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Handsworth Songs and Touch of the Tarbrush 86
University of Warwick institutional repository: http://go.warwick.ac.uk/wrap A Thesis Submitted for the Degree of PhD at the University of Warwick http://go.warwick.ac.uk/wrap/35838 This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. Voices of Inheritance: Aspects of British Film and Television in the 1980s and 1990s Ian Goode PhD Film and Television Studies University of Warwick Department of Film and Television Studies February 2000 · ~..' PAGE NUMBERING \. AS ORIGINAL 'r , --:--... ; " Contents Acknowledgements Abstract Introduction page 1 1. The Coupling of Heritage and British Cinema 10 2. Inheritance and Mortality: The Last of England and The Garden 28 3. Inheritance and Nostalgia: Distant Voices Still Lives and The Long Day Closes 61 4. Black British History and the Boundaries of Inheritance: Handsworth Songs and Touch of the Tarbrush 86 5. Exile and Modernism: London and Robinson in Space 119 6. Defending the Inheritance: Alan Bennett and the BBC 158 7. Negotiating the Lowryscape: Making Out, Oranges Are Not the Only Fruit and Sex, Chips and Rock 'n' Roll 192 Conclusion 238 Footnotes 247 Bibliography 264 Filmography 279 .. , t • .1.' , \ '. < .... " 'tl . ',*,. ... ., ~ ..... ~ Acknowledgements I would like to express my gratitude to my supervisor Charlotte Brunsdon for her patience, support and encouragement over the course of the thesis. I am also grateful to my parents for providing me with both space and comfortable conditions to work within and also for helping me to retain a sense of perspective. -
Bamcinématek Presents Queer Pagan Punk: the Films of Derek Jarman, Oct 30—Nov 11
BAMcinématek presents Queer Pagan Punk: The Films of Derek Jarman, Oct 30—Nov 11 A complete retrospective of Jarman’s 12 feature films, the most comprehensive New York series in nearly two decades New restorations of debut feature Sebastiane and Caravaggio “It feels like the correct time to be reminded of an ancient tradition that has always served civilization well, that of the independent, truth-telling poet provocateur.”—Tilda Swinton The Wall Street Journal is the title sponsor for BAMcinématek and BAM Rose Cinemas. Brooklyn, NY/Sep 30, 2014—From Thursday, October 30 through Tuesday, November 11, BAMcinématek presents Queer Pagan Punk: The Films of Derek Jarman, a comprehensive retrospective of iconoclastic British filmmaker and crusading gay rights activist Derek Jarman, following its run at the BFI this spring. Jarman not only redefined queer cinema, but reimagined moviemaking as a means for limitless personal expression. From classical adaptations to historical biographies to avant-garde essay films, he crafted a body of work that was at once personal and political, during a difficult period when British independent cinema was foundering and the AIDS crisis provoked a wave of panic and homophobia. Also a poet, diarist, and painter, Jarman first entered the realm of the movies as a production designer for Ken Russell. The Devils (1971—Oct 31), Russell’s controversial opus of repressed nuns and witchcraft trials, played out in a 17th-century French village that Jarman spent a year creating. His own first feature, Sebastiane (1976—Nov 9), playing in a new restoration, placed a daring emphasis on male nudity and eroticism as it chronicled the death of the Christian martyr; Jarman called it “the first film that depicted homosexuality in a completely matter-of-fact way.” A time-traveling Queen Elizabeth I wanders among the ruins of a dystopic modern London in Jubilee (1978—Oct 30), a shot-in-the-streets survey of the burgeoning punk scene that captures early performances by Adam Ant, Wayne County, Siouxsie and the Banshees, and the Slits. -
Tate Report 2015–2016
Cover: The Tate Britain Commission 2016, supported by Sotheby’s, was by Pablo Bronstein. For Historical Dances in an Antique Setting he took inspiration from the neo classical surroundings of the Duveens and Baroque dance to create a continuous live performance. As part of the backdrop, Bronstein recreated the postmodern façade of the Duveen Galleries TATE REPORT 2015/16 TATE’S VISION Tate is a champion of art and its value to society. It believes that an understanding of the visual can enrich all our lives and that artists make a special contribution to the community. Tate therefore has the ambition to make us all aware of the significance of the visual in contemporary life and how artists help us to see and interpret the world. CONTENTS CHAIRMAN’S FOREWORD 5 CHAMPIONING ART AND ARTISTS 9 PREPARING FOR THE NEW TATE MODERN 9 EXHIBITIONS AND DISPLAYS 11 THE COLLECTION 14 RESEARCH AND EXPERTISE 18 TATE MODERN EXHIBITIONS 22 WELCOMING BROAD AND DIVERSE AUDIENCES 25 ART FOR ALL 25 REACHING AUDIENCES THROUGH DIGITAL 29 TATE BRITAIN EXHIBITIONS 32 WORKING IN PARTNERSHIP 35 PARTNERSHIPS IN THE UK 35 INTERNATIONAL PARTNERSHIPS 37 TATE LIVERPOOL EXHIBITIONS 40 MAKING IT HAPPEN 43 MEMBERS, PATRONS AND INDIVIDUALS 43 SUPPORT FOR THE NATIONAL COLLECTION 45 OUR CORPORATE PARTNERS 46 TATE ENTERPRISES AND CATERING 47 STAFF AND VOLUNTEERS 48 CAPITAL PROJECTS 48 TATE ST IVES EXHIBITIONS 50 A MONTH IN THE LIFE OF TATE 53 ACQUISITION HIGHLIGHTS 57 FINANCE AND STATISTICS 77 MEMBERS OF COUNCILS AND COMMITTEES 82 DONATIONS, GIFTS, LEGACIES AND SPONSORSHIPS 84 CHAIRMAN’S FOREWORD 5 17 June 2016 was a landmark moment for Tate. -
Transversal Color and Derek Jarman's Blue
Georgia State University ScholarWorks @ Georgia State University Communication Theses Department of Communication Summer 8-12-2014 Step Into a Blue Funk: Transversal Color and Derek Jarman's Blue Daren Fowler Follow this and additional works at: https://scholarworks.gsu.edu/communication_theses Recommended Citation Fowler, Daren, "Step Into a Blue Funk: Transversal Color and Derek Jarman's Blue." Thesis, Georgia State University, 2014. https://scholarworks.gsu.edu/communication_theses/109 This Thesis is brought to you for free and open access by the Department of Communication at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Communication Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. STEP INTO A BLUE FUNK: TRANSVERSAL COLOR IN DEREK JARMAN’S BLUE by DAREN FOWLER Under the Direction of Angelo Restivo ABSTRACT Derek Jarman’s Blue has a complicated reception and exhibition history. Stuck between his past representational queer cinema and the inability to represent the suffering and death from AIDS, Jarman crafted a film of radical stylistics. It is in Blue’s striking color that a transversality of form, sensation, and visuality occurs, and in so doing, produces a space for synesthetic affectivity and collective desire. This thesis will use those radical formal elements and the history of Jarman and Blue to position color away from the phobic tradition of color theory and towards a flowing site of political rupture. -
Appendix Casts, Production Teams and Opening Dates of Productions Discussed
Appendix Casts, Production Teams and Opening Dates of Productions Discussed I. Hamlet, by William Shakespeare. Royal Shakespeare Company. Opening performance: Royal Shakespeare Theatre, Stratford-upon-Avon, 5 September 1984 Main production team: Director Ron Daniels Designer Maria Bjornson Main cast (in alphabetical order): Ophelia Frances Barber Claudius Brian Blessed Laertes Kenneth Branagh Horatio Nicholas Farrell Player 2 (Player Queen) Dexter Fletcher Player 1 (Player King) Bernard Horsfall Gertrude Virginia McKenna Polonius Frank Middlemass Hamlet Roger Rees II. The Duchess of Malfi, by John Webster. Royal Shakespeare Company. Opening performance: Swan Theatre, Stratford-upon-Avon, 6 December 1989 Main production team: Director Bill Alexander Designer Fotini Dimou 201 202 Appendix Main cast (in alphabetical order): Duke Ferdinand Bruce Alexander The Cardinal Russell Dixon Cariola Sally Edwards Antonio Bologna Mick Ford Julia Patricia Kerrigan Daniel de Bosola Nigel Terry The Duchess of Malfi Harriet Walter III. The Duchess of Malfi, by John Webster. Cheek By Jowl. Opening performances: Bury St. Edmunds, 19 September 1995 Wyndham’s Theatre, London, 2 January 1996 Main production team: Director Declan Donnellan Designer Nick Ormerod Main cast (in alphabetical order): Daniel de Bosola George Anton The Cardinal Paul Brennen Cariola Avril Clark Duke Ferdinand Scott Handy The Duchess of Malfi Anastasia Hille Antonio Bologna Matthew Macfadyen Julia Nicola Redmond IV. Titus, based on Titus Andronicus, by William Shakespeare. Motion Picture. -
To Save and Project: the 12Th Moma International Festival of Film Preservation Screening Schedule October 24–November 22, 2014
To Save and Project: The 12th MoMA International Festival of Film Preservation Screening Schedule October 24–November 22, 2014 Friday, October 24 7:00 The Iron Mask. 1929. USA. Directed by Allan Dwan. Story by Elton Thomas (Douglas Fairbanks). With Douglas Fairbanks, Marguerite De La Motte, Dorothy Revier, Nigel De Brulier. We are proud to open To Save and Project 2014 with the North American premiere of The Iron Mask, a major restoration from MoMA’s film archive supervised by Peter Williamson, Preservation Officer, and based on the original camera negative given to MoMA in 1935 by Douglas Fairbanks. A stand-alone sequel to Fairbanks’s 1921 hit The Three Musketeers, The Iron Mask was, in the words of its director, Allan Dwan, “the last of the big silents,” and the swashbuckling action—superbly filmed by Dwan, one of the great masters of the seamless classical style—leads gracefully into a poignant farewell to silent films and the larger-than-life figures who inhabited them. Midway through production, Fairbanks decided to yield in part to the rapidly emerging demand for talking pictures and added three spoken sequences to the film. Thanks to the recent rediscovery of the missing soundtrack discs, The Iron Mask can now be heard for the first time since 1929 with all of the spoken sequences, as well as Hugo Riesenfeld’s symphonic score, restored to their original fidelity. Preserved by The Museum of Modern Art with support from the Celeste Bartos Fund for Film Preservation. 95 min. Saturday, October 25 2:00 Todo Modo. 1976. Italy/France. -
Annual Report 2015
ANNUAL REPORT 2015 Outside cover 2015.indd 1 19/04/2016 16:32:34 Outside cover 2015.indd 2 19/04/2016 16:32:34 EQUITY ANNUAL REPORT 2015 THE EIGHTY FIFTH ANNUAL REPORT Adopted by the Council at its meeting held on 22 March, 2016 for submission to the Annual Representative Conference 21-23 May, 2016 Equity Incorporating the Variety Artistes’ Federation Guild House Upper St Martin’s Lane London WC2H 9EG Tel: 020 7379 6000 Fax: 020 7379 7001 E-mail: [email protected] Website: www.equity.org.uk Annual report 2015 cover_contents.indd 5 19/04/2016 17:13:54 Annual report 2015 cover_contents.indd 6 19/04/2016 17:13:54 CHAPTERCONTENTS 1: GENERAL A. ANNUAL REPRESENTATIVE CONFERENCE ...............................................................................................................7 B. BALLOTS .................................................................................................................................................................. 7 C. LOBBYING ACTIVITY ................................................................................................................................................7 D. MARKETING AND COMMUNICATION ..................................................................................................................10 E. RECRUITMENT & RETENTION ...............................................................................................................................12 F. CLARENCE DERWENT AWARDS .............................................................................................................................12 -
Derek Jarmanʼs Edward II in the Archive
ORE Open Research Exeter TITLE "To the Future": Derek Jarman's Edward II in the Archive AUTHORS Aebischer, Pascale JOURNAL Shakespeare Bulletin DEPOSITED IN ORE 03 July 2015 This version available at http://hdl.handle.net/10871/17770 COPYRIGHT AND REUSE Open Research Exeter makes this work available in accordance with publisher policies. A NOTE ON VERSIONS The version presented here may differ from the published version. If citing, you are advised to consult the published version for pagination, volume/issue and date of publication ૺ7RWKHIXWXUHૻ'HUHN-DUPDQV(GZDUG,,LQWKH$UFKLYH Pascale Aebischer Shakespeare Bulletin, Volume 32, Number 3, Fall 2014, pp. 429-450 (Article) 3XEOLVKHGE\7KH-RKQV+RSNLQV8QLYHUVLW\3UHVV DOI: 10.1353/shb.2014.0042 For additional information about this article http://muse.jhu.edu/journals/shb/summary/v032/32.3.aebischer.html Access provided by University of Exeter (21 Oct 2014 08:20 GMT) “To the future”: Derek Jarman’s Edward II in the Archive PASCALE AEBISCHER University of Exeter For Keith The Jarman 2014 celebration in memory of the life and work of Derek Jarman (1942–94) has acted as a catalyst for publications, performances, screenings, exhibitions, talks, and conferences that have emphasized the enduring power of Derek Jarman’s art and the centrality within that art of his engagement, through subject matter and form, with the Renais- sance.1 As evident from the number of essays in this special issue that focus on Jarman’s 1991 adaptation of Christopher Marlowe’s Edward II (published 1594), this film, more than any other of his books, sets designs, paintings, screenplays, and films, has come to embody the quintessential “Jarmanesque” blend of Renaissance subject matter with queer activism, avant-garde performance, poetry, music, and extraordinarily evocative visuals. -
Feature Films 2009 I'm Not Your Friend
tana 1 Synopsis The ultimate love story is the tale of the ultimate man and the ultimate woman. And what are the distinguishing marks of And what about the ultimate woman? the ultimate man? She is certainly unpredictable and instinctive like Lollobrigida, Well, he is charming like Marcello Mastroianni in La dolce but she's also graceful and knows how to behave, like Audrey vita. But he's also strapping like Brad Pitt in the Fight Club. Hepburn. She's girlish, like Audrey Tautou but cool and distant He is boyish like Leonardo DiCaprio in Titanic... or more like like Greta Garbo. She is funny and familiar like Julia Roberts, Alain Delon in Rocco and His Brothers, just a little bit taller, but her smile is like Ava Gardner's. She is divine, like Sophia maybe like Belmondo. He is devastating like Clark Gable and Loren, but it's not a problem if she resembles Monica sometimes a little bit melancholy, like Tony Leung Chiu Wai Bellucci... and at the same time she's ethereal like Liv Tyler in In The Mood For Love. He is decisive like Sean Connery when she's playing a fairy. She knows what she wants, like or Daniel Craig as James Bond, but unpredictable and Sharon Stone, but sometimes she's lost and innocent, like Zita eccentric like Latinovits in Szindbád. He's also a bit awkward, Szeleczky. And - I almost forgot - she kisses like Kim Novak. like Chaplin in Modern Times but enigmatic and a little scary, like Gary Oldman in Dracula. And of course, he is very funny, Oh, my God, what happens, if He meets Her?! like Woody Allen in Annie Hall. -
Derek Jarman's Allegories of Spectacle
ACTA UNIV. SAPIENTIAE, FILM AND MEDIA STUDIES, 11 (2015) 143–158 DOI: 10.1515/ausfm-2015-0020 Derek Jarman’s Allegories of Spectacle: Inter-Artistic Embodiment Fátima Chinita Lisbon Polytechnic Institute, Theatre and Film School (Portugal) E-mail: [email protected] Abstract. Derek Jarman was a multifaceted artist whose intermedial versatility reinforces a strong authorial discourse. He constructs an immersive allegorical world of hybrid art where different layers of cinematic, theatrical and painterly materials come together to convey a lyrical form and express a powerful ideological message. In Caravaggio (1986) and Edward II (1991), *ARMANAPPROACHESTWO%UROPEANHISTORICALlGURESFROMTWODIFFERENTBUT concomitant perspectives. In Caravaggio, through the use of tableaux of abstract meaning and by focusing on the detailing of the models’ poses, Jarman re-enacts the allegorical spirit of Caravaggio’s paintings through entirely cinematic resources. Edward II was a king, and as a statesman he POSSESSEDACERTAINDOSEOFSHOWMANSHIP)NTHISlLM*ARMANRECONSTRUCTS the theatrical basis of Christopher Marlowe’s Elizabethan play bringing it up to date in a successfully abstract approach to the musical stage. In this ARTICLE )INTENDTOCONJOINTHEPRACTICEOFALLEGORYINlLMWITHCERTAINNOTIONS of existential phenomenology as advocated by Vivian Sobchack and Laura U. Marks, in order to address the relationship between the corporeality of THElLMANDTHELIVEDBODIESOFTHESPECTATORS)NTHISCONTEXT THEALLEGORYIS a means to convey intradiegetically the sense-ability at play in the cinematic EXPERIENCE REINFORCING THE TEXTURAL AND SENSUAL NATURE OF BOTH lLM AND VIEWER WHICH IN TURN IS ALSO MATERIALLY ENHANCED IN THE lLM PROPER touching the spectator in a supplementary fashion. The two corporealities favour an inter-artistic immersion achieved through coenaesthesia. Keywords: cinematic allegories, inter-artistic spectacle, embodiment, immersive, intermediality, Derek Jarman. -
Path(O)S of Mourning. Memory, Death and the Invisible Body in Derek Jarman’S Blue
Path(o)s of Mourning. Memory, Death and the Invisible Body in Derek Jarman’s Blue by Nicoletta Vallorani My work here addresses two quite complex issues. The first one is the virulence of the hostility toward gay men that the AIDS pandemic has released: this is the backdrop against which Jarman’s extended elaboration and mourning for his own death is performed, after his diagnosis as body-positive in 1986. The second issue links to the open question of public mourning and its relation to AIDS in the early 90s, when the AIDS epidemic is not at its height, but it is certainly more visible than before, and many artists register the impact of the new sensibility this medical and social emergency actually moulds. One of striking aspect of gay and queer cultures, particularly in the decade closing the millennium, is the way in which they articulate the individual grief of the sick – often isolated and rejected by the community – into collective forms of mourning taking the shapes of different rituals, all of them trying to absorb and accept the deep pathos of loss in multiple paths of mourning. Jarman, for example, writes and shoot Blue precisely to this purpose. The film is first screened in 1993 and it is soon given by the critics as his last work; the artist will in fact die soon after. Mourning as a key to it, the solution to the riddle of death with AIDS, both for Jarman and for many people in the same conditions. Under these circumstances, therefore, death rites acquire a double-sided quality, in that – as Phelan maintains – they “enact the difficult force of a grief which simultaneously mourns the lost object and ourselves” (Phelan 1997: 153). -
Terence Davies and the Cinema: an Intertextual Study of His Films James Andrew Ballands Phd University of York Theatre, Film
Terence Davies and the Cinema: An Intertextual Study of His Films James Andrew Ballands PhD University of York Theatre, Film and Television September 2015 Abstract This thesis examines the oeuvre of the British filmmaker Terence Davies between 1976 and 2011. Overall, his work from this period can be separated into two distinct categories: autobiographical films and literary adaptations. Whereas previous critical works on this writer-director have often framed him as an auteur due to the considerable creative control that he exerts over his films, this thesis problematizes such a reading by situating his body of work within a larger intertextual field. Within this field, I include other films, literary texts and pieces of music, in order to explore how other cultural influences have been channelled into Davies’s filmmaking. I also explore the idea that his memories of growing up in Liverpool – particularly during the 1950s – constitute another intertext within his autobiographical films. Similarly, I demonstrate how considering the creative input of his key collaborators – including producers, cinematographers, editors and production designers – illuminates both Davies’s approach to filmmaking and the dense construction of his films as texts. Unlike other critical writings on Davies’s career, my thesis considers the audience’s engagement with his films and the readings they generate from them. This thesis adopts a multi-disciplinary approach to Davies’s films by engaging with various branches of study within the arts, including post-structuralist theory, autobiographical studies, adaptation studies, music theory, auteur theory and production studies. Furthermore, this thesis includes insights that have been gathered from eighteen original interviews with individuals involved in the making of Terence Davies’s films – including one with the filmmaker himself.