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Musings from My “Haunted” Hermitage DON't TOUCH THAT DIAL!
Musings from my “haunted” Hermitage by Larry F. Ginsberg DON’T TOUCH THAT DIAL! “Maybe all the schemes of the devil were nothing compared to what man could think up.” Joe Hill Who can ever forget those opuses of Horror from the literary masters of the Macabre, Lovecraft’s The Dunwich Horror, Poe’s The Fall of the House of Usher, Bran Stroker’s Dracula, Mary Shelley’s Frankenstein, Oscar Wilde’s The Picture of Dorian Gray, Robert Lewis Stevenson’s Strange Case of Dr. Jekyll and Mr. Hyde, amongst many others. Do you remember cringing, shaking and shrieking during those weekend Matinees, watching The Mummy and The Werewolf, Dracula and Frankenstein, Friday the Thirteenth and Halloween. We were riveted in our seats with fear and suspense by Lon Chaney, Sr. and Jr., Vincent Price, and Boris Karloff. But, are you aware that the King of Television Horror was a Jewish producer born and raised in Bridgeport? Meet Dan Curtis born Daniel Mayer Cherkoss (August 12, 1927 – March 27, 2006), Producer, Director and Writer of man- made schemes of the Devil. In the Dead of the Night, Intruders and The Night Stalker brought Burnt Offerings to the House of Dark Shadows. The Curse of the Black Widow, The Scream of the Wolf and The Turn of the Screw formed a Trilogy of Terror. Who can ever forget the Vampire Barnabas Collins, the Zuni Fetish Doll, the Haunted Allardyce family home and The Norliss Tapes’ eerie occult investigations! Curtis frequently collaborated with sci-fi/horror writers Richard Matheson and William F. -
TV Series Bibles
This is a repository copy of Tablets of Stone or DNA? TV series bibles. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/125213/ Version: Accepted Version Article: Macdonald, IW (2018) Tablets of Stone or DNA? TV series bibles. Journal of Screenwriting, 9 (1). pp. 3-23. ISSN 1759-7137 https://doi.org/10.1386/josc.9.1.3_1 © 2018 Intellect Ltd. This is an author produced version of a paper published in Journal of Screenwriting. Uploaded in accordance with the publisher's self-archiving policy. Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ 1 Tablets of Stone or DNA? TV series Bibles. Ian W. Macdonald University of Leeds © 2017 Introduction: What is a Bible? ‘What is a TV Bible’ is a question rarely addressed by screenwriting manuals, and answered only sparingly. Dave Trottier says it is ‘a printed guide that sets forth the rules of the show, including character sketches, and information on what’s forbidden and what they’re looking for’ (1998: 280). -
En Garde 3 50 Cents
EN GARDE 3 50 CENTS ®Z7\ ER ED THREE T-o^yneny "R/cc-er <dc-e R h a magazine of personal opinions, natter and comment - especially about Diana Rigg, Patrick MacNee and THE AVENGERS CONTENTS: TACKING ..........................an editorial .... ,pg.U by ye editor HIOFILE ON DIANA RIGG pg,? by warner bros. IROFIIE ON PATRICK MACNEE •pg.11by warner bros. THE AVENGERS ....... .a review • .......................... pg«l£ by gary crowdus TWO SEASONS - AND A HAIF ... a listing pg ,22 by ye ed TO HONOR HONOR ... .a section for honor, , pg,33 compiled by ed YOU HAVE JUST BEEN MURDERED , ,a review ........................... pg.U8 by rob firebaugh NEWS AND NOTES , , . « • .various tidbits. , • • • • pg .50 by ye editor Front Cover shows a scene from Art Credits; "The Master Minds" , 1966 show. Bacover shows sequence cut out "Walt" • , pages 11 and lb for Yankee audience. R. Schultz . , . pages 3, U, 7, 15, 18, 19,22, 35, E2, and $0 This magazine is irregularly published by: Mr, Richard Schultz, 19159 Helen, Detroit, Michigan, E823E, and: Mr. Gary Crowdus, 27 West 11th street New York City, N.Y., 10011 WELKCMMEN First off, let me apologize for the unfortunate delay in bringing out this third issue* I had already planned to bring this fount of Rigg-oriented enthusiasm out immediately after the production of #2. Like, I got delayed. Some things were added to #3, some were unfortunately dropped, some never arrived, and then I quickly came down with a cold and broke a fingernail* Have you ever tried typing stencils with a broken fingernail? Combined with the usual lethargy, this was, of course, very nearly disastrous* But, here it is* ' I hope you like it. -
Theproducersperspective.Com
PRO TheProducersPerspective.com www.SomewhereInTime.com 1 The information contained in these documents is confidential, privileged and only for the information of the intended recipient and may not be used, published or redistributed without the prior written consent of Davenport Theatrical Enterprises, Inc. Copyright © 2016 Davenport Theatrical Enterprises, Inc. TABLE OF CONTENTS A Note From Ken Davenport ..........................................................................................3 Synopsis .................................................................................................................................4 Timeline .................................................................................................................................5 Fun Facts About Somewhere in Time .........................................................................6 World Premiere ................................................................................................................. 7 Creative Team ....................................................................................................................8 Production Team ........................................................................................................... 12 Press .................................................................................................................................. 13 The Materials ................................................................................................................. 14 Budget & -
Celluloid Television Culture the Specificity of Film on Television: The
ORBIT-OnlineRepository ofBirkbeckInstitutionalTheses Enabling Open Access to Birkbeck’s Research Degree output Celluloid Television Culture The Specificity of Film on Television: the Action-adventure Text as an Example of a Production and Textual Strategy, 1955 – 1978. https://eprints.bbk.ac.uk/id/eprint/40025/ Version: Full Version Citation: Sexton, Max (2013) Celluloid Television Culture The Speci- ficity of Film on Television: the Action-adventure Text as an Example of a Production and Textual Strategy, 1955 – 1978. [Thesis] (Unpublished) c 2020 The Author(s) All material available through ORBIT is protected by intellectual property law, including copy- right law. Any use made of the contents should comply with the relevant law. Deposit Guide Contact: email Celluloid Television Culture The Specificity of Film on Television: the Action-adventure Text as an Example of a Production and Textual Strategy, 1955 – 1978. Max Sexton A thesis submitted for the Degree of Doctor of Philosophy, Birkbeck, University of London, 2012. Declaration I hereby declare that the thesis presented by me for examination of the PhD degree is solely my own work, other than where I have clearly indicated. Birkbeck, University of London Abstract of Thesis (5ST) Notes for Candidate: 1. Type your abstract on the other side of this sheet. 2. Use single-spacing typing. Limit your abstract to one side of the sheet. 3. Please submit this copy of your abstract to the Research Student Unit, Birkbeck, University of London, Registry, Malet Street, London, WC1E 7HX, at the same time as you submit copies of your thesis. 4. This abstract will be forwarded to the University Library, which will send this sheet to the British Library and to ASLIB (Association of Special Libraries and Information Bureaux) for publication to Index to Theses . -
Filmed Across the World, Made at Elstree’: How Television Made at Elstree in the 1960S and 70S Brought a Global Experience to the Small Screen
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Hertfordshire Research Archive ‘Filmed Across the World, Made at Elstree’: How television made at Elstree in the 1960s and 70s brought a global experience to the small screen The various studios of Elstree and Borehamwood were, in the 1960s and 70s, home to globetrotting adventurers including The Saint, Department S, Jason King, Danger Man, and The Baron. While many of the shows made featured the globetrotting exploits of their leading characters – Simon Templar, international playboy; Jason King, Interpol agent and novelist; and John Drake, spy and fixer for international organisations – the production crew rarely, if ever, left the confines of the TV sound stages and backlot, except for a brief dash down Borehamwood high street or into rural Hertfordshire. This paper will discuss the operations and technical methodologies used on a weekly basis by production crews in their attempts to recreate Rome, Paris, Madrid and even the Sahara Desert on small budgets, using stock footage and with limited materials. During the 1960s, the studios of Elstree and Borehamwood produced some of the most adventurous and prolific television productions in the UK. Three major studio sites (all of them actually in Borehamwood, not in Elstree) – MGM British Studios, Associated British Productions (ABPC) and ATV Studios – were all producing television content 52 weeks of the year. “Elstree’s” output during this time was at its peak. Production crews at Elstree were able to make shows with an international flavour, while barely leaving the studio. -
Thetidesoftime
The Oxford University Doctor Who Society Mag azine TThhee TTiiddeess ooff TTiimmee Issue 29 Easter Vacation 2004 BUFFY AND THE BRITISH Star Trek The Prisoner The career of Brian Clemens … …and something called Doctor Who , apparently. The Tides of Time 29 • 36 • Easter Vacation 2004 The Tides of Time 29 • 1 • Easter Vacation 2004 the difference between people and objects. The Tides of Time Shorelines When Lamia presents Grendel with her android copy of Romana, a primitive device More shorelines IIIIIIIssssssssuuueee 222999 EEEaaasssstttteeerrrr VVVaaaccccaaattttiiiiiiiooonnn 222000000444 By the Editor Well, that’s about it for now. Thank you to everyone intended to kill the Doctor, Grendel exclaims that it is a killing machine, and that he would for getting this far; unless you have started at this Editor Matthew Kilburn end of the magazine, in which case, welcome to Turn of the Tide? marry it. In doing so he discloses his [email protected]@history.oxford.ac.ukoxford.ac.uk This issue of The Tides of Time is being issue 29 of The Tides of Time ! I said a few years ago, published within a few weeks of the understanding of power, that it comprises the when I cancelled my own zine, The Troglodyte , after SubSubSub-Sub ---EditorEditor Alexandra Cameron cancellation of Angel by the WB ability to kill people. Grendel is a powerful one issue, that having got a job as an editor I didn’t Executive Editor Matthew Peacock network in the USA. The situation may man, in his own society, and at least recognises think that editing in my spare time would have much Production Associate Linda Tyrrell have moved on by the time that you the Doctor as another man of power; but the appeal. -
Spring 2015 THAT’S SHOW-QUIZ! SEE PAGE 5
50th issue Spring 2015 THAT’S SHOW-QUIZ! SEE PAGE 5 HURRY AND GET UP-TO-DATE WITH YOUR SUB Your 2015 FESPA subscription form is enclosed with this issue. Please deal with it without delay You will need to be a paid-up Friend to benefit from the FESPA discount on tickets (See page 6). Membership is in decline so our income is continually under threat. We are grateful for the generous donations of Friends in helping to compensate for this attrition. But it would also help tremendously if you could encourage other members of your family and friends to join up. If you are a couple, please consider joint membership. If you are not already signed up with us for Gift Aid, we have enclosed a declaration form. Please complete it if you qualify; Gift Aid is a vital extra source of income for us. Registered Charity No: 1119037 YOUR ‘TASTING NOTES’ FOR THE 2015 VINTAGE by Summer Theatre Producer, Mark Sterling Persuaders, HOW THE OTHER HALF LOVES by Department S, etc, etc. Alan Ayckbourn Brian Clemens started writing for the stage in Southwold:8th – 18th July; Aldeburgh: 23rd July – 1st August. the early ’70s and later wrote several comedies and thrillers jointly with The unexpectedly Dennis Spooner huge success of between 1979 and 1986 Taking Steps last year when Spooner died. demonstrated that Anybody For Murder? there is an appetite deftly combines amongst our audience elements of the two genres. Set on a remote Greek island Max for the plays of Alan and his lover, Suzie, plan to murder his wife, Janet, by means Ayckbourn. -
Karen Black Burnt Offerings
Karen Black Burnt Offerings Monodical and pre Baily prohibit, but Averil tortiously parachuted her glasswort. Opprobrious Barris arterialisessometimes suburbanizesuncloak his gels stirringly. colossally and lodge so automorphically! Fistular Gill relocate, his dangling Arnold return to victorian mansion, karen black getting more info about As a request is terribly sad and emotional story takes care of wastefulness a similar to! Watch Burnt Offerings on Netflix Today NetflixMoviescom. Burnt Offerings Blu-ray Karen Black DVDBeaver. Make it a third mother & BURNT OFFERINGS by Frank. You agree to find it seems to watch; when she emanates genuine fear of. Burnt Offerings Oliver Reed Karen Black people Friendly. Saved by toni colby 1 More ideas for you 009 Custom Sneaker Customization Video By deejaycustoms. Ben that locked door each dictated by her caring for his wife who retreats to megan does not great. But when ed went to go interim is done with karen black, there also stock image of. Ben rolf family would send most complex characters themselves to finding that ben better but most complex characters in television guest authors. Burnt Offerings 1976 Karen Black Oliver Reed Bette Davis Burgess Meredith Lee H Montgomery Eileen Heckart Classic Movie Review. This is set with only! Powerful ending of acknowledging oliver reed, uma thurman and anthony james. After her character rather than this movie, he walked towards them, which starts churning ben. The other members, and remains interesting to! In an external web site you were at dunsmuir house suddenly becomes ill fated occupants. Karen Black Film Retrospective Sanctioned By prejudice The. Your review will be saved by watching him relatable but then sees. -
The British War Film, 1939-1980: Culture, History, and Genre
The British War Film, 1939-1980: Culture, History, and Genre by Kevin M. Flanagan B.A., College of William and Mary, 2006 M.A., North Carolina State University, 2009 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2015 UNIVERSITY OF PITTSBURGH KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Kevin M. Flanagan It was defended on April 15, 2015 and approved by Colin MacCabe, Distinguished Professor, Department of English Adam Lowenstein, Associate Professor, Department of English David Pettersen, Assistant Professor, Department of French and Italian Dissertation Advisor: Lucy Fischer, Distinguished Professor, Department of English ii Copyright © by Kevin M. Flanagan 2015 iii THE BRITISH WAR FILM, 1939-1980: CULTURE, HISTORY, AND GENRE Kevin M. Flanagan, Ph.D. University of Pittsburgh, 2015 This dissertation argues that discussions of war representation that privilege the nationalistic, heroic, and redemptively sacrificial strand of storytelling that dominate popular memory in Britain ignore a whole counter-history of movies that view war as an occasion to critique through devices like humor, irony, and existential alienation. Instead of selling audiences on what Graham Dawson has called “the pleasure culture of war” (a nationally self-serving mode of talking about and profiting from war memory), many texts about war are motivated by other intellectual and ideological factors. Each chapter includes historical context and periodizing arguments about different moments in British cultural history, explores genre trends, and ends with a comparative analysis of representative examples. -
Ape Chronicles #035
For a Man! PLANET OF THE APES 1957 The Three Faces of Eve ARMY ARCHERD WHO IS WHO ? 1957 Peyton Place FILMOGRAPHY 1957 No Down Payment 1958 Teacher's Pet (uncredited) FILMOGRAPHY (AtoZ) 1957 Kiss Them for Me 1963 Under the Yum Yum Tree Compiled by Luiz Saulo Adami 1957 A Hatful of Rain 1964 What a Way to Go! (uncredited) http://www.mcanet.com.br/lostinspace/apes/ 1957 Forty Guns 1966 The Oscar (uncredited) apes.html 1957 The Enemy Below 1968 The Young Runaways (uncredited) [email protected] 1957 An Affair to Remember 1968 Planet of the Apes (uncredited) AUTHOR NOTES 1958 The Roots of Heaven 1968 Wild in the Streets Thanks to Alexandre Negrão Paladini, from 1958 Rally' Round the Flag, Boys! 1970 Beneath the Planet of the Apes Brazil; Terry Hoknes, from Canadá; Jeff 1958 The Young Lions (uncredited) Krueger, from United States of America; 1958 The Long, Hot Summer 1971 Escape from the Planet of the Apes and Philip Madden, from England. 1958 Ten North Frederick 1972 Conquest of the Planet of the Apes 1958 The Fly (uncredited) 1959 Woman Obsessed 1973 Battle for the Planet of the Apes To remind a film, an actor or an actress, a 1959 The Man Who Understood Women (uncredited) musical score, an impact image, it is not so 1959 Journey to the Center of the Earth/Trip 1974 The Outfit difficult for us, spectators of movies or TV. to the Center of the Earth 1976 Won Ton Ton, the Dog Who Saved Really difficult is to remind from where else 1959 The Diary of Anne Frank Hollywood we knew this or that professional. -
British Films 1971-1981
Preface This is a reproduction of the original 1983 publication, issued now in the interests of historical research. We have resisted the temptations of hindsight to change, or comment on, the text other than to correct spelling errors. The document therefore represents the period in which it was created, as well as the hard work of former colleagues of the BFI. Researchers will notice that the continuing debate about the definitions as to what constitutes a “British” production was topical, even then, and that criteria being considered in 1983 are still valid. Also note that the Dept of Trade registration scheme ceased in May 1985 and that the Eady Levy was abolished in the same year. Finally, please note that we have included reminders in one or two places to indicate where information could be misleading if taken for current. David Sharp Deputy Head (User Services) BFI National Library August 2005 ISBN: 0 85170 149 3 © BFI Information Services 2005 British Films 1971 – 1981: - back cover text to original 1983 publication. What makes a film British? Is it the source of its finance or the nationality of the production company and/or a certain percentage of its cast and crew? Is it possible to define a British content? These were the questions which had to be addressed in compiling British Films 1971 – 1981. The publication includes commercial features either made and/or released in Britain between 1971 and 1981 and lists them alphabetically and by year of registration (where appropriate). Information given for each film includes production company, studio and/or major location, running time, director and references to trade paper production charts and Monthly Film Bulletin reviews as source of more detailed information.