – but I was, I admit, guilty of prompting him, as I knew how entertaining he was when attacking self-styled (or government-appointed) moral guardians. -
Alwyn Alwynconducts
Alwyn AlwynConducts Overture, Derby Day The Magic Island Four Elizabethan Dances Sinfonietta for Strings Festival March London Philharmonic Orchestra SRCD.229 STEREO ADD The Festival March was commissioned by the Arts Council for the inauguration of the Festival of Britain on the South Bank in May 1951. Alwyn rose to the challenge by writing an extended ceremonial march. Opening fanfares are followed by a broad march set in 12/8 time, resplendant with brass and percussion, contrasted with a trio section WILLIAM ALWYN (1905-1985) scored for unison violins and cellos and then for full orchestra after which the processional music returns and, linked to the trio motive, reaches a triumphant and 1 Overture, Derby Day (1960) ** (6’38”) effective conclusion. Elgar could not have provided better. In fact the march was not played at the ceremonial opening of the Royal Festival Hall when a commemorative 2 Symphonic Prelude, The Magic Island (1952) (10’15”) tablet was unveiled by King George VI in the presence of many dignitaries on 3 May followed by a concert of British music. Here it would have had an electrifying effect and Four Elizabethan Dances (from the set of six) (1957) one can only feel that it fell victim to a great missed opportunity. In reality the work was 3 I Moderato e ritmico (2’48”) first heard, arranged for mass brass bands, at a London Festival of the Arts concert at 4 II Waltz Tempo: Languidamente (2’38”) the Royal Albert Hall on 12 May of that year under Harry Mortimer and, in its full 5 V Poco allegretto e semplice (3’22”) orchestral clothing, it finally reached the newly-opened Royal Festival Hall on 21 May when it was performed bv the London Philharmonic Orchestra under Sir Malcolm 6 IV Moderato (3’40”) Sargent. -
Carol Reed, ODD MAN out (1947, 116 Minutes)
17 February 2015 (Series 30:4) Carol Reed, ODD MAN OUT (1947, 116 minutes) Directed by Carol Reed Written by F.L. Green and R.C. Sherriff Produced by Carol Reed Music by William Alwyn Cinematography by Robert Krasker Music Conducted by Muir Mathieson and George Stratton (The London Symphony Orchestra) Continuity by Olga Brook Advising (Irish) by Cecil F. Ford and Joseph Tomelty Presented by J. Arthur Rank James Mason ... Johnny McQueen Robert Newton ... Lukey Cyril Cusack ... Pat F.J. McCormick ... Shell William Hartnell ... Fencie Fay Compton ... Rosie Denis O'Dea ... Inspector W.G. Fay ... Father Tom Third Man, 1948 The Fallen Idol, 1947 Odd Man Out, 1942 The Maureen Delaney ... Theresa O'Brien Young Mr. Pitt, 1940 Night Train to Munich, 1939 A Girl Must Elwyn Brook-Jones ... Tober Live, 1938 Climbing High, 1938 Penny Paradise, 1938 Three on Robert Beatty ... Dennis a Weekend, 1936 Talk of the Devil, 1936 Laburnum Grove, and Dan O'Herlihy ... Nolan 1935 Midshipman Easy. He produced 9 films—1965 The Agony Kitty Kirwan ... Grannie and the Ecstasy, 1963 The Running Man, 1959 Our Man in Beryl Measor ... Maudie Havana, 1955 A Kid for Two Farthings, 1953 The Man Between, Roy Irving ... Murphy 1951 Outcast of the Islands, 1949 The Third Man, 1948 The Kathleen Ryan ... Kathleen Sullivan Fallen Idol, and 1947 Odd Man Out—and wrote 3: 1949 The Third Man, 1938 No Parking, and 1936 Talk of the Devil. Carol Reed (director, producer) F.L. Greene (writer) Born: Frederick Lawrence Green, 1902 in Portsmouth, Hampshire, England—d. April 14, 1953 (age 51) in (b.