TPTV Schedule June 17Th – 23Rd 2019
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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. -
Nosferatu. Revista De Cine (Donostia Kultura)
Nosferatu. Revista de cine (Donostia Kultura) Título: ¿EL APOCALIPSIS A LA HORA DEL TÉ? BREVE HISTORIA DE LA CIENCIA- FICCIÓN BRITÁNICA Autor/es: Antonio José Navarro Citar como: Antonio José Navarro (2001). ¿EL APOCALIPSIS A LA HORA DEL TÉ? BREVE HISTORIA DE LA CIENCIA-FICCIÓN BRITÁNICA. Nosferatu. Revista de cine. Documento(34). descargado de: http://hdl.handle.net/10251/41206 Copyright: Reserva de todos los derechos (NO CC) La digitalización de este artículo se enmarca dentro del proyecto "Estudio y análisis para el desarrollo de una red de conocimiento sobre estudios fílmicos a través de plataformas web 2.0", financiado por el Plan Nacional de I+D+i del Ministerio de Economía y Competitividad del Gobierno de España (código HAR2010-18648), con el apoyo de Biblioteca y Documentación Científica y del Área de Sistemas de Información y Comunicaciones (ASIC) del Vicerrectorado de las Tecnologías de la Información y de las Comunicaciones de la Universitat Politècnica de València. Entidades colaboradoras: británica Zlen t:ifikúo brz'tainiarra, zeinak bere go ieneko aldia berrogáta hwnar eta hirurogeiko hamarkadeLan bi::j i:nn bcn'tzuen, hasiera-hasieratik izan zuen, beldurrezko zinemarekúz gertatzerz den bezala, goúzúmo-ukitu hat.jeneroaren Estatu Batuetako produkzioetan agertzen ez dena. Film brúainiarrei ardura handiago Pmgúen diete pertsonaiek, gertatzen diren fantasz'azko gertaerek no la erasaten dituzten, gertaera lwriek bere: boina. !nteres handiagoa du kontakizwwren egiantzak azaldutakoaren errealitate zientifikoak baitw. NOSFERATU 34-35 ll·•••••• ran Bretafia es, casi por Libre la mente y el espíritu del transformación. Los efectos de lo tradición, el país de los hedor de las tumbas, del siniestro fantástico sobre los personajes in horrores más espanto lamento de los espectros, se im teresaban más que los fenómenos sos ocultos tras una fa pone una pregunta: ¿existe, o me extraordinarios en sí: cualquier chada de inmaculada respetabili jor dicho, ha existido, pues, una cociente de "realidad" científica se dad. -
Request a Printed Copy
Request a printed copy SKU Title 100 DAYS BEFORE THE COMMAND (Sto Dney do Prikaza) (1991) * with switchable 5989 English and German subtitles * 1858 12 MINUTEN NACH 12 (1939) 590 13 MANN UND EINE KANONE (1938) 3098 1860 (1934) * with switchable English subtitles * 776 1914 - DIE LETZTEN TAGE VOR DEM WELTBRAND (1931) * improved picture quality * 5290 1922 (1978) * with switchable English subtitles * 2554 24 STUNDEN AUS DEM LEBEN EINER FRAU (1931) * with switchable English subtitles * 1864 4 TREPPEN RECHTS (1945) 5697 491 (1964) * with switchable English and German subtitles * 356 5 FINGERS (1952) 681 A.D. – THE GLORY OF THE KHAN (1984) * with hard-encoded Bulgarian 2453 subtitles * 1857 7 OHRFEIGEN (1937) 4878 80 HUSZAR (80 Hussars) (1978) * with switchable English subtitles * 5505 A BAD JOKE (Skvernyy anekdot) (1966) * with switchable English subtitles * A BRIVELE DER MAMEN (A LETTER TO MAMA) (1938) *Hard-Encoded English 786 subtitles* 3056 A CANTERBURY TALE (1944) 5040 A CARRIAGE TO VIENNA (1966) * with switchable English subtitles * 4163 A COTTAGE ON DARTMOOR (1929) 3066 A DEADLY INVENTION (Vynález zkázy) (1958) 5575 A DREAM (1964) * with switchable English subtitles * 2769 A FIRE HAS BEEN ARRANGED (1935) 319 A FOREIGN AFFAIR (1948) * with or without hard-encoded German subtitles * 2919 A GIRL IN BLACK (To koritsi me ta mavra) (1956) * with switchable English subtitles * 2590 A HISTORY OF MILITARY PARADES ON RED SQUARE (1918 – 2010) (2013) 312 A JOURNEY THROUGH OLD EAST PRUSSIA *with switchable English subtitles* 313 A JOURNEY THROUGH -
Nosferatu. Revista De Cine (Donostia Kultura)
Nosferatu. Revista de cine (Donostia Kultura) Título: ¿EL APOCALIPSIS A LA HORA DEL TÉ? BREVE HISTORIA DE LA CIENCIA- FICCIÓN BRITÁNICA Autor/es: Antonio José Navarro Citar como: Antonio José Navarro (2001). ¿EL APOCALIPSIS A LA HORA DEL TÉ? BREVE HISTORIA DE LA CIENCIA-FICCIÓN BRITÁNICA. Nosferatu. Revista de cine. Documento(34). descargado de: http://hdl.handle.net/10251/41206 Copyright: Reserva de todos los derechos (NO CC) La digitalización de este artículo se enmarca dentro del proyecto "Estudio y análisis para el desarrollo de una red de conocimiento sobre estudios fílmicos a través de plataformas web 2.0", financiado por el Plan Nacional de I+ D+ i del Ministerio de Economía y Competitividad del Gobierno de España (código HAR2010-18648), con el apoyo de Biblioteca y Documentación Científica y del Área de Sistemas de Información y Comunicaciones (ASIC) del Vicerrectorado de las Tecnologías de la Información y de las Comunicaciones de la Universitat Politècnica de València. Entidades colaboradoras: británica Zlen t:ifikúo brz'tainiarra, zeinak bere go ieneko aldia berrogáta hwnar eta hirurogeiko hamarkadeLan bi::j i:nn bcn'tzuen, hasiera-hasieratik izan zuen, beldurrezko zinemarekúz gertatzerz den bezala, goúzúmo-ukitu hat.jeneroaren Estatu Batuetako produkzioetan agertzen ez dena. Film brúainiarrei ardura handiago Pmgúen diete pertsonaiek, gertatzen diren fantasz'azko gertaerek no la erasaten dituzten, gertaera lwriek bere: boina. !nteres handiagoa du kontakizwwren egiantzak azaldutakoaren errealitate zientifikoak baitw. NOSFERATU 34-35 ll·•••••• ran Bretafia es, casi por Libre la mente y el espíritu del transformación. Los efectos de lo tradición, el país de los hedor de las tumbas, del siniestro fantástico sobre los personajes in horrores más espanto lamento de los espectros, se im teresaban más que los fenómenos sos ocultos tras una fa pone una pregunta: ¿existe, o me extraordinarios en sí: cualquier chada de inmaculada respetabili jor dicho, ha existido, pues, una cociente de "realidad" científica se dad. -
Ealing Studios and the Ealing Comedies: the Tip of the Iceberg
Ealing Studios and the Ealing Comedies: the Tip of the Iceberg ROBERT WINTER* In lecture form this paper was illustrated with video clips from Ealing films. These are noted below in boxes in the text. My subject is the legendary Ealing Studios comedies. But the comedies were only the tip of the iceberg. To show this I will give a sketch of the film industry leading to Ealing' s success, and of the part played by Sir Michael Balcon over 25 years.! Today, by touching a button or flicking a switch, we can see our values, styles, misdemeanours, the romance of the past and present-and, with imagination, a vision of the" future. Now, there are new technologies, of morphing, foreground overlays, computerised sets, electronic models. These technologies affect enormously our ability to give currency to our creative impulses and credibility to what we do. They change the way films can be produced and, importantly, they change the level of costs for production. During the early 'talkie' period there many artistic and technical difficulties. For example, artists had to use deep pan make-up to' compensate for the high levels of carbon arc lighting required by lower film speeds. The camera had to be put into a soundproof booth when shooting back projection for car travelling sequences. * Robert Winter has been associated with the film and television industries since he appeared in three Gracie Fields films in the mid-1930s. He joined Ealing Studios as an associate editor in 1942 and worked there on more than twenty features. After working with other studios he became a founding member of Yorkshire Television in 1967. -
ANNOUNCEMENT from the Copyright Office, Library of Congress, Washington, D.C
ANNOUNCEMENT from the Copyright Office, Library of Congress, Washington, D.C. 20559-6000 PUBLICATION OF FIFTH LIST OF NOTICES OF INTENT TO ENFORCE COPYRIGHTS RESTORED UNDER THE URUGUAY ROUND AGREEMENTS ACT. COPYRIGHT RESTORATION OF WORKS IN ACCORDANCE WITH THE URUGUAY ROUND AGREEMENTS ACT; LIST IDENTIFYING COPYRIGHTS RESTORED UNDER THE URUGUAY ROUND AGREEMENTS ACT FOR WHICH NOTICES OF INTENT TO ENFORCE RESTORED COPYRIGHTS WERE FILED IN THE COPYRIGHT OFFICE. The following excerpt is taken from Volume 62, Number 163 of the Federal Register for Friday, August 22,1997 (p. 443424854) SUPPLEMENTARY INFORMATION: the work is from a country with which LIBRARY OF CONGRESS the United States did not have copyright I. Background relations at the time of the work's Copyright Off ice publication); and The Uruguay Round General (3) Has at least one author (or in the 37 CFR Chapter II Agreement on Tariffs and Trade and the case of sound recordings, rightholder) Uruguay Round Agreements Act who was, at the time the work was [Docket No. RM 97-3A] (URAA) (Pub. L. 103-465; 108 Stat. 4809 created, a national or domiciliary of an Copyright Restoration of Works in (1994)) provide for the restoration of eligible country. If the work was Accordance With the Uruguay Round copyright in certain works that were in published, it must have been first Agreements Act; List Identifying the public domain in the United States. published in an eligible country and not Copyrights Restored Under the Under section 104.4 of title 17 of the published in the United States within 30 Uruguay Round Agreements Act for United States Code as provided by the days of first publication. -
Complete Issue
Culture Unbound: Journal of Current Cultural Research Thematic Section: Pursuing the Trivial Edited by Roman Horak, Barbara Maly, Eva Schörgenhuber & Monika Seidl Extraction from Volume 5, 2013 Linköping University Electronic Press Culture Unbound: ISSN 2000-1525 (online) URL: http://www.cultureunbound.ep.liu.se/ © 2013 The Authors. Culture Unbound, Extraction from Volume 5, 2013 Thematic Section: Persuing the Trivial Barbara Maly, Roman Horak, Eva Schörgenhuber & Monika Seidl Introduction: Pursuing the Trivial ..................................................................................................... 481 Steven Gerrard The Great British Music Hall: Its importance to British culture and ‘The Trivial’ ........................... 487 Roman Horak ‘We Have Become Niggers!’: Josephine Baker as a Threat to Viennese Culture .............................. 515 Yi Chen ’Walking With’: A Rhythmanalysis of London’s East End ................................................................. 531 Georg Drennig Taking a Hike and Hucking the Stout: The Troublesome Legacy of the Sublime in Outdoor Recreation ............................................................................................................................ 551 Anna König A Stitch in Time: Changing Cultural Constructions of Craft and Mending ....................................... 569 Daniel Kilvington British Asians, Covert Racism and Exclusion in English Professional Football ............................... 587 Sabine Harrer From Losing to Loss: Exploring the Expressive -
Week Beginning Monday 3Rd December 2018
Highlights: Week beginning Monday 3rd December 2018 Monday 3rd December 2018 – 08:30 THE HIRELING (1973) Director: Alan Bridges Starring: Robert Shaw, Sarah Miles, Peter Egan and Elizabeth Sellars. A young British woman suffering from depression over the loss of her husband develops an unusual relationship with her chauffeur. Monday 3rd December 2018 – 21:00 CAGE OF GOLD (1950) Director: Basil Dearden Starring: Jean Simmons, David Farrar, James Donald, Bernard Lee and Herbert Lom. A young bride believes her husband has been killed. After a suitable period of mourning, she re-marries, but when her "dead" husband comes back, problems begin… Tuesday 4th December 2018 – 10:00 I’LL BE SEEING YOU (1944) Director: William Dieterle Starring: Joseph Cotten, Ginger Rogers, Shirley Temple and Spring Byington. Zachary Morgan and Mary Marshall meet on a train and immediately sense a mutual attraction. However, both Zach and Mary are shouldering significant secrets. Tuesday 4th December 2018 – 18:00 THE DIVIDED HEART (1954) Director: Charles Crichton Starring: Cornell Borchers, Yvonne Mitchell, Armin Dahlen and Alexander Knox. A three-year-old orphan is adopted by a German couple shortly after World War II. On his tenth birthday, he is told that his mother, a Yugoslav refugee, is alive and wants him back. The case must be decided in court, with whom the boy will be better off. th We dnesday 5 December 2018 – 10:50 SPELLBOUND (1945) Director: Alfred Hitchcock Starring: Gregory Peck, Ingrid Bergman, Michael Chekhov and Rhonda Fleming. In this classic Hitchcock thriller, a psychiatrist protects the identity of an amnesia patient accused of murder while attempting to recover his memory. -
Brio 46.2 V4
City Research Online City, University of London Institutional Repository Citation: Mera, M. and Winters, B. (2009). Film and Television Music Sources in the UK and Ireland. Brio: Journal of the International Association of Music Libraries, Archives and Documentation Centres., 46(2), pp. 37-65. This is the published version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/13661/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] Mera, M & Winters, B (2009). Film Music Sources in the UK and Ireland. Brio: Journal of the International Association of Music Libraries, Archives and Documentation Centres., 46(2), City Research Online Original citation: Mera, M & Winters, B (2009). Film Music Sources in the UK and Ireland. Brio: Journal of the International Association of Music Libraries, Archives and Documentation Centres., 46(2), Permanent City Research Online URL: http://openaccess.city.ac.uk/13590/ Copyright & reuse City University London has developed City Research Online so that its users may access the research outputs of City University London's staff. -
British Cinema of the 1950S: a Celebration
176 ……………………………………… Value for money: Baker and Berman, and Tempean Films brian mcfarlane Y ’ to be as fond of British ‘B’ movies of the 1950s as I am to feel that there is something to be said for the production team of Bob Baker and Monty Berman and their production company, Tempean.1 The second features that emerged from this partnership are generally speaking fast-moving, unpretentious, lively and characterful, and, within their modest budgets, well enough staged to look more expensive than they were. However, it is not my primary intention to offer elaborate analyses of these films, or to make unsustainable claims for their being long- buried, unsung treasures of auteurist film-making. It is worth looking at the Tempean phenomenon for a number of reasons in a book devoted to 1950s British cinema. First, it relates significantly to the exhibition procedures of the period, when audiences typically expected a ‘double bill’, with a main feature and a supporting film, which might be designated either a co-feature or a second feature according to the lavishness of its casting and budget. If a major film ran to over two hours, say, it was likely to be supported by ‘shorts’ (often designated ‘selected featurettes’) rather than by another feature film of the kind made by Tempean. In any case, a three-hour programme was the norm, and as long as this persisted, there was a steady demand for the sort of supporting film Tempean made until the late 1950s. Thus, second, Tempean sums up a prolific area of 1950s production, fuelled by these exhibition patterns. -
Film Club Sky 328 MARCH Newsletter Freesat 306 APRIL 2019 Virgin 445
Freeview 81 Film Club Sky 328 MARCH newsletter Freesat 306 APRIL 2019 Virgin 445 Dear Supporters of Talking Pictures TV and Renown Pictures, This month we were extremely privileged to have been invited to the home of Robert Powell, to film an interview about his life and career, which turned out to be the funniest 4 hours of our lives. Tales of The Italian Job and squashing his cinquecen- to in the middle of a bendy bus in Turin, wonderful stories of him as Jesus and working with Laurence Olivier who called him ‘Bobsy’. Meeting his wife ‘Babs’ from Pans People, long tales of The 39 Steps and of course the wonderful series Hannay and much, much more. The full interview will be screened on Talking Pictures TV later this year so do keep your eyes peeled. Sad News: Bernard Cribbins is no longer able to attend our festival in St Albans, you may have heard the news recently that he has pulled out of the new Dad’s Army film, also due to ill health and the health of his dear wife. BUT NEWS FLASH NEWS FLASH – We are delighted to announce that none other than Mr Hannay and Jesus himself... Mr ROBERT POWELL has agreed to appear on stage on the day to regale you with his wonderful stories and highlights of his career - and he will be signing au- tographs for all Hannay fans. When you receive this newsletter the Renown Festival of Film in St Albans will have either just taken place or will be taking place in a few days. -
Robert Hartford-Davis and British Exploitation Cinema of the 1960S
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of East Anglia digital repository Corrupted, Tormented and Damned: Reframing British Exploitation Cinema and The films of Robert Hartford-Davis This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that use of any information derived there from must be in accordance with current UK Copyright Law. In addition, any quotation or extract must include full attribution. Michael Ahmed, M.A., B.A. PhD University of East Anglia Faculty of Film and Television Studies January 2013 Abstract The American exploitation film functioned as an alternative to mainstream Hollywood cinema, and served as a way of introducing to audiences shocking, controversial themes, as well as narratives that major American studios were reluctant to explore. Whereas American exploitation cinema developed in parallel to mainstream Hollywood, exploitation cinema in Britain has no such historical equivalent. Furthermore, the definition of exploitation, in terms of the British industry, is currently used to describe (according to the Encyclopedia of British Film) either poor quality sex comedies from the 1970s, a handful of horror films, or as a loosely fixed generic description dependent upon prevailing critical or academic orthodoxies. However, exploitation was a term used by the British industry in the 1960s to describe a wide-ranging and eclectic variety of films – these films included, ―kitchen-sink dramas‖, comedies, musicals, westerns, as well as many films from Continental Europe and Scandinavia. Therefore, the current description of an exploitation film in Britain has changed a great deal from its original meaning.