Reading List for Atypically British: the Films of Powell and Pressburger

Total Page：16

File Type：pdf, Size：1020Kb

Reading List for Atypically British: the Films of Powell and Pressburger

DEPARTMENT FOR CONTINUING EDUCATION Rewley House, 1 Wellington Square, Oxford, OX1 2JA Tel: +44 (0)1865 270360 Fax: +44 (0)1865 280760 [email protected] www.conted.ox.ac.uk READING LIST Course Title: Atypically British: The Films of Powell and Pressburger Location: Ewert House, Oxford Term Dates: 21 Apr 2020 to 16 Jun 2020 Tutor: Pete Boss The reading list below was supplied by the course tutor. If you have enrolled on a course starting in the autumn, you can become a borrowing member of the Rewley House library from 1st September. If you are enrolled on a course starting in other terms, you can become a borrowing member once the previous term has ended. For example, students starting in January can join the Library in early December and those starting in April can join in early March. If you are planning to purchase any books, please keep in mind that courses with insufficient students enrolled will be cancelled. The Department accepts no responsibility for books bought in anticipation of a course running. Preparatory Reading List The items on this list are to give you some background to the materials and ideas that we will be covering on the course. Author Title Christie, I Arrows of Desire: The Films of Michael Powell and Emeric Pressburger Gough-Yates, K Michael Powell Jawolke, S Emeric Pressburger: The Life and Death of a Screenwriter Jawolke, S The Films of Michael Powell and the Archers Moor, A Powell & Pressburger : A Cinema of Magic Spaces Powell, M A Life in Movies: An Autobiography Course Reading List The items on this list are to support your learning while you are taking the course. Author Title Page 1/2 DEPARTMENT FOR CONTINUING EDUCATION Rewley House, 1 Wellington Square, Oxford, OX1 2JA Tel: +44 (0)1865 270360 Fax: +44 (0)1865 280760 [email protected] www.conted.ox.ac.uk Barr, C All Our Yesterdays: 90 Years of British Cinema British Genres: Cinema Landy, M and Society 1930-1960 Christie A Matter of Life and Death Christie, I and Moor, A The Cinema of Michael Powell: international perspectives on an eds. English Filmmaker Cook, P I Know Where I'm Going! Hockenhull, S Neo-Romantic Landscapes: An Aesthetic Approach to the Films of Powell and Pressburger Howard, J I LIve Cinema: The Life and Films of Michael Powell Lazar, D Michael Powell: Interviews Mackillop, I and Sinyard, British cinema of the 1950s:A Celebration S Murphy ed. The British Cinema Book 2nd Ed Murphy, R Realism and Tinsel: Cinema and Society in Britain, 1939-49 Orr, J Romantics and Modernists in British Cinema Powell, M Million Dollar Movie Sergeant, A British Cinema: A Critical and Interpretive History Street, S Black Narcissus Street, S British National Cinema Page 2/2.

Copy Link

Recommended publications

Michael Powell and Emeric Pressburger, a MATTER of LIFE and DEATH/ STAIRWAY to HEAVEN (1946, 104 Min)
December 8 (XXXI:15) Michael Powell and Emeric Pressburger, A MATTER OF LIFE AND DEATH/ STAIRWAY TO HEAVEN (1946, 104 min) (The version of this handout on the website has color images and hot urls.) Written, Produced and Directed by Michael Powell & Emeric Pressburger Music by Allan Gray Cinematography by Jack Cardiff Film Edited by Reginald Mills Camera Operator...Geoffrey Unsworth David Niven…Peter Carter Kim Hunter…June Robert Coote…Bob Kathleen Byron…An Angel Richard Attenborough…An English Pilot Bonar Colleano…An American Pilot Joan Maude…Chief Recorder Marius Goring…Conductor 71 Roger Livesey…Doctor Reeves Robert Atkins…The Vicar Bob Roberts…Dr. Gaertler Hour of Glory (1949), The Red Shoes (1948), Black Narcissus Edwin Max…Dr. Mc.Ewen (1947), A Matter of Life and Death (1946), 'I Know Where I'm Betty Potter…Mrs. Tucker Going!' (1945), A Canterbury Tale (1944), The Life and Death of Abraham Sofaer…The Judge Colonel Blimp (1943), One of Our Aircraft Is Missing (1942), 49th Raymond Massey…Abraham Farlan Parallel (1941), The Thief of Bagdad (1940), Blackout (1940), The Robert Arden…GI Playing Bottom Lion Has Wings (1939), The Edge of the World (1937), Someday Robert Beatty…US Crewman (1935), Something Always Happens (1934), C.O.D. (1932), Hotel Tommy Duggan…Patrick Aloyusius Mahoney Splendide (1932) and My Friend the King (1932). Erik…Spaniel John Longden…Narrator of introduction Emeric Pressburger (b. December 5, 1902 in Miskolc, Austria- Hungary [now Hungary] —d. February 5, 1988, age 85, in Michael Powell (b. September 30, 1905 in Kent, England—d. Saxstead, Suffolk, England) won the 1943 Oscar for Best Writing, February 19, 1990, age 84, in Gloucestershire, England) was Original Story for 49th Parallel (1941) and was nominated the nominated with Emeric Pressburger for an Oscar in 1943 for Best same year for the Best Screenplay for One of Our Aircraft Is Writing, Original Screenplay for One of Our Aircraft Is Missing Missing (1942) which he shared with Michael Powell and 49th (1942).
[Show full text]
The Representation of Reality and Fantasy in the Films of Powell and Pressburger: 1939-1946
The Representation of Reality and Fantasy In the Films of Powell and Pressburger 1939-1946 Valerie Wilson University College London PhD May 2001 ProQuest Number: U642581 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 complete 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 U642581 Published by ProQuest LLC(2015). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. Microform Edition © ProQuest LLC. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 The Representation of Reality and Fantasy In the Films of Powell and Pressburger: 1939-1946 This thesis will examine the films planned or made by Powell and Pressburger in this period, with these aims: to demonstrate the way the contemporary realities of wartime Britain (political, social, cultural, economic) are represented in these films, and how the realities of British history (together with information supplied by the Ministry of Information and other government ministries) form the basis of much of their propaganda. to chart the changes in the stylistic combination of realism, naturalism, expressionism and surrealism, to show that all of these films are neither purely realist nor seamless products of artifice but carefully constructed narratives which use fantasy genres (spy stories, rural myths, futuristic utopias, dreams and hallucinations) to convey their message.
[Show full text]
Blind Spot: Hitler's Secretary
Blind Spot: Hitler’s Secretary Dir: Andre Heller and Othmar Schmiderer, Austria, 2003 A review by Jessica Lang, John Hopkins University, USA Blind Spot: Hitler's Secretary, a documentary film directed by Andre Heller and Othmar Schmiderer, is the first published account of Traudl Humps Junge's memories as Hitler's secretary from 1942 until his suicide in 1945. The ninety minute film, which came out in 2002, was edited from more than ten hours of footage. The result is a disturbing compilation of memories and reflections on those memories that, while interesting enough, are presented in a way that is at best uneven. Part of this unevenness is a product of the film's distribution of time: while it begins with Junge's recalling how she interviewed for her secretarial position in order to quit another less enjoyable job, most of it is spent reflecting on Hitler as his regime and military conquests collapsed around him. But the film also is not balanced in terms of its reflectivity, abandoning halfway through some of its most interesting and most important narrative strategies. In terms of its construction, the film involves Junge speaking directly to the camera. She speaks with little prompting (that the audience can hear, at least) and appears to have retained a footprint of war memories that has remained almost perfectly intact through the sixty years she has kept them largely to herself. Interrupted by sudden editing breaks, the viewer is rushed through the first two and a half years of Junge's employment in the first half of the film.
[Show full text]
Canterbury Christ Church University's Repository of Research Outputs Http
Canterbury Christ Church University’s repository of research outputs http://create.canterbury.ac.uk Please cite this publication as follows: Fox, K. (2019) Paddy the Cope, Michael Powell and the story of the unmade film. Donegal Annual: Journal of the Donegal Historical Society. (In Press) Link to official URL (if available): This version is made available in accordance with publishers’ policies. All material made available by CReaTE is protected by intellectual property law, including copyright law. Any use made of the contents should comply with the relevant law. Contact: [email protected] Dr Ken Fox, School of Media, Art and Design, Canterbury Christ Church University Paddy the Cope, Michael Powell and the story of the unmade film. As a native of Donegal with some knowledge of Paddy the Cope’s legendary status I find myself working in a University film department housed in the Powell Building, named after Michael Powell. The opportunity to bring Donegal and Powell’s Canterbury back together again was too serendipitous to miss. The story of Paddy the Cope was another of those films which only I would want to make and which I certainly should have made (Powell, 1986: 565). Almost ten pages of the first volume of Michael Powell’s (1905-90) autobiography is taken up with the trip to Ireland in 1946, the journey on horseback from Dublin to Dungloe to meet Paddy the Cope, at least near Dungloe, as by most accounts the horses were stabled at Inver and had to be returned to their owners in Dublin. Powell’s sojourn through Ireland provided so much publicity and incident it is surprising the trek has not become the basis for some retelling in film, television, radio, prose or theatre.
[Show full text]
Archers Assemble: Creating the Powell-Pressburger Partnership
23 SEPTEMBER 2019 Archers Assemble: Creating the Powell-Pressburger Partnership PROFESSOR IAN CHRISTIE A talk about Michael Powell and Emeric Pressburger obviously shouldn’t start at the beginning. If we follow the dream-like logic of many of their films, it should probably start at the end, or even later. In fact, Powell showed the way, when he ended his second volume of memoirs, Million Dollar Movie, with a visit to Pressburger at his Suffolk retreat, Shoemaker’s Cottage. He has Emeric explain what the secret of their partnership: ‘you and I know what it means… The only secret is that we are amateurs. Telling a story is not a business. It is an art, and we are different from other artists because we were left alone by Arthur Rank for ten years to go our own sweet way, thinking we were professionals.’ That imagined visit is actually dated to the day of Pressburger’s death, in February 1988, and it was published five years later, after Powell’s own death. Like the endings, and beginnings, of many of their great films, it offers an enigmatic clue to what made their work remarkable, and probably unique in 1940s cinema. Both Powell and Pressburger had benefited from a hard schooling in film construction during the 1930s. Pressburger had worked his way up in the script department of UFA, Europe’s most professional film organisation, before he was forced to start again, in another language, in Paris after Hitler came to power; and yet again, in yet another language in Britain, working for fellow-Hungarian Alexander Korda.
[Show full text]
Cinema at the End of Empire: a Politics of Transition
cinema at the end of empire CINEMA AT duke university press * Durham and London * 2006 priya jaikumar THE END OF EMPIRE A Politics of Transition in Britain and India © 2006 Duke University Press * All rights reserved Printed in the United States of America on acid-free paper Designed by Amy Ruth Buchanan Typeset in Quadraat by Tseng Information Systems, Inc. Library of Congress Cataloging-in-Publication Data and permissions information appear on the last printed page of this book. For my parents malati and jaikumar * * As we look back at the cultural archive, we begin to reread it not univocally but contrapuntally, with a simultaneous awareness both of the metropolitan history that is narrated and of those other histories against which (and together with which) the dominating discourse acts. —Edward Said, Culture and Imperialism CONTENTS List of Illustrations xi Acknowledgments xiii Introduction 1 1. Film Policy and Film Aesthetics as Cultural Archives 13 part one * imperial governmentality 2. Acts of Transition: The British Cinematograph Films Acts of 1927 and 1938 41 3. Empire and Embarrassment: Colonial Forms of Knowledge about Cinema 65 part two * imperial redemption 4. Realism and Empire 107 5. Romance and Empire 135 6. Modernism and Empire 165 part three * colonial autonomy 7. Historical Romances and Modernist Myths in Indian Cinema 195 Notes 239 Bibliography 289 Index of Films 309 General Index 313 ILLUSTRATIONS 1. Reproduction of ‘‘Following the E.M.B.’s Lead,’’ The Bioscope Service Supplement (11 August 1927) 24 2. ‘‘Of cource [sic] it is unjust, but what can we do before the authority.’’ Intertitles from Ghulami nu Patan (Agarwal, 1931) 32 3.
[Show full text]
Ursula in This Issue
RVW No.30 June 2004 Final.ps - 6/3/2004 13:37 PM Journal of the No.30 June 2004 EDITOR Stephen Connock (see address below) RVWSociety A Celebration for Ursula In this issue... G The Films of Powell and At a memorable evening on Tuesday 2 March 2004 a packed Recital Hall of the Royal Pressburger – an overview rd College of Music celebrated both Ursula Vaughan Williams’s 93 birthday and the launch of by Rolf Jordan two new books. Each of the new books featured Ursula – There was a time drawing Page . 3 photographs of RVW from her collection and The Complete Poems now including a new short story, Fall of Leaf. G Long association RVW and the WI Dame Janet Ritterman, Principal of the RCM, spoke of Ralph Vaughan Williams’s long association by Lorna Gibson with the College, a relationship that has continued through Ursula. She said that the RCM was Page . 7 thrilled to be hosting the launch ceremony for the RVW Society’s new books and she explained that all the performers were students, or past students, of the College. Stephen Connock then described the new books to the audience, who included many representatives of the press. To G RVW and the early Ursula’s delight he then led the assembled soloists in a superb rendition of Happy Birthday to 20th Century Ursula! by E J Hysom Poetry and Music Page . 15 The concert interspersed Ursula’s poetry with Ralph’s music. Many of the spoken texts were about Ralph – such as Tired and excerpts from The Dictated Theme.
[Show full text]
Black Narcissus, Repressed Female Sexuality & Its Brilliant Use Of
Matthew A. Sheldon Film Studies 380 Jocelyn Szczepaniak-Gillence Reading Response 3: Black Narcissus (1947) The director team of Michael Powell & Emeric Pressburger are considered one of my favorite film director teams of all time, and I would place them aside other legendary British directors like Alfred Hitchcock, David Lean and Carol Reed. Powell was the director and Pressburger was the writer, but they always chose to take double credit as writer-directors, and were known as The Archers; with their iconic logo which was an arrow hitting its target. This director’s team were very influential for young aspiring directors, most famously the great Martin Scorsese who has loved their work since he was a boy, and has helped on numerous occasions to get their films restored and re-released throughout the decades. Powell and Pressburger have created several masterpieces together including such titles as The Life and Death of Colonel Blimp which flashes back between the life of an extraordinary man, The Thief of Bagdad which is an amazing special effects fantasy film which I would place on par with The Wizard of Oz, A Matter of Life and Death a fantasy romance that involves the courts of the heavens and the of love a earth woman; and finally the tragic musical The Red Shoes, my favorite from the team, which tells a traditional Hollywood romance about a young ballerina who becomes an overnight sensation and falls in love with the composer of the ballet that inspired her. Powell & Pressburger were brilliant storytellers but what made them stand out from many of their cinematic colleagues was their beautiful use of color throughout several of their films.
[Show full text]
Institute of Art Design and Technology, Dun Laoghaire Faculty
Institute of Art Design and Technology, Dun Laoghaire Faculty of Creative Technologies Innovation in Cinematic Expression: How Michael Powell & Emeric Pressburger Communicate and Interrogate the Mental Trauma of a Protagonist By Dan Seymour Submitted to the Faculty of Creative Technologies in candidacy for the Bachelor of Arts Honours Degree in Film and Television Production, Faculty of Creative Technologies 2021 Declaration of Originality This dissertation is submitted by the undersigned to the Institute of Art Design & Technology, Dun Laoghaire in partial fulfillment of the examination for the BA (Hons) in Film and Television Production. It is entirely the author’s own work except where noted and has not been submitted for an award from this or any other educational institution. Signed: Dan Seymour Page | 2 Acknowledgements Tom Kennedy Paul Freaney IADT Library JSTOR.org Page | 3 Contents • Declaration of Originality…………………………………………… 2 • Acknowledgements………………………………………………….… 3 • Contents……………………………………………………………………. 4 • Pictures Included……………………………………………………….. 5 • Introduction………………………………………………………………. 6 • Chapter 1: A Matter of Life and Death……………………….. 8 • Chapter 2: Black Narcissus………………………………………… 17 • Chapter 3: The Red Shoes………………………………………….. 27 • Conclusion…………………………………………………………………. 40 • Bibliography……………………………………………………………….. 43 • Filmography…………………………………………………………..…… 44 Page | 4 Pictures Included Figure 1, A Matter of Life and Death (1946), photo credit to The Archers; J. Arthur Rank Figure 2, A Matter of Life and Death (1946), photo credit to The Archers; J. Arthur Rank Figure 3, A Matter of Life and Death (1946), photo credit to The Archers; J. Arthur Rank Figure 4, A Matter of Life and Death (1946), photo credit to The Archers; J. Arthur Rank Figure 5, A Matter of Life and Death (1946), photo credit to The Archers; J.
[Show full text]
Michael Powell and Emeric Pressburger
February 11, 2020 (XL:3) Michael Powell and Emeric Pressburger: THE LIFE AND DEATH OF COLONEL BLIMP (1943, 163m) The version of this Goldenrod Handout sent out in our Monday mailing, and the one online, has hot links. Spelling and Style—use of italics, quotation marks or nothing at all for titles, e.g.—follows the form of the sources. DIRECTORS Michael Powell and Emeric Pressburger WRITING Michael Powell and Emeric Pressburger PRODUCERS Michael Powell and Emeric Pressburger MUSIC Allan Gray CINEMATOGRAPHY Georges Périnal TECHNICOLOR CAMERMEN: Jack Cardiff, Harold Haysom, Geoffrey Unsworth EDITING John Seabourne Sr. CAST James McKechnie...Spud Wilson Neville Mapp...Stuffy Graves Vincent Holman...Club Porter (1942) Roger Livesey ...Clive Candy David Hutcheson...Hoppy Spencer Trevor...Period Blimp Roland Culver ...Colonel Betteridge James Knight...Club Porter (1902) Deborah Kerr...Edith Hunter / Barbara Wynne / Angela W.H. Barrett...The Texan (as Capt. W.H. Barrett U.S. 'Johnny' Cannon Army) Dennis Arundell...Café Orchestra Leader Thomas Palmer...The Sergeant (as Corp. Thomas Palmer David Ward...Kaunitz U.S. Army) Jan Van Loewen...Indignant Citizen Yvonne Andre ...The Nun (as Yvonne Andrée) Valentine Dyall...von Schönborn Marjorie Gresley...The Matron Carl Jaffe...von Reumann (as Carl Jaffé) Felix Aylmer...The Bishop Albert Lieven...von Ritter Helen Debroy Summers...Mrs. Wynne (as Helen Debroy) Eric Maturin...Colonel Goodhead Norman Pierce...Mr. Wynne Frith Banbury...Baby-Face Fitzroy Harry Welchman...Major Davies Robert Harris...Embassy Secretary A.E. Matthews...President of Tribunal Arthur Wontner...Embassy Counsellor Edward Cooper...B.B.C. Official Theodore Zichy...Colonel Borg (as Count Zichy) Joan Swinstead...Secretary Anton Walbrook...Theo Kretschmar-Schuldorff Jane Millican...Nurse Erna MICHAEL POWELL (b.
[Show full text]
THE RED SHOES (1948, 113 Min)
September 20, 2011 (XXIII:4) Michael Powell and Emeric Pressburger, THE RED SHOES (1948, 113 min) Directed by Michael Powell, Emeric Pressburger Written by Hans Christian Andersen (fairy tale), Emeric Pressburger, Michael Powell, Keith Winter Produced by Michael Powell, Emeric Pressburger Original Music by Brian Easdale Conducted by Thomas Beecham Choreography by Robert Helpmann Cinematography by Jack Cardiff Edited by Reginald Mills Production Design by Hein Heckroth Art Direction by Arthur Lawson Costume Design by Hein Heckroth (uncredited) Visual Effects by F. George Gunn, E. Hague, Les Bowie Dresses and Wardrobe by Carven of Paris, Jacques Fath of Paris, Mattli of London, Dorothy Edwards, Miss Tcherina (uncredited) 1959 Honeymoon, 1957 Night Ambush, 1956 Pursuit of the Graf Spee, 1955 Oh... Rosalinda!!, 1951 The Tales of Hoffmann, 1950 Marius Goring...Julian Craster Gone to Earth, 1948 The Red Shoes, 1947 Black Narcissus, 1946 Jean Short...Terry Stairway to Heaven, 1945 'I Know Where I'm Going!', 1944 A Gordon Littmann...Ike Canterbury Tale, 1943 The Life and Death of Colonel Blimp, Julia Lang...A Balletomane 1942 One of Our Aircraft Is Missing, 1941 49th Parallel, 1940 Bill Shine...Her Mate The Thief of Bagdad, 1937 The Edge of the World, 1935 Leonide Massine...Ljubov / Shoemaker Someday, 1935 The Murder Party, 1935 The Girl in the Crowd, Anton Walbrook...Boris Lermontov 1933 Born Lucky, 1932 C.O.D., 1932 Rynox, and 1932 My Austin Trevor...Professor Palmer Friend the King. Esmond Knight...Livy Emeric Pressburger (December 5, 1902 in Miskolc, Austria- Eric Berry...Dimitri Hungary – February 5, 1988, Saxstead, Suffolk, England) won an Irene Browne...Lady Neston Oscar for Best Writing, Original Story for 49th Parallel (1941).
[Show full text]
University of California
UC Riverside UC Riverside Electronic Theses and Dissertations Title “Doing His Bit”: Ralph Vaughan Williams’s Music for British Wartime Propaganda Films Permalink https://escholarship.org/uc/item/1ft1h11j Author Howerton, Jaclyn Publication Date 2019 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA RIVERSIDE “Doing His Bit”: Ralph Vaughan Williams’s Music for British Wartime Propaganda Films A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music by Jaclyn Howerton September 2019 Dissertation Committee: Dr. Byron Adams, Chairperson Dr. Walter Clark Dr. Rogerio Budasz Dr. Leonora Saavedra Copyright by Jaclyn Howerton 2019 The Dissertation of Jaclyn Howerton is approved: Committee Chairperson University of California, Riverside ACKNOWLEDGMENTS This dissertation would not have been completed without the generous help and support of: The University of California The University of California, Riverside Music Department and Media and Cultural Studies Department The British Library The British Film Institute The British National Archives and Public Records Office The Victoria and Albert Blythe House The John Rylands Library The Royal College of Music Library The Ralph Vaughan Williams Charitable Trust American Musicological Society Harold Powers World Travel Fund Grant Ernest Propes Endowed Graduate Fellowship from the University of California, Riverside Gluck Fellowship for the Arts Award from the University of California, Riverside Humanities Graduate Studies Research Fellowship from the University of California, Riverside Graduate Dean’s Dissertation Research Grant from the University of California, Riverside Hugh Cobbe OBE Dr. Joyce Kennedy Dr. Byron Adams Dr. Water Clark Dr.
[Show full text]