DOCSLIB.ORG

LOOKING at TELEVISION -.:: Radio Times Archive

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
LOOKING at TELEVISION -.:: Radio Times Archive 10 RMHO TIMES, ISSUE DATED JULY 23, 1937 THE WORLD WE LISTEN IN LISTENERS' LETTERS LOOKING AT TELEVISION (Continued from previous page) S. John Woods discvisses die tech• feeling of actuality is an absolutely fundamental Something for a Change part of television. MAY some of the splendid pianists we hear nique of television and contrasts it Intimacy and actuality, then, are two funda• be asked to play some of the works that are with that of the cinema mentals. A third, just as important, is person• never played ? I instance: Mendelssohn's ality. On the stage we have the living actor Concerto in D minor ; the Rondo Brillante before us, and conversely the actor has a living The Editor does not necessarily agree with by the same composer ; Schumann's Concerto audience before him and can gauge its reception the opinions expressed by his contributors in A minor ; Moszkowski's in E major, and of his acting. In television we have a similar many others. sense of having the actor before us, but for him It is quite true that you cannot have too VERY week some 250 million people visit it is more difficult; instead of having an audi• the cinema. Every year 750 million pounds much of a good thing but, as there are other E ence which he can reduce to laughter or tears, good things, why cannot we hear them played are invested in the production of films. Cinemas there is a forbidding, grey camera and a battery hold from 500 to 3,000 spectators and there by these experts ? One hears the announce• of hot lights. Just the same, the actor has to ment of a piano concerto and, sure enough, out are 88,000 cinemas in the world. get his personality over in very much the same These figures give some idea of the ground comes the ' Emperor ' by Beethoven or some• way that he does on the stage and much more thing similar. Why do these performers con• covered by the film industry. For the last five cleverly than he has to on the films. years, while television was being developed centrate so much ? Surely to suggest that these and finally made practicable, the magnates of Less Possibility of Movement virtuosi have a limited repertoire is bordering this industry have been having periodic heart- For the film depends on movement ; the on the insulting.— (Rev.) Richard T. Arscott, attacks at the thought of this unforeseen danger. director and the cameraman play as big a part Alderney, C.I. Now that television has started and is rapidly in building up the personality of a screen Languages Wanted finding its feet, we are beginning to realise star as does the star himself. In television that the film magnates don't have to worry ; there is obviously less possibility of movement. Is it not possible for the BBC to spare one that television will have little effect on films, For one thing, scenes must follow immediately short half-hour per week for language courses, for between television and films there is a vast upon one another, whereas in a film there may as they did until last year? If they would just No Man's Land. be weeks between the shooting of two scenes realise for a moment that many thousands of which are together when shown in the finished their listeners (I am one of them) are tucked At first sight this may- seem odd, because away in some quiet country corner where there both are viewed on a screen in black and white, film. Similarly the television camera is less free than the film camera. It can give close-ups and are no facilities for adults to rub up their and accompanied by sound. There, however, German, French, or other useful languages, the similarity ends. The ordinary commercial medium shots and long shots and it can do a lot of the other things a film camera can do, but they would understand that the necessity for us is film is not suitable for transmission by tele• infinitely greater than for the people who live in vision. The reason ? Because in television the it is also bound by the fact that each scene follows in its logical order and cannot be London and other large cities, who fortunately most important part of any film is lacking: have every opportunity of taking advantage of the audience. A film appeals to several hun• divorced from that order to obtain more fluent effects. classes or of private tuition in any subject or dred people at the same time ; a comedian language they desire. cracks a joke and there are several hundred In a film there are two kinds of movements : laughs ; the heroine sheds a tear and several the movement of the camera and the cutting, If the delightfully instructive German Les• hundred eyes are moist; at the shot of a gun and the movement of the action in front of the sons which we had with Herr Max Kroemer in several hundred hearts stop beating. Mass camera. The second of these is just as import• 1933 and 1935 cannot be continued, could emotion. It is far, far easier to make a crowd ant in television as in the film. For instance, it not be arranged to have German poetry of people laugh or cry than to produce the same talks are the most difficult side of television at read to us by him, even occasionally ? His effect on a solitary person. the moment. Views of the speaker, even when rendering of German poetry is a treat that no varied from long shot to close-up and from one could miss if once they heard him. Why not give us in the small towns a chance ?— Freedom v. Intimacy close-up to medium shot, quickly pall, and it is obvious that as a consequence only certain (Mrs.) M. A. Jones, Walney Island, Barrow- The film enthusiast may say, ' All right, in-Furness. you can't use the ordinary commercial film kinds of talks are suitable for television, talks in television. Why not, then, make your own that can be illustrated with movement, such as [The BBC has never ceased to broadcast at least one a craftsman explaining his work and carrying foreign language talk a week during nine months of films with these special conditions in mind ? the year. This year there has been a regular French Then you would at least have the freedom the it out in front of the camera. talk on Wednesday evenings, and next year there will film gives you to move from place to place, Success of Ballet be regular German readings and talks.—Editor, to show outside scenes and inside scenes and Ballet on the other hand, is singularly RADIO TIMES.] moving scenes and daytime scenes and night successful on the television screen and has pro• Variety in Variety scenes all in one programme instead of being vided many of the most entertaining moments Kaleidoscope was one of the most delightful tied to the studio or to one locale as television in the programmes. The plays given have musical half-hours I have ever heard. The is at the moment.' mostly been shortened stage plays and have variety of tunes was most refreshing, and not Admittedly by making films for television varied enormously in effect and quality. With only have the Lally brothers pleased themselves, we should be able to travel about, as our the expansion of television a separate dramatic but also, I'm sure, a great many listeners.— imaginary film-enthusiast has just said, but we technique will doubtless emerge employing the N. Oppenheimer, Ealing. should lose an essential part of television : its medium to the full. intimacy. Perhaps the most important part of And probably one of the most important Cathedrals in Edinburgh television is the feeling that the action that is roles to be played by television is that of the A BROADCAST was announced in the RADIO taking place is actually happening at the outside broadcast. The biggest single event TIMES from 'St. Giles Cathedral'. This build• moment you are watching it in your home. since the beginning of television was the trans• ing is not a cathedral and should be described In films the scene is rehearsed time and time mission of the Coronation procession from as ' St. Giles Church ' or ' High Kirk of St. again until the action has the precision of a Hyde Park Corner. This showed viewers what Giles '. The two cathedrals in Edinburgh are machine, everything just so, every moment was possible ; it was a tremendous success and St. Mary's Cathedral, Broughton Street, the accounted for, every movement calculated. In it did a lot for television. Soon we shall seat of the Roman Catholic Archbishop of St. television there is the delicious knowledge that probably be able to see the Derby, the Boat Andrews and Edinburgh, and St. Mary's Epis• at any moment something may go wrong. The Race, prize fights, and all the other events that copal Cathedral, the seat of the Anglican leading lady may get hiccups, the hero may are news, as they are happening and in our Bishop of Edinburgh; the Presbyterian Church trip up, the lights may go out. These things own homes. There are even hints, already, has no bishops, therefore it has no cathedrals. don't happen. But they easily might, and this of colour. —' Murray field ', Edinburgh. 16 RADIO TIMES, ISSUE D/^ED AUGUST 13 TELEVISION OF THE WEEK Transmissions by the Marconi- 9.10 MARIONETTES.
Load more

Recommended publications
  • Media Culture for a Modern Nation? Theatre, Cinema and Radio in Early Twentieth-Century Scotland
    Media Culture for a Modern Nation? Theatre, Cinema and Radio in Early Twentieth-Century Scotland a study © Adrienne Clare Scullion Thesis submitted for the degree of PhD to the Department of Theatre, Film and Television Studies, Faculty of Arts, University of Glasgow. March 1992 ProQuest Number: 13818929 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 com plete 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 13818929 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 Frontispiece The Clachan, Scottish Exhibition of National History, Art and Industry, 1911. (T R Annan and Sons Ltd., Glasgow) GLASGOW UNIVERSITY library Abstract This study investigates the cultural scene in Scotland in the period from the 1880s to 1939. The project focuses on the effects in Scotland of the development of the new media of film and wireless. It addresses question as to what changes, over the first decades of the twentieth century, these two revolutionary forms of public technology effect on the established entertainment system in Scotland and on the Scottish experience of culture. The study presents a broad view of the cultural scene in Scotland over the period: discusses contemporary politics; considers established and new theatrical activity; examines the development of a film culture; and investigates the expansion of broadcast wireless and its influence on indigenous theatre.
    [Show full text]
  • Le Grand Film Marathon Man Mercredi 11 Novembre À 20.40
    BULLETIN 46 SEMAINE 46 DU 07/11 AU 13/11 LE GRAND FILM MARATHON MAN MERCREDI 11 NOVEMBRE À 20.40 IL ÉTAIT UNE FOIS... LES ENFANTS DU PARADIS DIMANCHE 8 NOVEMBRE À 19.45 CYCLE AL PACINO DONNIE BRASCO JEUDI 12 NOVEMBRE À 20.40 LE GRAND FILM MARATHON MAN (-16), 1976, Couleur, VM, THR, de John Schlesinger, avec Dustin Hoffman, Laurence Olivier, Roy Scheider, William Devane Mercredi 11 novembre, découvrez Marathon Man, un thriller d’espionnage paranoïaque DIFFUSIONS : et haletant, avec un terrifiant Laurence Olivier et un grand Dustin Hoffman. Un sommet de psychose. 11/11 À 20.40 14/11 À 18.35 SYNOPSIS Babe Levy est un jeune étudiant new-yorkais, coureur de marathon. Son frère Doc, 27/11 À 20.40 membre d'une organisation gouvernementale secrète, est assassiné sous ses yeux. Babe 29/11 À 17.40 se retrouve alors au coeur d'un véritable cauchemar, poursuivi par le Dr Szell, un criminel de guerre nazi. Un grand thriller parano, avec au moins une scène anthologique : celle où Laurence Olivier torture Dustin Hoffman avec des instruments dentaires. AUTOUR DU FILM Ce film est tiré du roman Marathon Man de William Goldman, auteur connu des cinéphiles pour les scénarios de Butch Cassidy et le Kid, Les Hommes du Président, ou encore Maverick. Sept ans après Macadam Cowboy (1969), Dustin Hoffman et John Schlesinger s'associent de nouveau sur un thriller dont le scénario se nourrit de l’actualité enflammée de l’époque : Anciens nazis réfugiés et douloureux souvenir du maccarthysme. Dans cette intrigue sur fond d'opposition et de haine entre juifs et anciens nazis, le réalisateur distille une intrigue menée sur un rythme effréné, possédant un scénario dense, complexe et ter- riblement prenant.
    [Show full text]
  • Focus EMU, October 4, 1976
    Newsline Sportsline 487·2460 487·3279 Produced by the Office of Information �rvices ferEastern Michigan University Faculty and Staff Volume 22 - Number 9 v October 4, 1976 @rornowm� Olympic Champion Crawford @ffil])&,DDil@� ) The Center of Educational Resources To Be Honored Saturday (University Library) will conduct a book sale from 9 a.m. to 4:30 p.m. Thursday, Oct. 7, in the library lobby. By Kathy Tinney Duplicates of gift books will be sold. By proclamationof the-Board of Regents,Saturday, Oct. 9, will Books on education, history, political be celebratedas HaselyCrawfordDay on campus. Crawford will be science, psychology and fiction will be honored at half-time of the Homecoming football game between included in the sale. Eastern and Arkansas State and at a reception at theHoliday Inn *** East following the game. Everyone is welcome to attend the reception. He also willserve as Grand Marshal of theHomecoming The Office of Academic Records and Parade Saturday morning. Teacher Certification reports the Crawford, "theworld's fastesthuman," won a gold medal for his following summary of degrees and native Trinidad in the 100-meterdash at the MontrealOlympics last certificates awarded as of Aug. 20, summer, beating Jamaica's Don Quarrie, Russia's Valery Borzov, 1976: B.A.-13; B.S.-208; B.A.E.-2; the defendinggold medalist, and theUnited States' Harvey Glance. B.B.E.-3; B.F.A.-16; B.B.A.-71; M.A.- In 1972 at the Munich Olympics, Crawford qualified as a finalist 460; M.SAil; M.B.E.-6; M.B.A.-10; in the 100-meter dash, but failed to finish the race due to an injury.
    [Show full text]
  • Critchon's the Lavender Hill
    1 The Lavender Hill Mob Directed by Charles Critchon. Produced by Michael Balcon. Screenplay and story by T.E. “Tebby” Clarke. Cinematography by Douglas Slocombe. Art Direction by William Kellner. Original Music by Georges Auric. Edited by Seth Holt. Costumes by Anthony Mendleson. Cinematic length: 81 minutes. Companies: Ealing Studos and the Rank Organisation. Cinematic release: June 1951. DVD release: 2002 DVD/Blue Ray 60th Anniversary Release 2011. Check for ratings. Rating 90%. All images are taken from the Public Domain and Wiki derivatives with permission. Written Without Prejudice Cast Alec Guinness as Henry Holland Stanley Holloway as Alfred Pendlebury Sid James as Lackery Wood Alfie Bass as Shorty Fisher John Gregson as Detective Farrow 2 Marjorie Fielding as Mrs. Chalk Edie Martin as Miss Evesham Audrey Hepburn as Chiquita John Salew as Parkin Ronald Adam as Turner Arthur Hambling as Wallis Gibb McLaughlin as Godwin Clive Morton as the Station Sergeant Sydney Tafler as Clayton Marie Burke as Senora Gallardo William Fox as Gregory Michael Trubshawe as the British Ambassador Jacques B. Brunius, Paul Demel, Eugene Deckers and Andreas Malandrinos as Customs Officials David Davies and Meredith Edwards as city policemen Cyril Chamberlain as Commander Moultrie Kelsall as a Detective Superintendent Christopher Hewett as Inspector Talbot Patrick Barr as a Divisional Detective Inspector Ann Heffernan as the kiosk attendant Robert Shaw as a lab technician Patricia Garwood as a schoolgirl Peter Bull as Joe the Gab Review Although Ealing Studios started making comedies in the later 1930s, the decade between 1947 and 1957, after which the studio was sold to the BBC and changed direction, was their classic period.
    [Show full text]
  • Shakespeare Wallah
    Shakespeare and Film 1910 The film The shortest The film adaptation 1913 Taming of of Hamlet, only the Shrew, 59 minutes, was starring released. 1929 Mary Pickford & Douglas Fairbanks, was the first ‘talkie’ version of a Khoon Ka Khoon (Blood Shakespeare play. for Blood) or Hamlet, 1930 directed by Sohrab Modi, was the first Hindi/Urdu sound film adaptation of a Shakespeare play. 1935 The adaptation 1936 of As You Like It The first television marked the first broadcast of Shakespeare appearance 1937 was on 5 February 1937. of Laurence The BBC broadcast an Olivier as a character in a 11-minute scene from Shakespearean film. As You Like It, starring Margaretta Scott as Rosalind and Ion 1940 Swinley as Orlando. Laurence Olivier’s adaptation of Henry V 1944 was an attempt to boost morale and patriotism “This is the during the Second World War. tragedy of a 1948 man who could not make up his mind…” —From the spoken prologue of Laurence Olivier’s version of Hamlet. 1950 1952 Orson Welles directed “Look upon the ruins/ Of and starred in his film the castle of delusion.” adaptation of Othello. —Lines from the prologue 1957 of the Japanese adaptation of The Bad Sleep Well, a Macbeth, Japanese film involving Kumonosu-jÔ 1960 corporate greed and (Throne of Blood). vengeance, is released as a loose adaptation 1960 of Hamlet. Shakespeare Wallah, though not an adaptation of a play, features a fictional theater troupe The Swedish film Elvira in India that performs 1965 Madigan was reminiscent Shakespeare plays in of Romeo and Juliet, towns across the nation.
    [Show full text]
  • Early Television Shakespeare from the BBC, 1937-39 Wyver, J
    WestminsterResearch http://www.westminster.ac.uk/westminsterresearch An Intimate and Intermedial Form: Early Television Shakespeare from the BBC, 1937-39 Wyver, J. This is a preliminary version of a book chapter published in Shakespeare Survey 69: Shakespeare and Rome, Cambridge University Press, pp. 347-360, ISBN 9781107159068 Details of the book are available on the publisher’s website: https://www.cambridge.org/core/what-we-publish/collections/shakespea... The WestminsterResearch online digital archive at the University of Westminster aims to make the research output of the University available to a wider audience. Copyright and Moral Rights remain with the authors and/or copyright owners. Whilst further distribution of specific materials from within this archive is forbidden, you may freely distribute the URL of WestminsterResearch: ((http://westminsterresearch.wmin.ac.uk/). In case of abuse or copyright appearing without permission e-mail [email protected] 1 An intimate and intermedial form: early television Shakespeare from the BBC, 1937-39 In the twenty-seven months between February 1937 and April 1939 the fledgling BBC television service from Alexandra Palace broadcast more than twenty Shakespeare adaptations.1 The majority of these productions were short programmes featuring ‘scenes from…’ the plays, although there were also substantial adaptations of Othello (1937), Julius Caesar (1938), Twelfth Night and The Tempest (both 1939) as well as a presentation of David Garrick’s 1754 version of The Taming of the Shrew, Katharine and Petruchio (1939). There were other Shakespeare-related programmes as well, and the playwright himself appeared in three distinct historical dramas. In large part because no recordings exist of these transmissions (or of any British television Shakespeare before 1955), these ‘lost’ adaptations have received little scholarly attention.
    [Show full text]
  • Equity Magazine Spring 2016
    SPRING 2016 www.equity.org.uk New agreements in film and theatre Improved deal on audition expenses #BackTheBBC campaign news THE RISE OF UK FILM RIZ AHMED TALKS INDIE HITS AND UPCOMING BLOCKBUSTERS First Act Insurance presents... Key features include • • Competitive online quote and buy cover provided by HISCOX. • Annual or short period cover available. showtimeinsurance.co.uk Tel 020 8686 5050 Scan this QR code with your smartphone or tablet device to be taken directly there Where and when you need it! First Act Insurance* is the preferred insurance intermediary to *First Act Insurance is a trading name of Hencilla Canworth Ltd Authorised and Regulated by the Financial Conduct Authority under reference number 226263 Contents News 18> 04 New agreements launched 06 ENO must be saved Success stories 10 Audition expenses 12 BBC Three pay Cover story 08 Riz Ahmed on film Features 14 UK Film Agreement 18 Access to work 20 Commercial theatre 06> Campaigns 24 #BackTheBBC 26 Fighting the TU Bill Plus > 14 22 Member offers 30 Letters 08 32 Branch update 32 Star Wars: The Force FRONT OF HOUSE Awakens and Spectre, below, were made on Equity agreements PAY RISES IN NEW AGREEMENTS FOR FILM AND THEATRE SUCCESSFUL NEW DEALS DELIVER FEE RISES AND BETTER WORKING CONDITIONS. FILM AGREEMENT UNDERPINS UK MOVIE INDUSTRY AND COMMERCIAL THEATRE CONTRACT PROTECTS STAGE MANAGERS AND PERFORMERS EQUITY HAS RECENTLY concluded two successful agreements in the areas of cinema films and commercial theatre. Union questions Arts The new cinemas films agreement will see fees rise 12% by 2018 and, for the first time, the deal has provisions for performance capture Council funding decision work.
    [Show full text]
  • A Short History Of
    Formerly the Actors’ Orphanage Fund & the Actors’ Charitable Trust, TACT. A sketch of ACT’s history th to mark our 125 birthday by Robert Ashby, executive director Mrs Kittie Carson, wife of the editor of the Stage newspaper, became increasingly concerned about the welfare of actors and others connected with the theatre, particularly women and children. She felt that provision by other charities and friendly societies was inadequate; she disliked the requirement of several for one to be a member in order to benefit, that many had age restrictions, and that all were run by men. Mrs Carson’s first move in November 1891 was to found the Theatrical Ladies’ Guild (today The Theatrical Guild). Its purpose was quite simply to provide clothing, whether committee members’ cast-offs, donations from supporters, or items sewn and tailored by the Guild’s members themselves. Mrs Carson’s reasoning was that actresses who constantly travelled and who struggled to make ends meet, had no time to sew, and unemployed actresses certainly could not afford new clothes. Her new charity became closely linked with the Ladies’ Needlework Guild, and committee meetings seemed intertwined with ‘sewing bees’. Mrs Carson’s husband, Charles, alerted readers of the Stage to the need for help. The response from readers reinforced Mrs Carson’s sense of urgency in helping the profession’s children. Care of the young “would add solidity and prestige to the drama and its exponents”. Although the Actors’ Benevolent Fund had been asked repeatedly to take on responsibility for the children since 1888, it had been unwilling, already having so many incapacitated adult actors to support.
    [Show full text]
  • Tcm Bulletin 24.Qxp
    BULLETIN 24 SEMAINE 24 DU 06/06 AU 12/06 INTÉGRALE FRED ASTAIRE TOUS EN SCÈNE DIMANCHE 7 JUIN À 20:45 CYCLE GANGSTERS LE MASSACRE DE LA SAINT VALENTIN JEUDI 11 JUIN À 20:45 SOIRÉE GOLD LA SOIF DU MAL MARDI 9 JUIN À 00:55 CYCLE GANGSTERS Jeudi 11 juin, à partir de 20:45, dans le cadre de notre cycle GANGSTERS, découvrez Le Massacre de la Saint Valentin et L’Ennemi public, 2 films emblématiques du genre et la 2ème partie de notre documentaire Ennemis publics - L’âge d’or du film de gangsters VOTRE SOIRÉE 20:45 LE MASSACRE DE LA SAINT-VALENTIN THE ST. VALENTINE'S DAY MASSACRE (-12), 1967, Couleur, VM, CRIM, de Roger Corman, avec Jason Robards, George Segal, Ralph Meeker, Jean Hale Célèbre baron de la pègre américaine, Al "Scarface" Capone a inspiré de nombreux cinéastes, avec une trentaine de films et téléfilms (On pense notamment à Robert De Niro dans Les Incorruptibles). Dans L’Affaire Al Capone, une reconstitution minutieuse de la carrière d’Al Capone ainsi que du fameux massacre sont réalisés. Un incontournable sur Al Capone. Diffusions : 11/06 à 20:45 ; 27/06 à 01:25 22:30 ENNEMIS PUBLICS - L'AGE D'OR DU FILM DE GANGSTERS (2ème partie) 2008, Couleur, VOST, Documentaire, de Constantine Nasr, avec Martin Scorsese, Edward G. Robinson, William A. Wellma Le gangster fascine, comme on peut le voir dans ce documentaire en 2 parties, narré par Alec Baldwin, qui retrace de façon passionnante la période faste du genre. Ennemis Publics - L'Age d'Or du Film de Gangster évoque les plus belles années du film de gangster : des films muets, au cinéma d'après-guerre, en passant par ceux des années 30-40.
    [Show full text]
  • Boxoffice Barometer (April 15, 1963)
    as Mike Kin*, Sherman. p- builder the empire Charlie Gant. General Rawlmgs. desperadc as Linus border Piescolt. mar the as Lilith mountain bub the tut jamblei's Zeb Rawlings, Valen. ;tive Van horse soldier Prescott, e Zebulon the tinhorn Rawlings. buster Julie the sod Stuart, matsbil's*'' Ramsey, as Lou o hunter t Pt«scott. marsl the trontie* tatm gal present vjssiuniw SiNGiN^SVnMNG' METRO GOlPWVM in MED MAYER RICHMOND Production BLONDE? BRUNETTE? REDHEAD? Courtship Eddies Father shih ford SffisStegas 1 Dyke -^ ^ panairtSioo MuANlNJR0( AMAN JACOBS , st Grea»e Ae,w entl Ewer Ljv 8ecom, tle G,-eai PRESENTS future as ^'***ied i Riel cher r'stian as Captain 3r*l»s, with FILMED bronislau in u, PANAVISION A R o^mic RouND WofBL MORE HITS COMING FROM M-G-M PmNHunri "INTERNATIONAL HOTEL (Color) ELIZABETH TAYLOR, RICHARD BURTON, LOUIS JOURDAN, ORSON WELLES, ELSA MARTINELLI, MARGARET RUTHERFORD, ROD TAYLOR, wants a ROBERT COOTE, MAGGIE SMITH. Directed by Anthony Asquith. fnanwitH rnortey , Produced by Anotole de Grunwald. ® ( Pana vision and Color fEAlELI Me IN THE COOL OF THE DAY” ) ^sses JANE FONDA, PETER FINCH, ANGELA LANSBURY, ARTHUR HILL. Mc^f^itH the Directed by Robert Stevens. Produced by John Houseman. THE MAIN ATTRACTION” (Metrocolor) PAT BOONE and NANCY KWAN. Directed by Daniel Petrie. Produced LPS**,MINDI// by John Patrick. A Seven Arts Production. CATTLE KING” [Eastmancolor) ROBERT TAYLOR, JOAN CAULFIELD, ROBERT LOGGIA, ROBERT MIDDLETON, LARRY GATES. Directed by Toy Garnett. Produced by Nat Holt. CAPTAIN SINDBAD” ( Technicolor— WondroScope) GUY WILLIAMS, HEIDI BRUEHL, PEDRO ARMENDARIZ, ABRAHAM SOFAER. Directed by Byron Haskin. A Kings Brothers Production.
    [Show full text]
  • 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.
    [Show full text]
  • Felix Issue 016, 1951
    3" EVERY FORTNIGHT Ho. 18 IMPERIAL COLLEGE FRIDAY 23 FEBRUARY 1951 REFECTORY COMMITTEE TRIES AGAIN CATERING FIRM CALLED IN. Aa foreshadowed in the last issue of FELIX, the Refectory Committee INTER COLLEGE has proposed and the Governing Body has agreed to a major change in the management of the I.C.Refectory. The Committee has been considering for EXPERIMENT some time a aeries of plans, based on figures and information worked out in great detail by the present Management, which were designed to reduce the As announced in FiLIX no. 16, the in- yearly deficit. Several were discusaed at considerable length and the 1 augural 'South Ken. Link-up - of the eventual choice fell between two. Royal Colleges of Art, Music and Sci- Briefly, the firat plan took the Hoatel catering away from the ence - took place on 5&h February in Refectory, whioh would then have been used only for lunohea, teaa and I.C. Union. It was the first 'pub- "functions". This plan was finally shelved in favour of the second lic' result of the deliberations of for various reasons, the principal one perhaps being that Bupport for it was, an intercollegiate committee, formed leaa unanimous than the Committee felt was necessary to warrant recommendation to organize closer social relations of ao draatic a atep. berween the colleges. A debate on The eeoond plan was to call in the firm of caterers who had been the relation of Art, Music and Scie- auocesaful at U.O. and see if they could taokle our problem with equal succesa.| nce to each other and their students This has bean done; and from Easter the firm will be in charge of the was followed by an informal buffet- Refeotory.
    [Show full text]