DOCSLIB.ORG

BFI FILM SALES Selective Catalogue Autumn 2018 ‘A REAL GEM’ ‘POIGNANT & BEAUTIFULLY ACTED’ the FINANCIAL TIMES the OBSERVER

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
BFI FILM SALES Selective Catalogue Autumn 2018 ‘A REAL GEM’ ‘POIGNANT & BEAUTIFULLY ACTED’ the FINANCIAL TIMES the OBSERVER BFI FILM SALES Selective Catalogue Autumn 2018 ‘A REAL GEM’ ‘POIGNANT & BEAUTIFULLY ACTED’ THE FINANCIAL TIMES THE OBSERVER SYNOPSIS Luke (Steven Brandon), a young man with Down’s syndrome who prizes his independence, is forced into a care home after the death of his mother. There he rails against the restrictions imposed on him, but his frustrations are allayed by his budding friendships with his care-worker Eve (Shana Swash) and a ‘Richly mysterious feral girl (Pixie Le Knot). rewarding... Debut director Jane Gull has crafted a sensitive, poignant and creditably naturalistic drama that lingers in the memory; anchored around Brandon’s seek it out’ superb lead performance. Mark Kermode, BBC Radio 5 BFI, 21 Stephen Street, LONDON W1T 1LN, United Kingdom | [email protected] MY FERAL HEART My Feral Heart is the multi-award winning, BIFA-nominated, NFA and IARA-winning 2017 debut from Jane Gull. It’s been dubbed ‘the small British indie with a mighty heart UK that everyone is talking about’ after it garnered terrific critical notices and became 83 mins a cinema-on-demand sensations. Its UK theatrical release graced 125 screens BBFC 12A/12 before its run ended on 21 March 2017 (World Down Syndrome Day) and grossed £52k. Colour 5.1 & Stereo Mixes available The film was released on DVD and EST in the UK on 27 November, ahead of its Director Jane Gull UK PayTV premiere on Sky Cinema on World Down Syndrome Day 2018. In its Writer week of release the film was #1 in both the DVD and Digital Download ‘Amazon Duncan Paveling UK Movers and Shakers Charts’. Producer James Rumsey It stars Steven Brandon, an actor with down syndrome, and is one of only a few With films to cast an actor with a disability in a lead role. Steven’s impressive debut as Steven Brandon, Shana Swash, Luke earned him three Best Actor awards, including one at the National Film Will Rastall, Pixie le Knot, Eileen Pollock, Suzzana Hamilton Awards UK 2017, two BIFA nominations, and universal praise from critics. AWARDS Shana Swash (Eastenders) also gained recognition from the BIFAs, IARA, and National Film Awards for her portrayal of care-worker Eve with nominations in the IARA Winner 2017 Best Independent Feature - Winner Best supporting Actress category. NFA 2017 The rest of the supporting cast are equally strong and include: Will Rastall (Game Best Actor - Winner of Thrones), Eileen Pollock (Far and Away), Suzanna Hamilton (Out of Africa) and Festival International du Film sur Pixie le Knot (It Never Sleeps). le Handicap 2017 Grand Prix du Jury (Prix Pascale Duquenne) Best Feature Film Breaking Down Barriers 2016 Best Feature Film Best Actor BFI, 21 Stephen Street, LONDON W1T 1LN, United Kingdom | [email protected] ‘A DISTURBING WICKER MAN-INSPIRED ‘A DREAMY STUDY OF RURAL CINE-ESSAY EXPLORING OUR DARK LIFE THAT’S BOTH NOSTALGIC RELATIONSHIP WITH THE COUNTRYSIDE’ AND NIGHTMARISH’ THE SCOTSMAN THE SKINNY SYNOPSIS ‘Arcadia is a Scouring 100 years of footage from the BFI National Archive, BAFTA®- winner revolutionary Paul Wright constructs an exhilarating study of Britain’s shifting – and document’ contradictory – relationship to the land. Paul Kingsnorth, Wright (For Those in Peril) crafts a dense poetic essay of wonder, hope, horror Author of the Wake and Beast and decay – drawing on inspiration from The Wicker Man to Winstanley. Through an intoxicating array of material, we follow an unnamed protagonist from the future as she travels through the metaphorical ‘seasons’: Spring’s romantic agricultural idyll long gone; Summer’s innocence of a village fête side-by-side with dark earthy folk rituals and eruptions of Britain’s Pagan past; Autumn’s abandonment of the land, the emergence of urbanisation and the creation of new towns; and Winter’s political turmoil, extremism and division, as nature reacts with violent storms. Set to a grand, expressive score from Adrian Utley (Portishead) and Will Gregory (Goldfrapp), Wright’s captivating film essay was conceived before Brexit, but it’s impossible not to see the film through the prism of it. BFI, 21 Stephen Street, LONDON W1T 1LN, United Kingdom | [email protected] ARCADIA ‘Arcadia is like a revolutionary document … Here is aboriginal Britain. You thought 2017 it was gone beneath a deluge of motorways and malls and screens and engines UK and scurrying human feet. Much of it is. But what remains? What remains, and 78 mins what will you do with it?’ BBFC 12A Paul Kingsnorth, author of The Wake and Beast Music Adrian Utley, Will Gregory ‘One of the most intriguing horror-themed films came from an unexpected source. Director For Those in Peril director Paul Wright returned with Arcadia, which repurposed Paul Wright rural-themed films from the BFI National Archives into a disturbing Wicker Writer Paul Wright Man-inspired cine-essay exploring our dark relationship with the countryside. It was a further sign in the festival that the most interesting Scottish filmmakers Producer John Archer, Mark Atkin, were the ones willing to innovate with form.” Adrian Cooper, A Hopscotch The Scotsman (Glasgow Film Festival Round-up) Films Crossover, Common Ground production with the support of the British Film Institute (BFI) ‘If you have the opportunity to see Arcadia, you should … Wright’s optimism National Archive and poeticism leaves you wanting to celebrate our land and our humanity.’ Lippy Review ‘A dreamy study of rural life that’s both nostalgic and nightmarish … The sequences, although open to individual interpretation, have their effect guided by a score, from Adrian Utley (Portishead) and Will Gregory (Goldfrapp), that colours the visuals with emotion. Repeating images demonstrate this when they are accompanied with either a haunting and sparse electronic beat or an uplifting harmonic string quartet.’ The Skinny BFI, 21 Stephen Street, LONDON W1T 1LN, United Kingdom | [email protected] MINUTE BODIES: THE INTIMATE WORLD OF F. PERCY SMITH SYNOPSIS 2016 This meditative, immersive film is a tribute to the astonishing work and UK achievements of naturalist, inventor and pioneering filmmaker F. Percy 55 mins Smith. Director Stuart A. Staple Smith worked in the early years of the 20th century, developing various Music cinematographic and micro-photographic techniques to capture nature’s Tindersticks with Thomas secrets in action. Working in a number of public roles, including the Royal Belhom and Christine Ott Navy and British Instructional Films, Smith was prolific and driven, often directing several films simultaneously, apparently on a mission to explore FESTIVALS and capture nature’s hidden terrains. International Film Festival Rotterdam Minute Bodies is an interpretative edit that combines Smith’s original footage Official Selection with a new contemporary score by Tindersticks to create a hypnotic, alien Göteborg Film Festival yet familiar dreamscape, a journey through a world, invisible to the naked Official Selection eye, which continues to amaze the wanderers. ADDIFF Official Selection RELATED TITLES Timecheck (Dir. David Hall, 1971) Zygosis (Dir. David Hodge, 1991) ‘Beautiful, hypnotic’ The Guardian DISTANT VOICES, STILL LIVES - Remastered SYNOPSIS 1988 Set in a world before Elvis, a Liverpool before the Beatles, Distant Voices, Still UK Lives is a remarkable evocation of working-class family life in the 40s and 84 mins 50s — a visionary exploration of memory. Director Terence Davies Terence Davies's stunning debut feature was instantly recognised as a masterpiece on its initial release in 1988. Screenwriters Terence Davies A loving portrait of working-class Liverpool drawn from Davies’ own family With memories, Distant Voices, Still Lives paints a lyrical portrait of domestic life – Freda Dowie, Pete from the jubilant highs of community celebrations, to the brutal lows of Postlethwaite, Angela Walsh, sadistic paternal oppression. Dean Williams, Lorraine Ashbourne At once deeply autobiographical and universally resonant, the film has been newly restored in 4K to mark its 30th anniversary and remains a must-see AWARDS classic of British cinema. Cannes Film Festival, 1988 FIPRESCI Prize RELATED TITLES The Terence Davies Trilogy ★★★★★ (Dir. Terence Davies, 1976-83) Occupy! (Dir. Gael Dohany, 1976) ‘The best British film of the last three decades’ Financial Times TERENCE DAVIES’ TRILOGY Made over a period of some seven years, the Terence Davies Trilogy spans the period from Terence Davies's earliest work as a filmmaker through to his emergence as one of the outstanding British directors of his generation. Davies wrote the script for Children (1976) while at drama school, and made the film with funding from the British Film Institute; Madonna and Child (1980) was produced at the National Film School as his graduation film; Death and Transfiguration (1983) was made three years later with the backing of the BFI and the Greater London Arts Association. Together, the three films chart the life and death of Robert Tucker, brought up - like Davies himself - in a Catholic working-class home in Liverpool. ‘Davies transforms his account of Liverpudlian Robert Tucker’s development from victimised school boy, through a closeted, catholic gay middle age, and final death in a hospital, into a rich, resonant tapestry of impressionistic detail.’ TIME OUT CHILDREN 1976 The opening film of the trilogy is a brilliant UK evocation of a tortures childhood and a Catholic upbringing. Constant bullying at school and a 46 min violent and sick father trap a Liverpool boy in a Director world of guilt and frustration. Terence Davies With Philip Mawdsley Nick Stringer ‘Painful, demanding, personal and beautifully made’ Val Lilley FILM AND FILMING Robin Hooper MADONNA AND CHILD 1980 A severe, intimate portrait of a middle-aged UK man who still lives at home and is torn between his homosexuality, his religion and his devotion 30 min to his mother. This conflict produces an Director overwhelming despair from which there is Terence Davies seemingly no escape.
Load more

Recommended publications
  • Research Article Introduction It Is Widely Known That The
    March 2019 e-ISSN: 1857-8187 p-ISSN: 1857-8179 Research Article Creative and Performing Arts THE FORMS OF THE GAME IN SILENT FILMS, THE DISCOVERY OF Keywords: soundless films, actors, tune SOUND TECHNOLOGY recording, mechanical design, time detection. Hazir Haziri Faculty of Arts. University of Prishtina. Republic of Kosova. Abstract The soundless films of the first generation of world‘S cinematography, which left an indelible mark and survived to this day, precisely because it was an undisputed artistic value. The universal themes selected and handled by Artists of that time will find a special focus on my work, the playfulness of the act of that time, the possibilities of recording in the celluloid and the appearance of obstacles with the mechanical projectors. The discovery of that period, that is recording the tone, the difficulties, the problems and the main challenges in acting in front of the film camera, such an invention would certainly give another direction to the artistic film, contribute to its development but at the same time exhibited barricades of banal nature, in the simple sense would turn the role-play to the zero point, precisely in the moments of its advancement towards the extreme naturalness, would bump into the theater actors with those of the sketches or the noisless films that had already had taken the good hand in front of the film camera, while the theater actors who had the strong gun, the speech in front of the vibrant audience were already starting their career and fighting with the film they would meditate on just as they were.
    [Show full text]
  • Please Note: Schedule Subject to Change. Please Visit Tcm.Com/Festival to Get Up-To-Date Schedule Information. 8:00 Am 8:30 Am
    TIME GRAUMAN’S CHINESE CHINESE CHINESE THE EGYPTIAN POOLSIDE AT THE MUSIC BOX CHINESE THEATRE MULTIPLEX 1 MULTIPLEX 3 MULTIPLEX 4 THEATRE ROOSEVELT THEATRE CLUB TCM 8:00 AM Club TCM Opens 12:00 PM 8:30 AM 9:00 AM 9:30 AM 10:00 AM 10:30 AM 11:00 AM 11:30 AM 12:00 PM FESTIVAL POSTER SIGNING WITH MICHAEL SCHWAB 12:30 PM 12:00 PM 1:00 PM TCM - MEET THE PEOPLE BEHIND THE NETWORK 1:30 PM 1:00 PM 2:00 PM 2:30 PM MICKEY ROONEY DVD SIGNING 3:00 PM 2:30 PM 3:30 PM CANCELLED 4:00 PM DISCUSSION ABOUT JACK 4:30 PM PASHKOVSKY EXHIBIT 4:15 PM 5:00 PM 5:30 PM FESTIVAL 6:00 PM LAUGH-O-GRAMS WELCOME PARTY 6:00 PM 5:00 PM 6:30 PM AN AMERICAN IN PARIS JB Kaufman, 7:00 PM Digital Cinema THE GHOST A NIGHT AT THE OPERA Ben Model 6:30 PM AND MRS. MUIR (w/ What’s Opera, Doc?) 7:30 PM UNDER WESTERN STARS 35mm Leslie Caron 35mm (w/ Deputy Droopy) 8:00 PM 7:15 PM 7:15 PM 35mm GIRL HAPPY 8:30 PM DISCUSSION Dorothy Herrmann Robert Bader, 7:45 PM DVD 9:00 PM Andy Marx Cheryl Rogers-Barnett 8:00 PM 9:30 PM Chris Isaak, 10:00 PM THE DAY THE EARTH CASANOVA IN BURLESQUE Mary Ann Mobley STOOD STILL THE DEVIL IS A WOMAN 10:30 PM 35mm 35mm 35mm 10:00 PM 11:00 PM 10:00 PM 10:15 PM Cheryl Rogers-Barnett, 11:30 PM Dorothy Herrmann Katie Trainor Barry Allen 12:00 AM Club TCM Closes 12:00 AM 12:30 AM 1:00 AM 1:30 AM DISCUSSION IN ATTENDANCE * Times are approximate FILM PRESENTATION SPECIAL PRESENTATION PANEL SIGNING SESSION TBD PLEASE NOTE: SCHEDULE SUBJECT TO CHANGE.
    [Show full text]
  • September 6, 2011 (XXIII:2) Anthony Asquith and Leslie Howard, PYGMALION (1938, 96 Min)
    September 6, 2011 (XXIII:2) Anthony Asquith and Leslie Howard, PYGMALION (1938, 96 min) Directed by Anthony Asquith and Leslie Howard Written by George Bernard Shaw (play, scenario & dialogue), W.P. Lipscomb, Cecil Lewis, Ian Dalrymple (uncredited), Anatole de Grunwald (uncredited), Kay Walsh (uncredited) Produced by Gabriel Pascal Original Music by Arthur Honegger Cinematography by Harry Stradling Edited by David Lean Art Direction by John Bryan Costume Design by Ladislaw Czettel (as Professor L. Czettel), Schiaparelli (uncredited), Worth (uncredited) Music composed by William Axt Music conducted by Louis Levy Leslie Howard...Professor Henry Higgins Wendy Hiller...Eliza Doolittle Wilfrid Lawson...Alfred Doolittle Marie Lohr...Mrs. Higgins Scott Sunderland...Colonel George Pickering GEORGE BERNARD SHAW [from Wikipedia](26 July 1856 – 2 Jean Cadell...Mrs. Pearce November 1950) was an Irish playwright and a co-founder of the David Tree...Freddy Eynsford-Hill London School of Economics. Although his first profitable writing Everley Gregg...Mrs. Eynsford-Hill was music and literary criticism, in which capacity he wrote many Leueen MacGrath...Clara Eynsford Hill highly articulate pieces of journalism, his main talent was for Esme Percy...Count Aristid Karpathy drama, and he wrote more than 60 plays. Nearly all his writings address prevailing social problems, but have a vein of comedy Academy Award – 1939 – Best Screenplay which makes their stark themes more palatable. Shaw examined George Bernard Shaw, W.P. Lipscomb, Cecil Lewis, Ian Dalrymple education, marriage, religion, government, health care, and class privilege. ANTHONY ASQUITH (November 9, 1902, London, England, UK – He was most angered by what he perceived as the February 20, 1968, Marylebone, London, England, UK) directed 43 exploitation of the working class.
    [Show full text]
  • FESTIVAL to the Volcanoes of Auvergne – Unforgettable
    InsPIrIng you to reach your dreams #19 /JuLy-AUGUST 2010 Glorious Cannes, Glamorous summer MICK JAGGER A Stone in exile? PAlme d’oR wInner Exclusive interview AlEx Cox British film expert BElGIAn EU PRESIdEnCY Back in business? EDITORIAL Cannes-tastic! Cannes is one of those places cocktails, courtesy of chivas and the utter where you feel anything could exhilaration of being handed the controls of J happen. Away from the glitz craft’s latest speedboat the Torpedo as it and glamour of La Croisette topped 40 knots in Cannes harbour, we did our best to enjoy ourselves. and its famous red carpet, a whole industry throbs in the Of course, it’s not all parties. Closer to home, Andy background. Carling returns with a sideways look at how Belgium may handle its six months as head of n such a city of movers and shakers, a the EU’s rotating presidency. There’s still time to place which seems practically never to get yourself in trim for the beach, too – let Together sleep and a town in which new stars are and Power Plate Institute Brussels introduce you born, Together is right at home. To save to the latest exercise craze, with our fantastic you the trouble of trekking the thousand- readers giveaway. oddI kilometres to Cannes, we selflessly ventured there to bring you the very best in fashion shows, Plus, as we know you’ve come to expect and private parties and everything you might expect enjoy by now, there’s a beautiful fashion from the hardest working (and hardest partying) photoshoot, Kimberley Lovato’s sensual magazine in Brussels.
    [Show full text]
  • From Free Cinema to British New Wave: a Story of Angry Young Men
    SUPLEMENTO Ideas, I, 1 (2020) 51 From Free Cinema to British New Wave: A Story of Angry Young Men Diego Brodersen* Introduction In February 1956, a group of young film-makers premiered a programme of three documentary films at the National Film Theatre (now the BFI Southbank). Lorenza Mazzetti, Lindsay Anderson, Karel Reisz and Tony Richardson thought at the time that “no film can be too personal”, and vehemently said so in their brief but potent manifesto about Free Cinema. Their documentaries were not only personal, but aimed to show the real working class people in Britain, blending the realistic with the poetic. Three of them would establish themselves as some of the most inventive and irreverent British filmmakers of the 60s, creating iconoclastic works –both in subject matter and in form– such as Saturday Day and Sunday Morning, The Loneliness of the Long Distance Runner and If… Those were the first significant steps of a New British Cinema. They were the Big Screen’s angry young men. What is British cinema? In my opinion, it means many different things. National cinemas are much more than only one idea. I would like to begin this presentation with this question because there have been different genres and types of films in British cinema since the beginning. So, for example, there was a kind of cinema that was very successful, not only in Britain but also in America: the films of the British Empire, the films about the Empire abroad, set in faraway places like India or Egypt. Such films celebrated the glory of the British Empire when the British Empire was almost ending.
    [Show full text]
  • The Statement
    THE STATEMENT A Robert Lantos Production A Norman Jewison Film Written by Ronald Harwood Starring Michael Caine Tilda Swinton Jeremy Northam Based on the Novel by Brian Moore A Sony Pictures Classics Release 120 minutes EAST COAST: WEST COAST: EXHIBITOR CONTACTS: FALCO INK BLOCK-KORENBROT SONY PICTURES CLASSICS SHANNON TREUSCH MELODY KORENBROT CARMELO PIRRONE ERIN BRUCE ZIGGY KOZLOWSKI ANGELA GRESHAM 850 SEVENTH AVENUE, 8271 MELROSE AVENUE, 550 MADISON AVENUE, SUITE 1005 SUITE 200 8TH FLOOR NEW YORK, NY 10024 LOS ANGELES, CA 90046 NEW YORK, NY 10022 PHONE: (212) 445-7100 PHONE: (323) 655-0593 PHONE: (212) 833-8833 FAX: (212) 445-0623 FAX: (323) 655-7302 FAX: (212) 833-8844 Visit the Sony Pictures Classics Internet site at: http:/www.sonyclassics.com THE STATEMENT A ROBERT LANTOS PRODUCTION A NORMAN JEWISON FILM Directed by NORMAN JEWISON Produced by ROBERT LANTOS NORMAN JEWISON Screenplay by RONALD HARWOOD Based on the novel by BRIAN MOORE Director of Photography KEVIN JEWISON Production Designer JEAN RABASSE Edited by STEPHEN RIVKIN, A.C.E. ANDREW S. EISEN Music by NORMAND CORBEIL Costume Designer CARINE SARFATI Casting by NINA GOLD Co-Producers SANDRA CUNNINGHAM YANNICK BERNARD ROBYN SLOVO Executive Producers DAVID M. THOMPSON MARK MUSSELMAN JASON PIETTE MICHAEL COWAN Associate Producer JULIA ROSENBERG a SERENDIPITY POINT FILMS ODESSA FILMS COMPANY PICTURES co-production in association with ASTRAL MEDIA in association with TELEFILM CANADA in association with CORUS ENTERTAINMENT in association with MOVISION in association with SONY PICTURES
    [Show full text]
  • Table of Contents
    National Discourse on Carnival Arts Report by Ansel Wong, October 2009 1 2 © Carnival Village, Tabernacle 2009 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form, or by any means, electronic, mechanical, photocopying, recorded or otherwise, without the prior permission of the author. Contact details for further information: Shabaka Thompson CEO Carnival Village, Tabernacle Powis Square London W11 2AY Tel: +44 (0) 20 7286 1656 [email protected] www.Carnivalvillage.org.uk 3 This report is dedicated to the memory of David Roussel-Milner (Kwesi Bachra) 18 February 1938 – 28 October 2009 4 Executive Summary Introduction The Carnival Village, The ELIMU Paddington Arts Carnival Band, the Victoria and Albert Museum and HISTORYtalk hosted the National Discourse on Carnival from Friday 2 October to Sunday 4 October 2009 with a number of post-conference events lasting for the duration of the month of October. The programme was delivered through two strands – ROOTS (a historical review and critical analysis of Carnival in London from 1969) and ROUTES (mapping the journey to artistic and performance excellence for Carnival and its related industries) - to achieve the following objectives: Inform Carnival Village‟s development plans Formulate an approach to and build a consensus on Carnival Arts Identify and develop a strategic forum of stakeholders, performers and artists Recognise and celebrate artistic excellence in Carnival Arts Build on the legacies of Claudia Jones and other Carnival Pioneers The Programme For the duration of the event, there were two keynote presentations; the first was the inaugural Claudia Jones Carnival Memorial Lecture delivered by Dr Pat Bishop and the second was delivered by Pax Nindi on the future of Carnival.
    [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]
  • Quentin Tarantino Retro
    ISSUE 59 AFI SILVER THEATRE AND CULTURAL CENTER FEBRUARY 1– APRIL 18, 2013 ISSUE 60 Reel Estate: The American Home on Film Loretta Young Centennial Environmental Film Festival in the Nation's Capital New African Films Festival Korean Film Festival DC Mr. & Mrs. Hitchcock Screen Valentines: Great Movie Romances Howard Hawks, Part 1 QUENTIN TARANTINO RETRO The Roots of Django AFI.com/Silver Contents Howard Hawks, Part 1 Howard Hawks, Part 1 ..............................2 February 1—April 18 Screen Valentines: Great Movie Romances ...5 Howard Hawks was one of Hollywood’s most consistently entertaining directors, and one of Quentin Tarantino Retro .............................6 the most versatile, directing exemplary comedies, melodramas, war pictures, gangster films, The Roots of Django ...................................7 films noir, Westerns, sci-fi thrillers and musicals, with several being landmark films in their genre. Reel Estate: The American Home on Film .....8 Korean Film Festival DC ............................9 Hawks never won an Oscar—in fact, he was nominated only once, as Best Director for 1941’s SERGEANT YORK (both he and Orson Welles lost to John Ford that year)—but his Mr. and Mrs. Hitchcock ..........................10 critical stature grew over the 1960s and '70s, even as his career was winding down, and in 1975 the Academy awarded him an honorary Oscar, declaring Hawks “a giant of the Environmental Film Festival ....................11 American cinema whose pictures, taken as a whole, represent one of the most consistent, Loretta Young Centennial .......................12 vivid and varied bodies of work in world cinema.” Howard Hawks, Part 2 continues in April. Special Engagements ....................13, 14 Courtesy of Everett Collection Calendar ...............................................15 “I consider Howard Hawks to be the greatest American director.
    [Show full text]
  • Mass Observation Humphrey Spender Nigel Henderson the Metropolitan Police Card Inspection Processing
    Humphrey Spender Funeral Cortege Davenport St. Bolton 1938. Mass Observation Humphrey Spender Nigel Henderson The Metropolitan Police Card Inspection Processing A No 11 Half Moon Photography Workshop 40p/$1.50 Mass Observation was probably the largest investigation These photographs however, together with the detailed into popular culture to be carried out in Britain this century. written observations, do provide a valuable insight into the It took place between 1936 and 1947. late 1930s and show how Mass Observation influenced the Mass Observation was established by a small group of development of documentary realism. upper-middle class intellectuals and artists, but grew to In this issue we look at the origins of Mass Observation, its involve around 1,500 observers from all social classes and aims, its methods of working, its contribution to the docu­ from all over the country. They amassed a wealth of infor­ mentary tradition, its shortcomings and its significance to mation on the minutiae of everyday life of the period. During contemporary culture. In the section below we reproduce World War II the Government took over M.O.’s fact­ parts of the first publication of M.O., the pamphlet ‘Mass collecting organisation for propaganda purposes and to keep Observation’ by Tom Harrisson and Charles Madge. This in touch with public morale. After the War M.O. became a pamphlet, published in 1937, sets out what they were trying limited company and turned to consumer research. to do and gives a clear picture of the ideas which influenced Mass Observation described its observers as ‘the cameras their thinking.
    [Show full text]
  • The Development of the Role of the Actor-Musician in Britain by British Directors Since the 1960’S
    1 The Development of the Role of the Actor-Musician in Britain by British Directors Since the 1960’s Francesca Mary Greatorex Theatre and Performance Department Goldsmiths University of London A thesis presented in fulfilment of the requirements for the degree of Doctor of Philosophy (PhD) 2 I hereby declare that the work presented in this thesis is my own. Signed: ……………………………………………. 3 Acknowledgements This thesis could not have been written without the generosity of many individuals who were kind enough to share their knowledge and theatre experience with me. I have spoken with actors, musical directors, set designers, directors, singers, choreographers and actor-musicians and their names and testaments exist within the thesis. I should like to thank Emily Parsons the archivist for the Liverpool Everyman for all her help with my endless requests. I also want to thank Jonathan Petherbridge at the London Bubble for making the archive available to me. A further thank you to Rosamond Castle for all her help. On a sadder note a posthumous thank you to the director Robert Hamlin. He responded to my email request for the information with warmth, humour and above all, great enthusiasm for the project. Also a posthumous thank you to the actor, Robert Demeger who was so very generous with the information regarding the production of Ninagawa’s Hamlet in which he played Polonius. Finally, a big thank you to John Ginman for all his help, patience and advice. 4 The Development of the Role of the Actor-Musician in Britain by British Directors During the Period 1960 to 2000.
    [Show full text]
  • Menelik Shabazz Transcript.Pages
    MENELIK SHABAZZ LCVA TRANSCRIPT TC SYNC 12:09:12 Interviewer: Tell us about your early life 12:09:31 Menelik Shabazz: I was born in Barbados and I was there until the age of six. And so my memories are quite vivid actually of I come from the country, I know Barbados is very small but we you have a countryside St. John. And in a village it echoed its history the village that I was and I didn't know it at the time. So you had, in my village you had the plantation which was a sugar plantation on one side of the road and people and the houses on the other side of the road. And my early memories are of going on a plantation with a flask of food for my aunt and for my mum and for my aunt and so on and um and memories of learning how to capture birds um learning how to shoot at, we had little monkeys in the in the little woods who we used to throw things at and then they would catch it and throw it back at you. Learning err um the kind of schooling regime where you had to be on point with your dress, you had to be on point with your nails, they had to look right. You had to be on point with um yeah as I say the way you dress um that you look okay. So all of that they had drills and stuff. And of course you had the beatings I used to get a few times for my mathematical inadequacies.
    [Show full text]