DOCSLIB.ORG

Dennis Potter Archive Catalogued Material (1980S)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Dennis Potter Archive Catalogued Material (1980S) Dean Heritage Centre Camp Mill Soudley GL14 2UB 01594 822170 www.deanheritagecentre.com Dean Heritage Centre: Dennis Potter Archive Catalogued Material (1980s) Production Play Contents Year Accession No. Guardian Lecture Transcript 1980 DP2012.22.182 Blade on the Feather Rehearsal typescript 1980 DP2012.22.183 Rain on the Roof (English Letters) Notebook, handwritten draft 1980 DP.2012.22.184 Rain on the Roof Notebook, handwritten draft (x2) 1980 DP2012.22.185=186 Rain on the Roof Photocopied handwritten script 1980 DP2012.22.187 Rain on the Roof Photocopied typescript 1980 DP2012.22.188 Cream in my Coffee Photocopied typescript 1980 DP2012.22.189 Cream in my Coffee Typed production notes 1980 DP2012.22.190 Brimstone and Treacle (film) Notebook, handwritten draft (x2) 1980 DP2012.22.191=192 Brimstone and Treacle (film) Financial interest leaflet 1980 DP2012.22.193 Brimstone and Treacle (film) Typescript 1980 DP2012.22.194 Track 29 (Schmoedipus) Handwritten manuscript 1982 DP2012.22.195 Gorky Park Handwritten script 1982 DP2012.22.196 Gorky Park Typescript 1982 DP2012.22.197 Cymbeline Analysis typescript (x2) 1983 DP2012.22.198=199 Cymbeline Typescript 1983 DP2012.22.200 Cymbeline Correspondence re. Cymbeline filming 1983 DP2012.22.201 1 Dean Heritage Centre Camp Mill Soudley GL14 2UB 01594 822170 www.deanheritagecentre.com Production Play Contents Year Accession No. Cymbeline Schedule 1983 DP2012.22.202 Sufficient Carbohydrate Handwritten draft 1983 DP2012.22.203 Sufficient Carbohydrate Typed draft (x4) 1983 DP2012.22.204=207 DP2012.22.208=210; Sufficient Carbohydrate Correspondence (x14) 1983 212=222; 232 Sufficient Carbohydrate Transcript of Critics Forum 1983 DP2012.22.211 Sufficient Carbohydrate Agreement (x4) 1983 DP2012.22.223=226 DP2012.22.227=230; Sufficient Carbohydrate Promo material (x10) 1983 236=240; 576 DP2012.22.231; Sufficient Carbohydrate Accounts (x4) 1983 233=235 Wizard (Mesmer) Handwritten draft 1983 DP2012.22.241 Blue Remembered Hills (Waiting for the Boat) Handwritten draft 1984 DP2012.22.242 Joe’s Ark (Waiting for the Boat) Handwritten draft 1984 DP2012.22.243 Cream in my Coffee (Waiting for the Boat) Handwritten draft 1984 DP2012.22.244 Waiting for the Boat Photocopy typed 1984 DP2012.22.245 Waiting for the Boat Cover design 1984 DP2012.22.246 Dream Girl (Dream Child) Typescript (x3) 1984 DP2012.22.247=249 2 Dean Heritage Centre Camp Mill Soudley GL14 2UB 01594 822170 www.deanheritagecentre.com Production Play Contents Year Accession No. DP2012.22.250=284; 292=293; 295=304; 307=310; 314; 317; Dream Child Correspondence (x60) 1984 319=324; 326 Dream Child Storyboard (x7) 1984 DP2012.22.285=291 DP2012.22.294; 325; Dream Child Promo material (x11) 1984 327=332; 339 DP2012.22.305=306; Dream Child Contract (x4) 1984 316; 318 DP2012.22.311=313; Dream Child Production notes (x9) 1984 315; 333=338 Dream Child Accounts 1984 DP2012.22.327 DP2012.22.340=342; Opium Blue Handwritten draft (x4) 1984 463 Opium Blue Working copy (x2) 1984 DP2012.22.343=344 Opium Blue Typescript (4) 1984 DP2012.22.345=348 A Tale of True Love (Tender is the Night) Prose narrative analysis 1985 DP2012.22.349=350 Tender is the Night Handwritten draft (x6) 1985 DP2012.22.351=356 DP2012.22.357=371; Tender is the Night Edits & new openings (x18) 1985 386=387 Tender is the Night Working copy (x2) 1985 DP2012.22.372=373 DP2012.22.374=385; Tender is the Night Typescript (x14) 1985 388; 406 3 Dean Heritage Centre Camp Mill Soudley GL14 2UB 01594 822170 www.deanheritagecentre.com Production Play Contents Year Accession No. DP2012.22.389; 394; 397=400; Tender is the Night Correspondence (x7) 1985 405 DP2012.22.390=393; 395; Tender is the Night Production notes (x9) 1985 401=404 Tender is the Night Transcript 1985 DP2012.22.396 Cradle Song (The Discovery) Handwritten draft 1982 DP2012.22.407 The Discovery (Cradle Song) Handwritten draft 1982 DP2012.22.408 The Discovery (Cradle Song) Typescript 1982 DP2012.22.409 Other Stars Handwritten draft 1986 DP2012.22.410 Untitled (Visitors?) Handwritten draft 1986 DP2012.22.411 All of You Handwritten draft 1986 DP2012.22.412 All of You Typescript (x8) 1986 DP2012.22.413; 415=421 Visitors Handwritten page 1986 DP2012.22.414 Otherwise (Ticket to Ride) Typed prose narrative 1986 DP2012.22.423 Ticket to Ride Handwritten prose narrative 1986 DP2012.22.424 The Last Television Play Handwritten draft 1986 DP2012.22.425 The Singing Detective Notebook, handwritten draft 1986 DP2012.22.427 The Singing Detective Handwritten draft (x6) 1986 DP2012.22.427=432 The Singing Detective Handwritten edits 1986 DP2012.22.433 The Singing Detective Typescript (x8) 1986 DP2012.22.434=441 The Way to Somewhere Typescript 1987 DP2012.22.442 4 Dean Heritage Centre Camp Mill Soudley GL14 2UB 01594 822170 www.deanheritagecentre.com Production Play Contents Year Accession No. Mansfield Park/Excalibur Handwritten draft 1987 DP2012.22.443; 447 Mansfield Park/Excalibur Typescript (x5) 1987 DP2012.22.444=445; 448=450 Track 29 Typescript 1987 DP2012.22.451 Track 29 Handwritten draft (x3) 1987 DP2012.22.452=454 Track 29 Correspondence (x8) 1987 DP2012.22.455=462 Blackeyes Notebook 1987 DP2012.22.464 Blackeyes Handwritten draft (x9) 1987 DP2012.22.465; 469=476 DP2012.22.466=467; 477=40; Blackeyes Typescript (x15) 1987 482=488; 545=546 DP2012.22.481; 489=492; Blackeyes Edits (x4) 1987 527=535 Blackeyes Production notes (x26) 1987 DP2012.22.494=496; 504=526 Blackeyes Voiceover script (x2) 1987 DP2012.22.497=498 Blackeyes Storyboard (x3) 1987 DP2012.22.499; 502=503 Blackeyes Story order (x2) 1987 DP2012.22.500=501 Blackeyes Correspondence (x5) 1987 DP2012.22.536=542 Blackeyes Publicity 1987 DP2012.22.541 Blackeyes Photographs 1987 DP2012.22.542 5 Dean Heritage Centre Camp Mill Soudley GL14 2UB 01594 822170 www.deanheritagecentre.com Production Play Contents Year Accession No. Blackeyes (Novel) Draft prose narrative 1987 DP2012.22.543=544 Christabel Handwritten script (x3) 1985 DP2012.22.547=550 Christabel Handwritten & typed script (x2) 1985 DP2012.22.551=552 Christabel Typescript (x6) 1985 DP2012.22.554=558 DP2012.22.559=560; 566=568; Christabel Correspondence (x10) 1985 578=581 Christabel Agreement (x3) 1985 DP2012.22.561=565 Christabel Christabel Memoirs 1985 DP2012.22.577 Phantom of the Opera Handwritten script 1988 DP2012.22.569 Phantom of the Opera Typescript 1988 DP2012.22.570 Phantom of the Opera Typescript with handwritten edits 1988 DP2012.22.571 Phantom of the Opera Correspondence 1988 DP2012.22.572 Pushkin Handwritten script 1988 DP2012.22.573=574 International PEN Correspondence 1989 DP2012.22.582 The White Hotel TV drama, x3 handwritten drafts, x1 typescript 1985 DP2012.22.583=586 6 .
Load more

Recommended publications
  • Eckart Voigts-Virchow: Männerphantasien
    Repositorium für die Medienwissenschaft Werner Barg Eckart Voigts-Virchow: Männerphantasien. Introspektion und gebrochene Wirklichkeitsillusion im Drama von Dennis Potter 1996 https://doi.org/10.17192/ep1996.4.4187 Veröffentlichungsversion / published version Rezension / review Empfohlene Zitierung / Suggested Citation: Barg, Werner: Eckart Voigts-Virchow: Männerphantasien. Introspektion und gebrochene Wirklichkeitsillusion im Drama von Dennis Potter. In: MEDIENwissenschaft: Rezensionen | Reviews, Jg. 13 (1996), Nr. 4, S. 469– 470. DOI: https://doi.org/10.17192/ep1996.4.4187. Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Deposit-Lizenz (Keine This document is made available under a Deposit License (No Weiterverbreitung - keine Bearbeitung) zur Verfügung gestellt. Redistribution - no modifications). We grant a non-exclusive, Gewährt wird ein nicht exklusives, nicht übertragbares, non-transferable, individual, and limited right for using this persönliches und beschränktes Recht auf Nutzung dieses document. This document is solely intended for your personal, Dokuments. Dieses Dokument ist ausschließlich für non-commercial use. All copies of this documents must retain den persönlichen, nicht-kommerziellen Gebrauch bestimmt. all copyright information and other information regarding legal Auf sämtlichen Kopien dieses Dokuments müssen alle protection. You are not allowed to alter this document in any Urheberrechtshinweise und sonstigen Hinweise auf gesetzlichen way, to copy it for public or commercial purposes, to exhibit the Schutz beibehalten werden. Sie dürfen dieses Dokument document in public, to perform, distribute, or otherwise use the nicht in irgendeiner Weise abändern, noch dürfen Sie document in public. dieses Dokument für öffentliche oder kommerzielle Zwecke By using this particular document, you accept the conditions of vervielfältigen, öffentlich ausstellen, aufführen, vertreiben oder use stated above.
    [Show full text]
  • Guide to the Papers of the Capri Community Film Society
    Capri Community Film Society Papers Guide to the Papers of the Capri Community Film Society Auburn University at Montgomery Archives and Special Collections © AUM Library Written By: Rickey Best & Jason Kneip Last Updated: 2/19/2008 TABLE OF CONTENTS Content Page # Collection Summary 2 Administrative Information 2 Restrictions 2-3 Index Terms 3 Agency History 3-4 1 of 64 Capri Community Film Society Papers Scope and Content 5 Arrangement 5-10 Inventory 10- Collection Summary Creator: Capri Community Film Society Title: Capri Community Film Society Papers Dates: 1983-present Quantity: 6 boxes; 6.0 cu. Ft. Identification: 92/2 Contact Information: AUM Library Archives & Special Collections P.O. Box 244023 Montgomery, AL 36124-4023 Ph: (334) 244-3213 Email: [email protected] Administrative Information Preferred Citation: Capri Community Film Society Papers, Auburn University Montgomery Library, Archives & Special Collections. Acquisition Information: The collection began with an initial transfer on September 19, 1991. A second donation occurred in February, 1995. Since then, regular donations of papers occur on a yearly basis. Processed By: Jermaine Carstarphen, Student Assistant & Rickey Best, Archivist/Special Collections Librarian (1993); Jason Kneip, Archives/Special Collections Librarian. Samantha McNeilly, Archives/Special Collections Assistant. 2 of 64 Capri Community Film Society Papers Restrictions Restrictions on access: Access to membership files is closed for 25 years from date of donation. Restrictions on usage: Researchers are responsible for addressing copyright issues on materials not in the public domain. Index Terms The material is indexed under the following headings in the Auburn University at Montgomery’s Library catalogs – online and offline.
    [Show full text]
  • Film Appreciation Wednesdays 6-10Pm in the Carole L
    Mike Traina, professor Petaluma office #674, (707) 778-3687 Hours: Tues 3-5pm, Wed 2-5pm [email protected] Additional days by appointment Media 10: Film Appreciation Wednesdays 6-10pm in the Carole L. Ellis Auditorium Course Syllabus, Spring 2017 READ THIS DOCUMENT CAREFULLY! Welcome to the Spring Cinema Series… a unique opportunity to learn about cinema in an interdisciplinary, cinematheque-style environment open to the general public! Throughout the term we will invite a variety of special guests to enrich your understanding of the films in the series. The films will be preceded by formal introductions and followed by public discussions. You are welcome and encouraged to bring guests throughout the term! This is not a traditional class, therefore it is important for you to review the course assignments and due dates carefully to ensure that you fulfill all the requirements to earn the grade you desire. We want the Cinema Series to be both entertaining and enlightening for students and community alike. Welcome to our college film club! COURSE DESCRIPTION This course will introduce students to one of the most powerful cultural and social communications media of our time: cinema. The successful student will become more aware of the complexity of film art, more sensitive to its nuances, textures, and rhythms, and more perceptive in “reading” its multilayered blend of image, sound, and motion. The films, texts, and classroom materials will cover a broad range of domestic, independent, and international cinema, making students aware of the culture, politics, and social history of the periods in which the films were produced.
    [Show full text]
  • Blue Remembered Hills by Dennis Potter Directed by Jamesine Livingstone
    Skipton Little Theatre Skipton Players’ Present Blue Remembered Hills By Dennis Potter Directed By Jamesine Livingstone Tuesday 20th to Saturday 24th April 2010 Director’s notes From the Chairman Dennis Potter was born in 1935 in Gloucestershire. After National Service he won a place at New College, Oxford where he read Philosophy, Politics and Economics. Hello and welcome to our penultimate play of He became one of Britain’s most accomplished and acclaimed dramatists. His plays for television include this our anniversary season, celebrating 50 Blue Remembered Hills (1979), Brimstone and Treacle years of dramatic art at the Little Theatre. (commissioned in 1975 but banned until 1987), the series Pennies from Heaven (1978), The Singing Detective (1986), Blackeyes (1989) and Lipstick on Your Collar (1993). He also wrote novels, stage plays and screenplays. He died Next month on Saturday May 15th here We are always wanting to invite anyone Dennis Potter in June 1994. in the Little Theatre we are putting on who would like to help in any of our Some television drama ages badly: even the most revered classics creak a bit when watched again a fond remembrance in the form of an productions in any capacity whatever (no in the cold, contemporary, high-definition light of day. This does not apply to Dennis Potter’s 1979 television film Blue Remembered Hills. It was part of the ‘Play For Today’ strand, and it originally evening of “Nosh and Neuralgia”, sorry experience necessary!) from helping on lasted an hour and a quarter. Being Potter it looks without romanticism and with an analytical eye that should be “Nosh and Nostalgia” the door, selling refreshments, backstage at the long summer days of childhood during the war.
    [Show full text]
  • Report on the Singing Detective25th Anniversary Symposium, University
    JOSC 4 (3) pp. 335–343 Intellect Limited 2013 Journal of Screenwriting Volume 4 Number 3 © 2013 Intellect Ltd Conference Report. English language. doi: 10.1386/josc.4.3.335_7 Conference Report David Rolinson University of Stirling Report on The Singing Detective 25th Anniversary Symposium, University of London, 10 December 2011 [I]n keeping with the modernist sensibility and self-reflexivity of Hide and Seek and Only Make Believe, the decision to root a view of the past in the experiences and imagination of a writer protagonist, emphasises the fact that, far from being an objective assessment, any perspective on history can only ever be subjective. (Cook 1998: 217) This one-day symposium, organized by the Department of Media Arts at Royal Holloway, University of London, celebrated the 25th anniversary of Dennis Potter’s The Singing Detective (tx. BBC1, 16 November 1986–21 December 1986). As the notes for the event explained, it sought to pay trib- ute to the BBC serial’s ‘narrative complexity, generic hybridity and formal experimentation’ and to bring scholars and practitioners together ‘to assess its subsequent influence upon television drama and the cinema’. This combination of academic and practitioner perspectives has been a welcome 335 JOSC_4.3_Conference Report_335-343.indd 335 7/19/13 9:56:44 PM David Rolinson 1. Although not feature of British television conferences in recent years, facilitating a reward- discussed on the day, biographical-auteurist ing exchange of ideas. This piece is, therefore, partly a report of the day’s approaches reward but proceedings but also a response to some of the many ideas that were raised by also imprison critics the interviews and presentations.
    [Show full text]
  • '”Don't Let the Side Down, Old Boy”: Interrogating The
    ‘Don’t let the side down, old boy’: Interrogating the Traitor in the ‘Radical’ Television Dramas of John le Carré and Dennis Potter Dr Joseph Oldham To cite this article, please use the version published in Cold War History (2019): https://doi.org/10.1080/14682745.2019.1638366. Introduction In an article suggesting future possibilities for research on Britain’s cultural Cold War, Tony Shaw concludes by pondering whether, for instance, television scriptwriters might have played a role in prolonging geopolitical tensions ‘by fostering antipathy between East and West’.1 The offhand assumption of television drama as predominantly conservative, shoring up an orthodox Cold War consensus, is significant and not without some basis. In the USA, the Second Red Scare saw the appearance numerous staunchly anti-communist spy series including I Led 3 Lives (Ziv, 1953-56) and Behind Closed Doors (NBC, 1958-59), frequently made with approval and assistance from the FBI, State Department and Department of Defence. The many British spy series which appeared over the 1960s, including Danger Man (ITV, 1960-66) and The Avengers (ITV, 1961-69), were generally not informed by such official connections.2 Nonetheless, their status as ‘products’ made with an eye on the export market encouraged a ‘reassuring’ formal model. In these series, heroes reliably overcame enemy threats on a weekly basis, affirming ‘the viewer’s faith in the value systems and moral codes which the hero represents.’3 Even John Kershaw, Associate Producer on the spy series Callan (ITV, 1967-72), eventually came to worry that its continual vilification of the Russians was ‘irresponsible’.4 Yet such genre series were only part of a diverse British broadcasting ecology still strongly rooted in public service values, and the medium’s most critically-admired output of this era typically lay elsewhere.
    [Show full text]
  • Dennis Potter: an Unconventional Dramatist
    Dennis Potter: An Unconventional Dramatist Dennis Potter (1935–1994), graduate of New College, was one of the most innovative and influential television dramatists of the twentieth century, known for works such as single plays Son of Man (1969), Brimstone and Treacle (1976) and Blue Remembered Hills (1979), and serials Pennies from Heaven (1978), The Singing Detective (1986) and Blackeyes (1989). Often controversial, he pioneered non-naturalistic techniques of drama presentation and explored themes which were to recur throughout his work. I. Early Life and Background He was born Dennis Christopher George Potter in Berry Hill in the Forest of Dean, Gloucestershire on 17 May 1935, the son of a coal miner. He would later describe the area as quite isolated from everywhere else (‘even Wales’).1 As a child he was an unusually bright pupil at the village primary school (which actually features as a location in ‘Pennies From Heaven’) as well as a strict attender of the local chapel (‘Up the hill . usually on a Sunday, sometimes three times to Salem Chapel . .’).2 Even at a young age he was writing: I knew that the words were chariots in some way. I didn’t know where it was going … but it was so inevitable … I cannot think of the time really when I wasn’t [a writer].3 The language of the Bible, the images it created, resonated with him; he described how the local area ‘became’ places from the Bible: Cannop Ponds by the pit where Dad worked, I knew that was where Jesus walked on the water … the Valley of the Shadow of Death was that lane where the overhanging trees were.4 I always fall back into biblical language, but that’s … part of my heritage, which I in a sense am grateful for.5 He was also a ‘physically cowardly’6 and ‘cripplingly shy’7 child who felt different from the other children at school, a feeling heightened by his being academically more advanced.
    [Show full text]
  • In Spite of History? New Leftism in Britain 1956 - 1979
    In Spite of History? New Leftism in Britain 1956 - 1979 Thomas Marriott Dowling Thesis Presented for the Degree of PhD Department of History University of Sheffield August 2015 ii iii Contents Title page p. i Contents p. iii Abstract p. vi Introduction p. 1 On the Trail of the New Left p. 5 Rethinking New Leftism p. 12 Methodology and Structure p. 18 Chapter One Left Over? The Lost World of British New Leftism p. 24 ‘A Mood rather than a Movement’ p. 30 A Permanent Aspiration p. 33 The Antinomies of British New Leftism p. 36 Between Aspiration and Actuality p. 39 The Aetiology of British New Leftism p. 41 Being Communist p. 44 Reasoning Rebellion p. 51 Universities and Left Review p. 55 Forging a Movement p. 58 CND p. 63 Conclusion p. 67 iv Chapter Two Sound and Fury? New Leftism and the British ‘Cultural Revolt’ of the 1950s p. 69 British New Leftism’s ‘Moment of Culture’? p. 76 Principles behind New Leftism’s Cultural Turn p. 78 A British Cultural Revolt? p. 87 A New Left Culture? p. 91 Signifying Nothing? p. 96 Conclusion p. 99 Chapter Three Laureate of New Leftism? Dennis Potter’s ‘Sense of Vocation’ p. 102 A New Left ‘Mood’ p. 108 The Glittering Coffin p. 113 A New Left Politician p. 116 The Uses of Television p. 119 History and Sovereignty p. 127 Common Culture and ‘Occupying Powers’ p. 129 Conclusion p. 133 Chapter Four Imagined Revolutionaries? The Politics and Postures of 1968 p. 135 A Break in the New Left? p.
    [Show full text]
  • Dennis Potter: an Unconventional Dramatist
    Dennis Potter: An Unconventional Dramatist Dennis Potter (1935–1994), graduate of New College, was one of the most innovative and influential television dramatists of the twentieth century, known for works such as single plays Son of Man (1969), Brimstone and Treacle (1976) and Blue Remembered Hills (1979), and serials Pennies from Heaven (1978), The Singing Detective (1986) and Blackeyes (1989). Often controversial, he pioneered non-naturalistic techniques of drama presentation and explored themes which were to recur throughout his work. I. Early Life and Background He was born Dennis Christopher George Potter in Berry Hill in the Forest of Dean, Gloucestershire on 17 May 1935, the son of a coal miner. He would later describe the area as quite isolated from everywhere else (‘even Wales’).1 As a child he was an unusually bright pupil at the village primary school (which actually features as a location in ‘Pennies From Heaven’) as well as a strict attender of the local chapel (‘Up the hill . usually on a Sunday, sometimes three times to Salem Chapel . .’).2 Even at a young age he was writing: I knew that the words were chariots in some way. I didn’t know where it was going … but it was so inevitable … I cannot think of the time really when I wasn’t [a writer].3 The language of the Bible, the images it created, resonated with him; he described how the local area ‘became’ places from the Bible: Cannop Ponds by the pit where Dad worked, I knew that was where Jesus walked on the water … the Valley of the Shadow of Death was that lane where the overhanging trees were.4 I always fall back into biblical language, but that’s … part of my heritage, which I in a sense am grateful for.5 He was also a ‘physically cowardly’6 and ‘cripplingly shy’7 child who felt different from the other children at school, a feeling heightened by his being academically more advanced.
    [Show full text]
  • 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.
    [Show full text]
  • 6/13/2010 Dvdsiv Page 1 TITLE * = in a Large Case, Or Multiple Movies On
    DVDsIV 6/13/2010 TITLE * = In a large case, or multiple movies on 1 disc * Treasures Of Black:Devils Daughter,Gang Wars,Bronze Buck,UpInAir *And then there were none: Classic Mystery Movie * *Angel One Five / King & Country * *At War With The Army: Dean Martin: Stage And Screen *Aztec Temple Of Blood: Unsolved History *BangBros / Playboy Sizzlers / Ancient Secrets of Kama Sutra * *Battler, The/Bang The Drum Slowly (Paul Newman) * *Birth of a Nation *Black :Pacific Inferno,Death Of Prophet,TNT Jackson,Black Fist * *Body And Soul: Paul Robeson 2 * *Borderline: Paul Robeson 2 * *Caesar And Claretta / The Apple Cart ( Helen Mirren ) * *Carole Lombard 1: Man Of The World - We're Not Dressing *Carole Lombard 2: Hands Across The Table *Carole Lombard 3: Love Before Breakfast, Princess Comes Across * *Carole Lombard 4: True Confession *Classic Disaster Movies: Virus; Hurricane; Deadly Harvest * *Cry Panic: Classic Mystery Movie *Death Defying Acts / Houdini's Death Defying Acts *Emperor Jones: Paul Robeson 1 * *Empire of The Air, Ken Burns' America *Five Million Years To Earth (Quatermass And The Pit) *Giant Of Marathon / War Of The Trojans * *Go For Broke / Beyond Barbed Wire * *Great Bank Hoax / Great Bank Robbery * *HammerIcons: StopMe;Cash Demand;Snorkel;Maniac;NeverCandy;Damned *Huey Long: Ken Burns' America *Human Beast (The La Bete Humaine) *In Search of Cezanne/The Bolero * *Japan At War: Black Rain,Father Kamikaze,Japan's Longest,Okinawa *Jeopardy / To Please A Lady * *Jerico: Paul Robeson 3 * *Kill Da Wabbit (part of Looney Tunes Collection)
    [Show full text]
  • Musikerzum Mitnehmen
    1 Musiker zum Mitnehmen Das CD- und DVD-Angebot der Bibliotheken zum Festival 2018 2 Enjoy Jazz – in der Metropolregion Vom 2. Oktober bis 17. November findet in Mannheim, Heidelberg und Ludwigshafen das 20. Internationale Festival für Jazz und Anderes statt. Fast sieben Wochen lang wird in weit über 60 Veranstaltungen jede Menge Musik aus den Bereichen Jazz, Weltmusik, Indierock, Ethnopop, Crossover und auch Klassik präsentiert. Viele international bekannte Namen sind dabei wie z. B. der norwegische Jazzpianist und Romanautor Ketil Bjørnstad, der ebenfalls norwegische Saxofonist Jan Garbarek oder der Saxofonist Joshua Redman aus den USA. Auch viele große Ensembles treten auf, z. B. das australische Jazz-Trio The Necks, das deutsche Pablo-Held-Trio oder die Schweizer Jazz-Band Nik Bärtsch’s Ronin, die inzwischen fast jedes Jahr dabei ist. Mit der kanadischen Indie-Rockband Esmerine, der amerikanischen Soul-Sängerin Avery Sunshine und der Musik im Kontext Bernd Alois Zimmermann wird die Brücke zu anderen Musikgattungen geschlagen. Auch die deutsche Jazz-Szene ist reich vertreten mit Künstlern wie dem Pianisten Michael Wollny, der Cellistin Anja Lechner oder dem Träger des diesjährigen SWR-Jazzpreises Sebastian Gille. Regionale Größen wie der stil-prägende Gitarrist Claus Boesser-Ferrari oder der in Ludwigshafen lebende Schlagzeuger Erwin Ditzner ergänzen das vielfältige Angebot. Und wieder kann man die Musik nicht nur live auf der Bühne erleben, sondern auch bequem daheim auf dem Sofa oder entspannt in Straßenbahn oder Auto, denn die drei Stadtbibliotheken Mannheim, Heidelberg und Ludwigshafen beteiligen sich ebenfalls an dem Event, indem sie ihren Kundinnen und Kunden eine große Auswahl an CDs und DVDs der auftretenden Künstlerinnen und Künstler anbieten.
    [Show full text]