DOCSLIB.ORG

SPIES, REAL and IMAGINED Coordinators: Lucy Kirk, Rena

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
SPIES, REAL and IMAGINED Coordinators: Lucy Kirk, Rena SPIES, REAL AND IMAGINED Coordinators: Lucy Kirk, Rena Shagan, and Maureen Sullivan "I've got a story to tell you . about spies," says Ricki Tarr in Tinker, Tailor, Soldier, Spy. Stories about spies raise many issues - morality, patriotism, recruiting, betrayal, conspiracy. They also tell us what motivates people to become spies - love of danger, ideology, money, blackmail . We investigate the matrix of issues and motivation through five books, both fiction and non-fiction, concentrating on the Cold War. We discuss the intelligence organizations, their spycraft, and the believability of the characters. Background material includes the history of the Cold War, its participants and events. Some of the best spy fiction is written by former case officers. Coordinator Lucy Kirk shares her experience constructing her own spy novel, including what a career officer can disclose about operations and how to fictionalize former colleagues. Readings: NOTE: Low cost used books are available from BookFinder.com. Any edition can be purchased. Please read entire book prior to first week's discussion of that book. 1. Tinker, Tailor, Soldier, Spy by John le Carré, {1974} FICTION: George Smiley, le Carré's continuing character, searches for a mole in Britain's Secret Intelligence Service, MI6. This is le Carré's most famous Smiley book. 2. The Main Enemy by Milton Beardon and James Risen, {2003} NONFICTION: The inside story of the CIA's final showdown with the KGB 3. Istanbul Passage by Joseph Kanon, {2012} FICTION: Formerly neutral city must take sides at the outbreak of the Cold War. 4. The Geneva Trap by Stella Rimington, {2012} FICTION: Cyber sabotage threatens West defenses. This book is strong on procedure because Rimington is the former head of Britain's MI5. She is one of the few women spy novelists. 5. An Englishman Abroad by Alan Bennett, {1983} This play is contained in Single Spies by Bennett, also available as DVD, and on Youtube. NONFICTION: Look who drops in on Australian actress Coral Browne playing in Hamlet in Moscow: Guy Burgess, one of the Cambridge Five, unconcerned about morality but missing cricket scores and silk pajamas. Lucy Kirk spent 34 years in intelligence, as a case officer and chief of station for the CIA, and so represents the factual aspects of espionage. Rena Shagan and Maureen Sullivan are devoted fans of espionage fiction and can judge when it is well written. * * * * * * * * Syllabus - A Work in Progress * * * * * * * * Week 1 Topic: Cold War causes and major players, countries involved Reading: Reading is emailed prior to week 1. Questions: 1. Why did the Cold War end? 2. Who won? Please read entire book prior to first week's discussion of that book. Weeks 2,3 Topic: Early cyber warfare between US and Russia Reading: The Geneva Trap Questions: 1. Does having a female MI5 agent change the level of intrigue? 2. How important is computer technology in anti-terrorism? Weeks 4,5 Topic: CIA vs KGB by a career intelligence officer and a NYT reporter Reading: The Main Enemy: The Inside Story of the CIA's final showdown with the KGB Questions: 1. What is the measure of success in the espionage business? 2. Which operatives described achieved success and how? Weeks 6,7 Topic: Who is the mole among 5 top British spymasters? Reading: Tinker, Tailor, Soldier, Spy Questions: 1. Spot examples of the vocabulary that le Carre introduces. 2. Why is Smiley's interrogation technique so effective? Weeks 8,9 Topic: A city and its spies--transition from the end of WWII to the Cold War Reading: Istanbul Passage Questions: 1. How does setting contribute to a spy novel? 2. How well is the moral ambiguity of espionage portrayed? Week 10 Topic: Elements of a spy novel Reading: Material is emailed prior to week 10. Speaker: Lucy Kirk discusses plot, characters and approvals required, based on her experience and that of colleagues writing about spies. Week 11 Topic: Guy Burgess on why he was never discovered until he defected: "How can he be a spy? - He goes to my tailor." Reading: An Englishman Abroad Questions: 1. Do you feel sympathy or, at least, understanding for Burgess? 2. How does Burgess manage to remain "English" even though abroad? Week 12 Topic: Wrap-up. Reading: Readings are emailed prior to week 12. Questions: 1. Is the Cold War over or are we in a new Cold War? 2. What is the value of a human spy in a world of cyber warfare and cutting edge technology? .
Load more

Recommended publications
  • The Creation of the Television Arts Documentary
    University of Warwick institutional repository: http://go.warwick.ac.uk/wrap This paper is made available online in accordance with publisher policies. Please scroll down to view the document itself. Please refer to the repository record for this item and our policy information available from the repository home page for further information. To see the final version of this paper please visit the publisher’s website. Access to the published version may require a subscription. Author(s): Mary M. Irwin Article Title: Monitor: The Creation of the Television Arts Documentary Year of publication: 2011 Link to published article: http;//dx.doi.org/10.3366/jbctv.2011.0042 Publisher statement: © Cambridge University Press Citation information: Journal of British Cinema and Television. Volume 8, Page 322-336 DOI 10.3366/jbctv.2011.0042, ISSN 1743-4521, Available Online October 2011 Monitor: The Creation of the Television Arts Documentary Mary M. Irwin Monitor (BBC, 1958–65), a series which showcased the arts and their creators and was presented by Huw Wheldon, is now remembered as the flagship of late 1950s and early 1960s arts documentary television broadcasting. In Arts TV: A History of Arts Television in Britain, John Walker describes Monitor as ‘a crucially important early series’ (1993: 45), arguing that ‘no one could deny its ground-breaking achievements’ (ibid.: 49). John Wyver, in Vision On: Film, Television and the Arts in Britain, called Monitor ‘among the BBC’s most celebrated contributions to “good broadcasting’’ ’ (2007: 27).1 In the edited collection Experimental British Te l e v i s i o n , Jamie Sexton refers to Monitor as the ‘BBC’s critically acclaimed arts series’ (Mulvey and Sexton 2007: 90), while Kay Dickinson, in the same collection, refers to it as a ‘well respected fortnightly Sunday arts magazine programme’, pointing out that this was where Ken Russell first made his name (ibid.: 70).
    [Show full text]
  • Mckinney Macartney Management Ltd
    McKinney Macartney Management Ltd AMY ROBERTS - Costume Designer THE CROWN 3 Director: Ben Caron Producers: Michael Casey, Andrew Eaton, Martin Harrison Starring: Olivia Colman, Tobias Menzies and Helena Bonham Carter Left Bank Pictures / Netflix CLEAN BREAK Director: Lewis Arnold. Producer: Karen Lewis. Starring: Adam Fergus and Kelly Thornton. Sister Pictures. BABS Director: Dominic Leclerc. Producer: Jules Hussey. Starring: Jaime Winstone and Samantha Spiro. Red Planet Pictures / BBC. TENNISON Director: David Caffrey. Producer: Ronda Smith. Starring: Stefanie Martini, Sam Reid and Blake Harrison. Noho Film and Television / La Plante Global. SWALLOWS & AMAZONS Director: Philippa Lowthorpe. Producer: Nick Barton. Starring: Rafe Spall, Kelly Macdonald, Harry Enfield, Jessica Hynes and Andrew Scott. BBC Films. AN INSPECTOR CALLS Director: Aisling Walsh. Producer: Howard Ella. Starring: David Thewlis, Miranda Richardson and Sophie Rundle. BBC / Drama Republic. PARTNERS IN CRIME Director: Ed Hall. Producer: Georgina Lowe. Starring: Jessica Raine, David Walliams, Matthew Steer and Paul Brennen. Endor Productions / Acorn Productions. Gable House, 18 –24 Turnham Green Terrace, London W4 1QP Tel: 020 8995 4747 E-mail: [email protected] www.mckinneymacartney.com VAT Reg. No: 685 1851 06 AMY ROBERTS Contd … 2 CILLA Director: Paul Whittington. Producer: Kwadjo Dajan. Starring: Sheridan Smith, Aneurin Barnard, Ed Stoppard and Melanie Hill. ITV. RTS CRAFT & DESIGN AWARD 2015 – BEST COSTUME DESIGN BAFTA Nomination 2015 – Best Costume Design JAMAICA INN Director: Philippa Lowthorpe Producer: David M. Thompson and Dan Winch. Starring: Jessica Brown Findlay, Shirley Henderson and Matthew McNulty. Origin Pictures. THE TUNNEL Director: Dominik Moll. Producer: Ruth Kenley-Letts. Starring: Stephen Dillane and Clemence Poesy. Kudos. CALL THE MIDWIFE (Series 2) Director: Philippa Lowthorpe.
    [Show full text]
  • From Real Time to Reel Time: the Films of John Schlesinger
    From Real Time to Reel Time: The Films of John Schlesinger A study of the change from objective realism to subjective reality in British cinema in the 1960s By Desmond Michael Fleming Submitted in total fulfilment of the requirements of the degree of Doctor of Philosophy November 2011 School of Culture and Communication Faculty of Arts The University of Melbourne Produced on Archival Quality Paper Declaration This is to certify that: (i) the thesis comprises only my original work towards the PhD, (ii) due acknowledgement has been made in the text to all other material used, (iii) the thesis is fewer than 100,000 words in length, exclusive of tables, maps, bibliographies and appendices. Abstract The 1960s was a period of change for the British cinema, as it was for so much else. The six feature films directed by John Schlesinger in that decade stand as an exemplar of what those changes were. They also demonstrate a fundamental change in the narrative form used by mainstream cinema. Through a close analysis of these films, A Kind of Loving, Billy Liar, Darling, Far From the Madding Crowd, Midnight Cowboy and Sunday Bloody Sunday, this thesis examines the changes as they took hold in mainstream cinema. In effect, the thesis establishes that the principal mode of narrative moved from one based on objective realism in the tradition of the documentary movement to one which took a subjective mode of narrative wherein the image on the screen, and the sounds attached, were not necessarily a record of the external world. The world of memory, the subjective world of the mind, became an integral part of the narrative.
    [Show full text]
  • Shail, Robert, British Film Directors
    BRITISH FILM DIRECTORS INTERNATIONAL FILM DIRECTOrs Series Editor: Robert Shail This series of reference guides covers the key film directors of a particular nation or continent. Each volume introduces the work of 100 contemporary and historically important figures, with entries arranged in alphabetical order as an A–Z. The Introduction to each volume sets out the existing context in relation to the study of the national cinema in question, and the place of the film director within the given production/cultural context. Each entry includes both a select bibliography and a complete filmography, and an index of film titles is provided for easy cross-referencing. BRITISH FILM DIRECTORS A CRITI Robert Shail British national cinema has produced an exceptional track record of innovative, ca creative and internationally recognised filmmakers, amongst them Alfred Hitchcock, Michael Powell and David Lean. This tradition continues today with L GUIDE the work of directors as diverse as Neil Jordan, Stephen Frears, Mike Leigh and Ken Loach. This concise, authoritative volume analyses critically the work of 100 British directors, from the innovators of the silent period to contemporary auteurs. An introduction places the individual entries in context and examines the role and status of the director within British film production. Balancing academic rigour ROBE with accessibility, British Film Directors provides an indispensable reference source for film students at all levels, as well as for the general cinema enthusiast. R Key Features T SHAIL • A complete list of each director’s British feature films • Suggested further reading on each filmmaker • A comprehensive career overview, including biographical information and an assessment of the director’s current critical standing Robert Shail is a Lecturer in Film Studies at the University of Wales Lampeter.
    [Show full text]
  • The Films of John Schlesinger by Julia Prewitt Brown
    ANTHEM PRESS INFORMATION SHEET The Films of John Schlesinger By Julia Prewitt Brown Pub Date: 24 August 2019 BISAC CATEGORY: ART / Film & Video ART / Individual Binding: Hardback Artists / General, ART / History / Contemporary (1945-) Price: £80.00 / $125.00 BISAC CODE: ART057000 ISBN: 9781783089789 BIC CODE: APFB Extent: 250 pages RIGHTS Size: 153 x 229 mm / Exclusive: WORLD 6 x 9 inches First comprehensive interpretation of the films of John Schlesinger ‘The Films of John Schlesinger’ is the first comprehensive interpretation of the films of the distinguished eponymous director. It is the first book to do full justice to the director's literary roots, film artistry and capacious understanding of modern life. Contents Introduction; Part I: Coming of Age; 1. Leading Up to ‘Midnight Cowboy’; 2. Schlesinger’s ‘Bildungsfilm’: ‘Midnight Cowboy’ and the Problem of Youth; 3. Human Emergence in a Commercial Age: ‘Madame Sousatzka’; Part II: Identity and Nation; 4. ‘An Uncomfortable Truth’: ‘The Day of the Locust’; 5. ‘Honky Tonk Freeway’ and the Risks of Embarrassing the United States; 6. An Eye for an I: Identity and Nation in Films of the Reagan-Thatcher Years (‘Yanks’, ‘An Englishman Abroad’, ‘The Falcon and the Snowman’, ‘A Question of Attribution’); Part III: The Use of the Past; 7. History Hollywood-style: ‘Far from the Madding Crowd’; 8. The Resonance of Art: ‘Sunday Bloody Sunday’; Epilogue: Refusal to Mourn: ‘Cold Comfort Farm’; Works Cited; Index. About the Author(s) / Editor(s) Julia Prewitt Brown is professor emeritus at Boston University, USA, and the author of books on Oscar Wilde, Jane Austen, and the domestic interior in literature and film.
    [Show full text]
  • JOHN SCHLESINGER [Extent 140 Archive Boxes]
    JOHN SCHLESINGER [Extent 140 Archive Boxes] INTRODUCTION JOHN RICHARD SCHLESINGER Born: London, 16 February 1926. Died: Palm Springs, California, 25 July 2003 Education: Uppingham School; Balliol College, Oxford Early Career: As an actor playing small parts in films including SINGLE- HANDED (GB,1953), The DIVIDED HEART (GB,1954), OH... ROSALINDA! (GB,1955), BATTLE OF THE RIVER PLATE (GB,1956), BROTHERS IN LAW! (GB,1956) and in television The ADVENTURES OF ROBIN HOOD (tx 1956-1957), WOMAN OF PROPERTY (tx 2/5/1957). As Director: Schlesinger's career behind the camera began with a short film BLACK LEGEND (GB,1948) and work for BBC Television writing and directing documentaries for the TONIGHT and MONITOR Series 1956-1961. A British Transport Film TERMINUS (GB,1961) written and directed by Schlesinger, launched his film career proper. Schlesinger’s feature films: A KIND OF LOVING (GB,1962), BILLY LIAR (GB,1963), DARLING (GB,1965), FAR FROM THE MADDING CROWD (GB,1967), MIDNIGHT COWBOY (US,1969), SUNDAY BLOODY SUNDAY (GB,1971), DAY OF THE LOCUST (US,1974), MARATHON MAN (US,1976), YANKS (GB,1979), HONKY TONK FREEWAY (US,1981), FALCON AND THE SNOWMAN (US,1985), BELIEVERS (US,1987), MADAME SOUSATZKA (GB,1988), PACIFIC HEIGHTS (US,1990), INNOCENT (GB,1993), EYE FOR AN EYE (US,1995), The NEXT BEST THING (US,2000). Schlesinger's television credits include: SEPARATE TABLES (tx 1983) AN ENGLISHMAN ABROAD (tx 29/11/1983), A QUESTION OF ATTRIBUTION (tx 20/10/1991) and COLD COMFORT FARM (tx 1/1/1995). Schlesinger also directed the following: OPERA LES
    [Show full text]
  • Perdidos Na Noite
    para ir para Nova York. Outra cena espécie de congregação dos digna de nota, talvez a mais bonita deslocados, espaço dos sem- apresenta do filme, é a da festa regada a espaço onde se unem artistas e drogas a que o caubói Joe é meliantes, desocupados e convidado. Espécie de registro funcionários da indústria do semi-documental dos happenings glamour. Espaço utópico, lá nossos da Factory de Andy Warhol, com heróis estarão a salvo. Mas basta o dição n 24 participação inclusive de algumas sair de lá para que tudo esteja 2 de Agosto de 2003 - E das estrelas do artista (Ultra Violet, novamente a perder. International Velvet), a festa é uma Ruy Gardnier Filmografia: 1958 Monitor (TV) 1961 Terminus 1962 A Kind of Loving (Ainda resta uma esperança) 1963 Billy Liar (O Mundo Fabuloso de Billy Liar) 1965 Darling (Darling, a que amou demais) 1967 Days in the Trees (TV) 1967 Far from the Madding Crowd (Longe deste Insensato Mundo) 1969 Midnight Cowboy (Perdidos na Noite) 1971 Sunday Bloody Sunday (Domingo Maldito) 1973 Visions of Eight 1975 The Day of the Locust (O Dia do Gafanhoto) 1976 Marathon Man (A Maratona da Morte) 1979 Yanks (Os Ianques estão chegando) 1981 Honky Tonk Freeway 1983 Separate Tables (TV) 1983 An Englishman Abroad (TV) 1985 The Falcon and the Snowman (A Traição do Falcão) 1987 The Believers (Adoradores do Diabo) 1988 Madame Sousatzka (idem) 1990 Pacific Heights (Morando com o Perigo) 1992 A Question of Attribution (TV) 1993 The Innocent (O Inocente) 1995 Cold Comfort Farm (Em Busca da Felicidade) 1996 Eye for an Eye (Olho por Olho) 1998 The Tale of Sweeney Todd (TV) Perdidos na Noite 2000 The Next Best Thing (Sobrou pra Você) DE JOHN SCHLESINGER Próximo Filme: Sinopse Joe Buck, um simplório jovem do Texas, decide abandonar um passado tortuoso e vai par Nova 09/08 Manhattan, de Woody Allen York tentar ganhar a vida como garoto de programas para madames ricas.
    [Show full text]
  • Soviet Spies in Britain: the Representation of Moles from the 1970S to the Present Through the Visual Adaptations of Tinker Tailor Soldier Spy
    三田 紗央里 | Soviet Spies in Britain Soviet Spies in Britain: the Representation of Moles from the 1970s to the Present through the Visual Adaptations of Tinker Tailor Soldier Spy Saori MITA Introduction Tinker Tailor Soldier Spy, written by English writer John le Carré in 1974, the first volume of a trilogy, which would later be followed by The Honourable Schoolboy (1977) and Smiley's People(1979), is now considered a monument of spy fiction, which, as a genre, has occupied a central place within the British cultural imaginary1. Despite its intricate plot, accurate depiction of the political tension during the Cold War and entangled time line which involves flashbacks of the protagonist, Smiley, the most prominent character in le Carré's entire literary universe, this novel was adapted twice in visual media, first as a TV miniseries(1979) not long after the novel's publication, and later as a contemporary film (2011). From the fact that as many as 32 years have passed between two visual adaptations and still both of them continue to enjoy vast popularity and positive responses from critics, the timeless quality of Tinker Tailor Soldier Spy seems unchallenged. This essay will focus on the representation of the character Bill Haydon. Haydon works as a Soviet-British double agent; although he is of high birth within British society and part of the upper echelons of the British intelligence service MI6, he simultaneously acts as the instrument of Karla, the head of Soviet intelligence. The latter, Smiley's long-term archenemy, is a threat looming over the entirety of the trilogy.
    [Show full text]
  • Rachael Sage: Music's Best-Kept Secret
    www.ExpressGayNews.com • July 28, 2003 Q1 Q_COVERstory Rachael Sage: Music’s Best-Kept Secret ‘Public Record’ May Finally Make Singer’s Talent Public Knowledge By Mary Damiano roots with “Beauty Fades.” shop.’ You learn a lot about how much you like-minded artists and folks out there, and Arts & Entertainment Editor Illusion’s Carnival was recorded in take for granted living in a big city like New I think that’s where it’s at, to find someone To listen to Rachael Sage’s voice is to New York City in the aftermath of the Sept. York.” who can relate and who can share that rather be seduced. Her breathy phrasing and 11 attacks, and the songs convey the mood Sage credits positive role models, than feeling upset by it.” hypnotic vocals hint at a mystical world and of the city. “I hope that Public Record is a including Ani DiFranco, for helping her be lure even the most jaded listener into a little less painful and internalized,” Sage forthright about the kind of person she wants Sage Advice trance—a dreamlike state filled with says. “It’s a little bit lighter, even though to be. “I think I’ve always taken it for Rachael Sage will be touring to support promise. that’s all relative. I keep trying to make that granted that I would be able to handle any Public Record, and plans to make a stop in Whether she’s singing on her own CDs happy record, and it comes out in moments. repercussions about being open about who South Florida later this year.
    [Show full text]
  • The Traitor As Patriot: Guy Burgess, Englishness and Camp in Another Country and an Englishman Abroad
    JEPC 2 (2) pp. 129–141 Intellect Limited 2011 Journal of European Popular Culture Volume 2 Number 2 © 2011 Intellect Ltd Article. English language. doi: 10.1386/jepc.2.2.129_1 Elisabetta Girelli University of St Andrews The traitor as patriot: Guy Burgess, Englishness and camp in Another Country and An Englishman Abroad Abstract Keywords This article focuses on the representation of the spy Guy Burgess, one of the famous Guy Burgess Cambridge ring, in two very successful British heritage films, An Englishman Englishness Abroad (John Schlesinger, UK, 1983) and Another Country (Marek Kanievska, spies UK, 1984). The article argues that the films rely on popular notions of Englishness as homosexuality politically safe and non-extremist, thus fabricating a view of the past that misrepre- camp sents Burgess in the effort to normalize him. Similarly, stereotypical views of gay men heritage as frivolous and non-ideological are amply exploited in the films’ portrayal of their protagonist. Burgess’s upper-class English roots are used to package him as part of the heritage experience, while his homosexuality is not only presented as the reason for spying, but it is also constructed as a camp performance, effectively defusing the threat of ideological commitment and political betrayal. The radical, lethal and devoutly Marxist Burgess is thus stripped of his ideology and turned into a safe national icon. A key scene from Another Country (Marek Kanievska, UK, 1984) shows the protagonist, Guy Bennett (Rupert Everett), in a state of distress, holding an intimate conversation with his friend Tommy (Colin Firth). Their talk takes 129 JEPC_2.2_Girelli_129-141.indd 129 7/12/12 11:35:59 AM Elisabetta Girelli place in the grounds of an old and stately building, shaded by trees and orna- mented by columns and fountains: it is a lyrical setting, a lovingly recreated image of an English public school in the 1930s.
    [Show full text]
  • 1 John Schlesinger: Billy Liar (1963); Darling (1965); Midnight Cowboy
    1 John Schlesinger: Billy Liar (1963); Darling (1965); Midnight Cowboy (1969) and Far From the Madding Crowd (1967) I don’t know if Schlesinger was fixated with losers: it certainly looks like it, from this trio of his most famous movies. He had a slight decline, but went on working for years: I remember especially his TV films, An Englishman Abroad and A Question of Attribution – and they were also about losers (Guy Burgess and Anthony Blunt). His losers here start fairly desperate, with Tom Courtenay in the last shot of Billy Liar returning home to his semi-detached parents; then Julie Christie (Courtenay’s fantasy-piece in Billy Liar ) going back to her rich Italian husband in Darling . They then bottom out, with Dustin Hoffman’s death on the greyhound bus in Midnight Cowboy , so far down it’s hard to imagine anyone bottoming out any deeper. Cowboy was a huge sensation in its day, but it’s very hard now to recapture the sense it created of bold new frontiers: frankness about sad gigolos, frankness about sad old faggots who wanted to be beaten up in the loo … no-one had gone so far in depicting sadness before. Now sadness is with us all the time (this is the year of No Country for Old Men ); and Cowboy is merely depressing, for all the excellence of Schlesinger’s Manhattan location shooting, for all the innocence of Jon Voigt, and of Hoffman’s preparedness to look and (you could say) smell as bad as he could, in so far as he could, in a non-oderiferous medium.
    [Show full text]
  • Shakespeare on Film and Television in the Motion Picture, Broadcasting and Recorded Sound Division of the Library of Congress
    SHAKESPEARE ON FILM AND TELEVISION IN THE MOTION PICTURE, BROADCASTING AND RECORDED SOUND DIVISION OF THE LIBRARY OF CONGRESS Compiled by Zoran Sinobad January 2012 Introduction This is an annotated guide to moving image materials related to the life and works of William Shakespeare in the collections of the Motion Picture, Broadcasting and Recorded Sound Division of the Library of Congress. While the guide encompasses a wide variety of items spanning the history of film, TV and video, it does not attempt to list every reference to Shakespeare or every quote from his plays and sonnets which have over the years appeared in hundreds (if not thousands) of motion pictures and TV shows. For titles with only a marginal connection to the Bard or one of his works, the decision what to include and what to leave out was often difficult, even when based on their inclusion or omission from other reference works on the subject (see below). For example, listing every film about ill-fated lovers separated by feuding families or other outside forces, a narrative which can arguably always be traced back to Romeo and Juliet, would be a massive undertaking on its own and as such is outside of the present guide's scope and purpose. Consequently, if looking for a cinematic spin-off, derivative, plot borrowing or a simple citation, and not finding it in the guide, users are advised to contact the Moving Image Reference staff for additional information. How to Use this Guide Entries are grouped by titles of plays and listed chronologically within the group by release/broadcast date.
    [Show full text]