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Annual Report and Accounts 2004/2005
THE BFI PRESENTSANNUAL REPORT AND ACCOUNTS 2004/2005 WWW.BFI.ORG.UK The bfi annual report 2004-2005 2 The British Film Institute at a glance 4 Director’s foreword 9 The bfi’s cultural commitment 13 Governors’ report 13 – 20 Reaching out (13) What you saw (13) Big screen, little screen (14) bfi online (14) Working with our partners (15) Where you saw it (16) Big, bigger, biggest (16) Accessibility (18) Festivals (19) Looking forward: Aims for 2005–2006 Reaching out 22 – 25 Looking after the past to enrich the future (24) Consciousness raising (25) Looking forward: Aims for 2005–2006 Film and TV heritage 26 – 27 Archive Spectacular The Mitchell & Kenyon Collection 28 – 31 Lifelong learning (30) Best practice (30) bfi National Library (30) Sight & Sound (31) bfi Publishing (31) Looking forward: Aims for 2005–2006 Lifelong learning 32 – 35 About the bfi (33) Summary of legal objectives (33) Partnerships and collaborations 36 – 42 How the bfi is governed (37) Governors (37/38) Methods of appointment (39) Organisational structure (40) Statement of Governors’ responsibilities (41) bfi Executive (42) Risk management statement 43 – 54 Financial review (44) Statement of financial activities (45) Consolidated and charity balance sheets (46) Consolidated cash flow statement (47) Reference details (52) Independent auditors’ report 55 – 74 Appendices The bfi annual report 2004-2005 The bfi annual report 2004-2005 The British Film Institute at a glance What we do How we did: The British Film .4 million Up 46% People saw a film distributed Visits to -
Not Showing at This Cinema
greenlit just before he died, was an adaptation of A PIN TO SEE THE NIGHT Walter Hamilton’s 1968 novel All the Little Animals, exploring the friendship between a boy and an THE PEEPSHOW CREATURES old man who patrols roads at night collecting the Dir: Robert Hamer 1949 Dir: Val Guest 1957 roadkill. Reeves prepared a treatment, locations Adaptation of a 1934 novel by F. Tennyson Jesse Robert Neville is the last man on earth after a were scouted and Arthur Lowe was to play the about a young woman wrongly convicted as an mysterious plague has turned the rest of the lead. Thirty years later the book was adapted for accomplice when her lover murders her husband; a population into vampires who swarm around his the screen and directed by Jeremy Thomas starring thinly fictionalised account of Edith Thompson and house every night, hungering for his blood. By day, John Hurt and Christian Bale. the Ilford Murder case of 1922. With Margaret he hunts out the vampires’ lairs and kills them Lockwood in the lead, this was something of a with stakes through the heart, while obsessively dream project that Robert Hamer tried to get off searching for an antidote and trying to work out the ground at Ealing. Despite a dazzling CV that the cause of his immunity. Richard Matheson wrote ISHTAR includes the masterpiece Kind Hearts and Coronets the screenplay for The Night Creatures for Hammer Dir: Donald Cammell 1971-73 (1949), Hamer was unable to persuade studio Films in 1957 based on his own hugely influential The co-director of Performance (1970), Cammell boss Michael Balcon to back the project. -
Patrick Ryecart
3rd Floor, Joel House 17-21 Garrick Street London WC2E 9BL Phone: 0207 420 9350 Email: [email protected] Web: www.shepherdmanagement.co.uk Photo: Dean Roberts Patrick Ryecart Other: Equity, AEA Greater London, England, United Location: Eye Colour: Blue Kingdom Hair Colour: Blond(e) Height: 5'11" (180cm) Hair Length: Mid Length Weight: 12st. (76kg) Voice Character: Relaxed Nationality: British Voice Quality: Strong Television 2019, Television, Earl Marshall Duke of Norfolk, The Crown, Left Ban Netflix, Steven Daldry 2016, Television, Bernard - Duke of Norfolk, THE CROWN, Netflix, Steven Daldry/Philip Martin 2016, Television, Sir Hugh Bodrugan, POLDARK (Series 1 & 2), Mammoth Film for BBC One, Ed Bazalgette/William McGregor 2013, Television, Sir Anthony Morgan, POIROT, Andy Wilson 2013, Television, Gavin De Souza QC, THE ESCAPE ARTIST, BBC Endor Films, Brian Welsh 2012, Television, Devereaux, MIDSOMER MURDERS, BBC, Simon Langton 2010, Television, Sir Fred, HUSTLE, BBC, Ian B McDonald 2005, Television, Lord Macefield, JERICHO, ITV Television, Jimmy Goldsmith, THE LAVENDER LIST, BBC Television Television, MUCH ADO ABOUT NOTHING, BBC Television, Brian Percival Television, AFTER ALL, Granada Television Television, Sergius, ARMS AND THE MAN, BBC Television, Jimmy Cellan Jones Television, BEAUTIFUL LIES, BBC Scotland Television, BELIEVE NOTHING, Alomo Productions Television, HOLBY CITY, BBC Television Television, Tommy Mortimer, NANCHERROW, ITV, Simon Langton Television, Tommy Mortimer, COMING HOME, ITV, Giles Foster Television, CRIMESQUAD, -
Andrewmcalpine.Net
(9/29/21) ANDREW McALPINE Production Designer www.andrewmcalpine.net FILM & TELEVISION DIRECTOR COMPANIES PRODUCERS “ROSALINE” Karen Maine 20th Century Studios Dan Cohen 21 Laps Shawn Levy “SERENITY” Steven Knight IM Global Guy Heeley Greg Shapiro “KING CHARLES III” Rupert Goold BBC Studios Mike Bartlett (TV movie) Masterpiece Roanna Benn Greg Brenman “DENIAL” Mick Jackson Participant Media Gary Foster Shoebox Films Russ Krasnoff “ME BEFORE YOU” Thea Sharrock MGM Alison Owen New Line Karen Rosenfelt “HALF OF A YELLOW SUN” Biyi Bandele British Film Institute Andrea Calderwood Gail Egan “QUARTET” Dustin Hoffman Headline Pictures Finola Dwyer BBC Films Stewart Mackinnon “RICHARD II” Rupert Goold NBC/Universal Pippa Harris Neal Street Productions Sam Mendes BBC2 Gareth Neame “LOVE BIRDS” Paul Murphy General Film Corp. Alan Harris “MADE IN DAGENHAM” Nigel Cole BBC Films Elizabeth Karlsen Nomination: Evening Standard Award HanWay Films Stephen Woolley Lipsync Production “AN EDUCATION” Lone Scherfig Finola Dwyer Productions Finola Dwyer Wildgaze Films Amanda Posey “DEAN SPANLEY” Toa Fraser Atlantic Film Productions Matthew Metcalf “THE SENTINEL” Clark Johnson New Regency Pictures Bill Carraro Twentieth Century Fox Michael Douglas “AEON FLUX” Karyn Kusama MTV Gregory Goodman Paramount Pictures Gale Anne Hurd “THE IN-LAWS” Andrew Fleming Franchise Pictures Bill Gerber Warner Brothers Elie Samaha (cont.) SANDRA MARSH & ASSOCIATES +1 (310) 285-0303 [email protected] • www.sandramarsh.com (9/29/21) ANDREW McALPINE Production Designer – 2 – FILM -
1. Title: 13 Tzameti ISBN: 5060018488721 Sebastian, A
1. Title: 13 Tzameti ISBN: 5060018488721 Sebastian, a young man, has decided to follow instructions intended for someone else, without knowing where they will take him. Something else he does not know is that Gerard Dorez, a cop on a knife-edge, is tailing him. When he reaches his destination, Sebastian falls into a degenerate, clandestine world of mental chaos behind closed doors in which men gamble on the lives of others men. 2. Title: 12 Angry Men ISBN: 5050070005172 Adapted from Reginald Rose's television play, this film marked the directorial debut of Sidney Lumet. At the end of a murder trial in New York City, the 12 jurors retire to consider their verdict. The man in the dock is a young Puerto Rican accused of killing his father, and eleven of the jurors do not hesitate in finding him guilty. However, one of the jurors (Henry Fonda), reluctant to send the youngster to his death without any debate, returns a vote of not guilty. From this single event, the jurors begin to re-evaluate the case, as they look at the murder - and themselves - in a fresh light. 3. Title: 12:08 East of Bucharest ISBN: n/a 12:08pm on the 22 December 1989 was the exact time of Ceausescu's fall from power in Romania. Sixteen years on, a provincial TV talk show decides to commemorate the event by asking local heroes to reminisce about their own contributions to the revolution. But securing suitable guests proves an unexpected challenge and the producer is left with two less than ideal participants - a drink addled history teacher and a retired and lonely sometime-Santa Claus grateful for the company. -
Unseen Horrors: the Unmade Films of Hammer
Unseen Horrors: The Unmade Films of Hammer Thesis submitted by Kieran Foster In partial fulfilment of the requirements for the award of Doctor of Philosophy De Montfort University, March 2019 Abstract This doctoral thesis is an industrial study of Hammer Film Productions, focusing specifically on the period of 1955-2000, and foregrounding the company’s unmade projects as primary case studies throughout. It represents a significant academic intervention by being the first sustained industry study to primarily utilise unmade projects. The study uses these projects to examine the evolving production strategies of Hammer throughout this period, and to demonstrate the methodological benefits of utilising unmade case studies in production histories. Chapter 1 introduces the study, and sets out the scope, context and structure of the work. Chapter 2 reviews the relevant literature, considering unmade films relation to studies in adaptation, screenwriting, directing and producing, as well as existing works on Hammer Films. Chapter 3 begins the chronological study of Hammer, with the company attempting to capitalise on recent successes in the mid-1950s with three ambitious projects that ultimately failed to make it into production – Milton Subotsky’s Frankenstein, the would-be television series Tales of Frankenstein and Richard Matheson’s The Night Creatures. Chapter 4 examines Hammer’s attempt to revitalise one of its most reliable franchises – Dracula, in response to declining American interest in the company. Notably, with a project entitled Kali Devil Bride of Dracula. Chapter 5 examines the unmade project Nessie, and how it demonstrates Hammer’s shift in production strategy in the late 1970s, as it moved away from a reliance on American finance and towards a more internationalised, piece-meal approach to funding. -
![[ Grand Écran À Paris Et À Londres ] [Quelle Géo-Économie Du Cinéma ?] [Vaea Deplat, Wiest Marjorie]](https://docslib.b-cdn.net/cover/7876/grand-%C3%A9cran-%C3%A0-paris-et-%C3%A0-londres-quelle-g%C3%A9o-%C3%A9conomie-du-cin%C3%A9ma-vaea-deplat-wiest-marjorie-1727876.webp)
[ Grand Écran À Paris Et À Londres ] [Quelle Géo-Économie Du Cinéma ?] [Vaea Deplat, Wiest Marjorie]
TOUT LE MONDE SE SErvait d’unE MÊME LANGUE ET DES MÊMES MOTS. COMME LES HOMMES SE DÉPLAÇAIEnt à l’ORIENT, ILS TROUVÈRENT UNE VALLÉE AU PAYS DE SHINÉAR ET ils s’y étaBLIRENT. ILS SE DIRENT l’un à l’autrE: « ALLONS! FAISONS DES BRIQUES ET CUISONS-LES AU FEU! » LA BRIQUE LEUR SERVIT DE PIERRE ET LE BITUME LEUR SERVIT DE MORTIER. ILS DIRENT: « ALLONS! BÂTISSONS-NOUS UNE VILLE ET UNE TOUR DONT LE SOMMET PÉNÈTRE LES CIEUX!FAISONS-NOUS UN NOM ET NE SOYONS PAS DISPERSÉS SUR TOUTE LA TERRE. ». OR YAHVÉ DESCENDIT POUR VOIR LA VILLE ET LA TOUR QUE LES HOMMES AVAIENT BÂTIES. ET YAHVÉ DIT: « VOICI QUE TOUS FONT UN SEUL PEUPLE ET PARLENT UNE SEULE LANGUE, ET TEL EST LE DÉBUT DE LEURS ENTREPRISES! MAINTENANT, AUCUN DESSEIN NE SERA IRRÉALISABLE POUR EUX. ALLONS! DESCENDONS! ET LÀ, CONFONDONS LEUR LANGAGE POUR qu’ils nE s’ENTENDENT PLUS LES UNS LES AUTRES. » YAHVÉ LES DISPERSA DE LÀ SUR TOUTE LA FACE DE LA TERRE ET ILS CESSÈRENT DE CONSTRUIRE LA VILLE. AUSSI LA NOMMA-T-ON BABEL, CAR c’EST LÀ QUE YAHVÉ CONFONDIT LE LANGAGE DE TOUS LES HABITANTS DE LA TERRE ET c’EST là qu’il lES DISPERSA SUR TOUTE LA FACE DE LA TERRE. AUTRES. » YAHVÉ LES DISPERSA DE LÀ SUR TOUTE LA FACE DE LA TERRE ET ILS CESSÈRENT DE CONSTRUIRE LA VILLE. AUSSI LA NOMMA-T-ON BABEL,, CAR c’EST LÀ QUE YAHVÉ CONFONDIT LE LANGAGE DE TOUS LES HABITANTS DE LA TERRE ET c’EST LÀ qu’il lES DISPERSA SUR TOUTE LA FACE DE LA TERRE // BIBLE DE JÉRUSALEM, LE CERF, PARIS, 1956 // [ GRAND ÉCRAN À PARIS ET À LONDRES ] [QUELLE GÉO-ÉCONOMIE DU CINÉMA ?] [Vaea Deplat, Wiest Marjorie] ET TOUTE LA TERRE ÉTAIT LÈVRE UNIQUE ET PAROLES UNIQUES. -
British Art Cinema
Introduction: British art cinema 1 Introduction – British art cinema: creativity, experimentation and innovation Paul Newland and Brian Hoyle What is art cinema? Definitions of art cinema have long been contested, but the generic term ‘art cinema’ has generally come to stand for feature-length narrative films that are situated at the margins of mainstream cinema, located some- where between overtly experimental films and more obviously commercial product. Whether it is through a modernist, drifting, episodic approach to storytelling; a complex engagement with high culture; the foregrounding of a distinct authorial voice; or a simple refusal to bow to normal commercial considerations, at its heart the term ‘art cinema’ has come to represent film- making which is distinct from – and often in direct opposition to – popular narrative film. But for Steve Neale, writing in a seminal article published in the journal Screen in 1981, the term ‘art cinema’ applies not just to individ- ual films and film histories but also to patterns of distribution, exhibition, reception and audience engagement.1 Moreover, art cinema, in its cultural and aesthetic aspirations but also its audience, relies heavily upon an appeal to ‘universal’ values of culture and art. This is reflected in the existence of international festivals, where distribution is sought for these films, and where their status as ‘art’ – and as films ‘to be taken seriously’ – is confirmed and re-stated through prizes and awards. Writing in 2013, David Andrews argued that art cinema should -
Awards Ceremony Results Release
LONDON FILM FESTIVAL ANNOUNCES WINNERS AT NEW FESTIVAL AWARDS CEREMONY London – 28 October 2009: The Times BFI 53rd London Film Festival announced its winners at the high profile awards ceremony held at London’s Inner Temple this evening. Hosted by journalist and broadcaster, Paul Gambaccini, the six awards were presented by some of the most respected figures in the film world. BEST FILM In recognition of original, intelligent and distinctive filmmaking, the new award for Best Film was judged by an international jury chaired by Anjelica Huston and fellow jurors John Akomfrah, Jarvis Cocker, Mathieu Kassovitz, Charlotte Rampling and Iain Softley. The Star of London for Best Film was awarded to Jacques Audiard’s A PROPHET and was presented by Anjelica Huston.. On behalf of the jury Anjelica Huston (Chair) said: “A masterpiece: UN PROPHETE has the ambition, purity of vision and clarity of purpose to make it an instant classic. With seamless and imaginative story-telling, superb performances and universal themes, Jacques Audiard has made a perfect film.” The jury also gave a special mention to John Hillcoat’s THE ROAD, praising the film’s breathtaking vision, extraordinary performances and profound political statement. BEST BRITISH NEWCOMER Presented for the first time, the award for Best British Newcomer celebrates new and emerging film talent, rewarding the achievements of a new writer, producer or director who has demonstrated real creative flair and imagination with their first feature. Dominic Cooper and Jodie Whittaker presented the Best British Newcomer Star of London to Jack Thorne, screenwriter of the film THE SCOUTING BOOK FOR BOYS. -
Physical Motifs and Concentric Amplification in Godard/Lully's Armide
Physical Motifs and Concentric Amplification in Godard/Lully's Armide Edward D. Latham Introduction: "Aria" and Genre The role of operatic music in film is traditionally diegetic. For example, in films like The Shawshank Redemption (1994), Philadelphia (1993), and The Godfather III (1990), there is a dramatic motivation for the presence of the music and/or a visual cue that lets the audience know that the characters can actually hear it. Typically, the use of operatic music is also a cultural cue for the exotic or incongruous; it distances the viewer from the onscreen image because of its explicitly performative nature. In Philadelphia, for example, the main character (played by Tom Hanks), "performs" a Puccini aria by lip-synching to a recording of Maria Callas and performing elaborately stylized staging. The setting for this scene immediately cues the audience to the other-worldliness of the aria by bathing Hanks's apartment in lurid red lighting and using jarring camera angles and close-ups. In The Godfather III, as in Dangerous Liaisons (1988), Moonstruck (1987), and Pretty Woman (1990), the role of operatic music is even more explicitly diegetic, since all four depict actual opera performances attended by the characters in the film. In The Shawshank Redemption, the main character plays a Mozart duet over the loudspeakers at Shawshank Prison. What if, however, operatic music were used in a nondiegetic context, as the fundamental thread that binds a film together? Films such as Raging Bull (1980), A Room With A View (1986) and, more recently, The Rock (1996), have experimented with this idea in a limited context, combining opera excerpts with a more traditional film score. -
Nick Holdsworth, 19 Maja 2008 Zało˝Enie W 2005 Roku Polskiego
„The Daily Cannes”, Vladimir Kozlov, 12 maja 2009 Bran˝e filmowe z Europy Ârodkowej, w Polsce, na W´grzech i w Czechach prosperowały w ostatnich latach całkiem dobrze i odnotowały zyski. Uniknàç skutków ekonomicznego kryzysu udało si´ dzi´ki publicznym dotacjom oraz Êrodkom z sektora prywatnego. Sytuacja w trzech wymienionych krajach jest odmienna. Najbardziej stabilna wydaje si´ byç w Polsce, gdzie cztery lata temu wprowadzono ustaw´, zgodnie z którà 1,5% zysków od ka˝dego filmu przekazywane jest na rzecz publicznego funduszu zarzàdzanego przez Polski Instytut Sztuki Filmowej. „Variety – Cannes Daily”, Nick Holdsworth, 19 maja 2008 Zało˝enie w 2005 roku Polskiego Instytutu Sztuki Filmowej zrewolucjonizowało produkcj´ kinematograficznà, na jednym z najwa˝niejszych w Europie wschodniej rynków filmowych. (…) Dyrektor Instytutu, Agnieszka Odorowicz, osobiÊcie przekonywała setki polskich deputowanych, by poparli wniosek o utworzenie instytucji majàcej pomóc złapaç wiatr w ˝agle narodowej kinematografii. „Variety”, Will Tizard, 25 czerwca – 8 lipca 2007 Polska i jej nowy Instytut Filmowy oferuje wsparcie i kontakty. Współpraca Polaków przy filmach „Inland Empire” Davida Lyncha oraz „Nightwatching” Petera Greenawaya jest tego dowodem. Instytut w 2006 roku udzielił wsparcia 35 mi´dzynarodowym koprodukcjom. Dowodzi to wzrastajàcej ÊwiadomoÊci zmian, jakie zaszły w prawie filmowym i finansowaniu zagranicznych produkcji, a które umo˝liwiajà uzyskanie wsparcia finansowego równie˝ obcokrajowcom. „The Hollywood Reporter”, Nick Holdsworth, 14–20 listopada -
25-2-W2016.Pdf
The ESSE Messenger A Publication of ESSE (The European Society for the Study of English Vol. 25-2 Winter 2016 ISSN 2518-3567 All material published in the ESSE Messenger is © Copyright of ESSE and of individual contributors, unless otherwise stated. Requests for permissions to reproduce such material should be addressed to the Editor. Editor: Dr. Adrian Radu Babes-Bolyai University, Cluj-Napoca, Romania Faculty of Letters Department of English Str. Horea nr. 31 400202 Cluj-Napoca Romania Email address: [email protected] Cover illustration: Gower Memorial to Shakespeare, Stratford-upon-Avon This file is licensed under the Creative Commons Attribution-Share Alike 3.0 Unported license. Picture credit: Immanuel Giel Contents Shakespeare Lives 5 Europe, like Hamlet; or, Hamlet as a mousetrap J. Manuel Barbeito Varela 5 Star-crossed Lovers in Sarajevo in 2002 Ifeta Čirić-Fazlija 14 Shakespeare on Screen José Ramón Díaz Fernández 26 The Interaction of Fate and Free Will in Shakespeare’s Hamlet Özge Özkan Gürcü 57 The Relationship between Literature and Popular Fiction in Shakespeare’s Richard III Jelena Pataki 67 Re-thinking Hamlet in the 21st Century Ana Penjak 79 Reviews 91 Mark Sebba, Shahrzad Mahootian and Carla Jonsson (eds.), Language Mixing and Code-Switching in Writing: Approaches to Mixed-Language Written Discourse (New York & London: Routledge, 2014). 91 Bernard De Meyer and Neil Ten Kortenaar (eds.), The Changing Face of African Literature / Les nouveaux visages de la litterature africaine (Amsterdam and New York: Rodopi, 2009). 93 Derek Hand, A History of the Irish Novel (Cambridge: Cambridge University Press, 2011). 95 Hobby Elaine.