JACK GOLD Director Agent: Norman North

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JACK GOLD Director Agent: Norman North Film includes: THE CHAIN Quintet/Rank RED MONARCH Enigma/Goldcrest LITTLE LORD FAUNTLEROY * Christopher Award CBS CHARLIE MUFFIN Euston Films THE SAILOR'S RETURN * Martin Luther King Award * Karoly Vary Award Ariel Prods/Euston Films THE MEDUSA TOUCH Elliot Kastner ACES HIGH * Evening News Best Film Award 1976 B Fisz/EMI THE NATIONAL HEALTH * Evening News Best British Comedy Award 1973 Virgin/Columbia THE RECKONING Columbia THE BOFORS GUN Universal Television includes: THE BRIEF Carlton KAVANAGH QC SPECIAL "The End of the Law" Carlton THE REMORSEFUL DAY (Inspector Morse) *BAFTA: The Lew Grade Award for Most Popular Television Programme 2001 Carlton GOODNIGHT MISTER TOM * Silver Hugo, Chicago Festival 1999 * TRIC Award (Best ITV programme) 1999 * BAFTA: The Lew Grade Award for Most Popular Television Programme 1999 * National Television Awards, Most Popular Drama 1999 Carlton/Central INTO THE BLUE Carlton/Central Jack Gold -2- KAVANAGH QC 3 episodes Carlton/Central HEAVY WEATHER Cinema Verity/BBC THE LAST ROMANTICS BBC THE WAR THAT NEVER ENDS BBC BALL-TRAP ON THE COTE SAUVAGE BBC SPRING AWAKENING Getting Out Prods/CBS RETURN OF THE NATIVE Signboard Hill/Hallmark THE LUCONA AFFAIR Telemünchen SHE STOOD ALONE * Christopher Award Steve White Prods THE ROSE & THE JACKAL Steve White Prods THE TENTH MAN Hallmark/CBS STONES FOR IBARRA Titus Prods/Hallmark/CBS ESCAPE FROM SOBIBOR * Golden Globe Award Rule/Starger MURROW * New York Festival Grand Award * Ace Best Director and Best Film Titus Prods/TVS/HBO SAKHAROV * Ace Award HBO/Titus Prods ME AND THE GIRLS BBC GOOD AND BAD AT GAMES Channel 4 PRAYING MANTIS Channel 4 THANK YOU, COMRADES BBC CATHOLICS * The Peabody Prize CBS/HTV BAVARIAN NIGHTS BBC A LOT OF HAPPINESS * International Emmy Granada MERCHANT OF VENICE BBC Jack Gold -3- MACBETH BBC THE NAKED CIVIL SERVANT * Italia Prize * International Emmy * Press Guild Award * Chicago Award * Barcelona Award Thames GOD BLESS THEE JACKY MADISON BBC ARTURO UI BBC STOCKER'S COPPER * BAFTA Best TV Drama Award BBC MAD JACK * Monte Carlo Award * Catholic Award BBC Theatre includes: CROSSING JERUSALEM Tricycle Theatre THREE HOTELS Tricycle Theatre DANGER: MEMORY! Hampstead Theatre THIS STORY OF YOURS Hampstead Theatre TRIBUTE TO LILY LAMONT New End Theatre DEVILS DISCIPLE RSC COUNCIL OF LOVE Criterion © Copyright The Agency (London) Ltd. 2017 Not to be reproduced in any form without permission of the Copyright holder. .

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BEHP 0719 T RENÉE GLYNNE Transcript British Entertainment History Project – Interview No
BEHP 0719 T RENÉE GLYNNE Transcript British Entertainment History Project – Interview No. 719 26th January 2018 INTERVIEWEE – RENÉE ALMA GLYNNE INTERVIEWER – DARROL BLAKE Transcriber – Linda Hall-Shaw DARROL BLAKE: So, can you tell me your name and where you were born and when. RENÉE GLYNNE: I am Renée Alma Glynne, nee Renée Galler. I was born in Hackney in 1926 which was the year of The General Strike, of very nice parents, whose parents were living in Russia at the time of the pogroms and left in, say, 1890, something like that. Went from there, accidentally, to New York – I think they were meant to come here. They stayed in New York and then they did come to London and respectively had my parents. So sometimes I think I am Russian, but I grew up absolutely being an English child with no foreign languages around me or anything foreign. (TIME 01.09) DARROL BLAKE: And where was that? RENÉE GLYNNE: It began … I was born in Hackney overlooking Victoria Park. Very beautiful. Went down the drain later and is now up the drain. DARROL BLAKE: Did you have any ambitions when you were a young girl? Did you always want to go into the film business? RENÉE GLYNNE: Entertainment business, behind stage. I really wanted to be, probably, in the wardrobe of theatre or an ASM [Assistant Stage Manager]. And I knew that it was going to be theatre and I hadn’t really … I went to cinemas and saw films, but I never yearned to do movies. DARROL BLAKE: Was that in your family at all? (TIME 02.00) RENÉE GLYNNE: My two uncles were in very well-known bands.
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Transatlantic Spaces: Production, Location and Style in 1960S-1970S Action- Adventure TV Series
Transatlantic spaces: production, location and style in 1960s-1970s action- adventure TV series Article Accepted Version Bignell, J. (2010) Transatlantic spaces: production, location and style in 1960s-1970s action-adventure TV series. Media History, 16 (1). pp. 53-65. ISSN 1469-9729 doi: https://doi.org/10.1080/13688800903395460 Available at http://centaur.reading.ac.uk/17666/ It is advisable to refer to the publisher’s version if you intend to cite from the work. See Guidance on citing . To link to this article DOI: http://dx.doi.org/10.1080/13688800903395460 Publisher: Taylor & Francis All outputs in CentAUR are protected by Intellectual Property Rights law, including copyright law. Copyright and IPR is retained by the creators or other copyright holders. Terms and conditions for use of this material are defined in the End User Agreement . www.reading.ac.uk/centaur CentAUR Central Archive at the University of Reading Reading’s research outputs online Transatlantic spaces: Production, location and style in 1960s-70s Action-Adventure TV Series Jonathan Bignell Abstract This article argues that transatlantic hybridity connects space, visual style and ideological point of view in British television action-adventure fiction of the 1960s-70s. It analyses the relationship between the physical location of TV series production at Elstree Studios, UK, the representation of place in programmes, and the international trade in television fiction between the UK and USA. The TV series made at Elstree by the ITC and ABC companies and their affiliates linked Britishness with an international modernity associated with the USA, while also promoting national specificity. To do this, they drew on film production techniques that were already common for TV series production in Hollywood.
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The British Academy Television Awards Sponsored by Pioneer
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2014 BAFTA TV Awards Full List of Nominations
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Shail, Robert, British Film Directors
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Film Criticism
ALEXANDER FEDOROV FILM CRITICISM FEDOROV, A. FILM CRITICISM. МOSCOW: ICO “INFORMATION FOR ALL”. 2015. 382 P. COPYRIGHT © 2015 BY ALEXANDER FEDOROV [email protected] ALL RIGHT RESERVED. 10 9 8 7 6 5 4 2 1 FEDOROV, ALEXANDER. 1954-. FILM CRITICISM / ALEXANDER FEDOROV. P. CM. INCLUDES BIBLIOGRAPHICAL REFERENCES. 1. FILM CRITICISM. 2. FILM STUDIES. 3. MEDIA LITERACY. 4. MEDIA EDUCATION. 5. MEDIA STUDIES. 6. FILM EDUCATION. 7. STUDENTS. 8. CINEMA. 9. FILM. 10. MASS MEDIA. 11. STUDY AND TEACHING. 2 Contents The Mystery of Russian Cinema ………………………………..…... ..6 Phenomenon of Russian Film-Hits ………………………………….. 10 Russian Screen Distribution …………………………………..………..12 Video-pirates from Russia ……………………………………..…….. 15 Film Criticism and Press in Russia …………………………………… 17 Russian Cinematography and the Screen Violence ………………....….21 The Gloom of Russian Fantastic Movie-Land …………….………..….27 Sex-Cinema: Made in Russia …………………………………… ..….. 29 America, America… ……………………………………………….… .31 French Motives and Russian Melodies ………………………….…… .33 Fistful of Russian Movies ……………………………………….…… .41 Nikita Mikhalkov before XXI Century ………………………….…… 78 Karen Shakhnazarov: a Fortune's Favorite? ……………………….… 86 Pyotr Todorovsky: Dramatic Romance ……………………….……. 92 Oleg Kovalov, Former Film Critic .........................................................99 How to Shoot the “True” Film about Russia …………………………102 Locarno Film Fest: The View of a Film Educator ……………………103 The Analysis of Detective Genre at Film Education in Students’ Audience ……………………………………………… ……….…..106 Hermeneutical
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От Эпохи Идеологической Конфронтации (1946-1991) До Современного Этапа (1992-2010)
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Cassette Books, CMLS,P.O
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British Films 1971-1981
Preface This is a reproduction of the original 1983 publication, issued now in the interests of historical research. We have resisted the temptations of hindsight to change, or comment on, the text other than to correct spelling errors. The document therefore represents the period in which it was created, as well as the hard work of former colleagues of the BFI. Researchers will notice that the continuing debate about the definitions as to what constitutes a “British” production was topical, even then, and that criteria being considered in 1983 are still valid. Also note that the Dept of Trade registration scheme ceased in May 1985 and that the Eady Levy was abolished in the same year. Finally, please note that we have included reminders in one or two places to indicate where information could be misleading if taken for current. David Sharp Deputy Head (User Services) BFI National Library August 2005 ISBN: 0 85170 149 3 © BFI Information Services 2005 British Films 1971 – 1981: - back cover text to original 1983 publication. What makes a film British? Is it the source of its finance or the nationality of the production company and/or a certain percentage of its cast and crew? Is it possible to define a British content? These were the questions which had to be addressed in compiling British Films 1971 – 1981. The publication includes commercial features either made and/or released in Britain between 1971 and 1981 and lists them alphabetically and by year of registration (where appropriate). Information given for each film includes production company, studio and/or major location, running time, director and references to trade paper production charts and Monthly Film Bulletin reviews as source of more detailed information.
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Anne V Coates Interviewer Roy Fowler Track No 1
BECTU History Project Interviewee Anne V Coates Interviewer Roy Fowler Track No 1 BECTU History Project Interview no: 251 Interviewee: Anne V Coates Interviewer: Roy Fowler Duration: 9:59:37 The interview was conducted over five days, non-consecutive, without a tape change at the end of each session so that they run through. Session 1: 20.05.1992 Tracks 1-3 ends 0:37:33 Session 2: 29.05.1992 Tracks 3-6 ends 0:05:17 Session 3: 09.06.1992 Tracks 6-8 ends 0:16:36 Session 4: 15.07.1992 Tracks 8-10 to end of tape Session 5: 08.09.1992 Tracks 11-14 COPYRIGHT: No use may be made of any interview material without the permission of the BECTU History Project (http://www.historyproject.org.uk/). Copyright of interview material is vested in the BECTU History Project (formerly the ACTT History Project) and the right to publish some excerpts may not be allowed. CITATION: Women’s Work in British Film and Television, Anne V Coates, http://bufvc.ac.uk/bectu/oral-histories/bectu-oh [date accessed] By accessing this transcript, I confirm that I am a student or staff member at a UK Higher Education Institution or member of the BUFVC and agree that this material will be used solely for educational, research, scholarly and non-commercial purposes only. I understand that the transcript may be reproduced in part for these purposes under the Fair Dealing provisions of the 1988 Copyright, Designs and Patents Act. For the purposes of the Act, the use is subject to the following: • The work must be used solely to illustrate a point • The use must not be for commercial purposes • The use must be fair dealing (meaning that only a limited part of work that is necessary for the research project can be used) • The use must be accompanied by a sufficient acknowledgement.
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