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Wahnfried A Home for Music in McGregor [email protected] 27 Bree Street 072 601 1616 Events for June 2019 Sun 2 Jun Filmed Opera: The Mikado (Sullivan) - 1987 Running time: 130 mins 3.00 pm English National Opera Orchestra Conductor: Peter Robinson Director: Jonathan Miller Soloists: Richard van Allen, Richard Angas, Bonaventura Bottone, Susan Bullock, Lesley Garrett Felicity Palmer, Mark Richardson, Eric Idle Wed 5 Jun Film: Black Narcissus – 1947 Running time: 101 mins 5.00 pm Director: Michael Powell and Emeric Pressburger Cast: Deborah Kerr, Sabu, David Farrar, Flora Robson, Esmond Knight, Jean Simmons, Kathleen Byron Fri 7 Jun Live Event: PIANO RECITAL Philipp Richardson 5.00 pm Programme will include works by: Haydn, Lyapunov, Grainger, Greig, Tchaikovsky, Schubert R120 (including wine) To reserve your seat please contact: [email protected] Sun 9 Jun Film: 55 Days at Peking - 1963 Running time: 166 mins 3.00 pm Director: Nicolas Ray Cast: Charlton Heston, Ava Gardener, David Niven Fri 14 Jun Film: Lost in Translation - 2003 Running time: 102 mins 5.00 pm Director: Sofia Coppola Cast: Bill Murray, Scarlett Johansson, Giovanni Ribisi, Anna Faris Sun 16 Jun Filmed Opera: Madama Butterfly 1904 version (Puccini) – 2016 Running time: 167 mins+ interval 3.00 pm Orchestra of Teatro Alla Scala Conductor: Riccardo Chailly Director: Alvis Hermanis Soloists: Maria Jose Siri, Annalisa Brandolino, Bryan Hymel, Carlos Alvarez, Carlo Bosi Fri 21 Jun Film: Han Gong-Ju - 2013 Running time: 112 mins 5.00 pm Director: Lee Sujin Cast: Chun Woohee, Jung Insun, Kim Soyoung, Lee Younglan Sun 23 Jun Filmed Ballet: La Bayadere (Minkus)- 2009 Running time: 167 mins + Interval 3.00 pm The Royal Ballet Orchestra of the Royal Opera House Conductor: Valeriy Ovsyanikov Principal Dacers: Tamara Rojo, Carlos Acosta, Marianela Nunez Choreography: Natalia Makarova Fri 28 Jun Film: Lion - 2016 Running time: 119 mins 5.00 pm Director: Garth Davis Cast: Dev Patel, Rooney Mara, David Wenham, Nicole Kidman Sun 30 Jun Filmed Opera: Lakme (Delibes) - 2011 Running time: 143 mins 3.00 pm Australian Opera and Ballet Orchestra Conductor: Emmanuel Joel-Hornak Director: Roger Hodgman Soloists: Emma Matthews, Aldo Di Toro, Stephen Bennett, Dominica Matthews .

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Boxoffice Barometer (March 6, 1961)
MARCH 6, 1961 IN TWO SECTIONS SECTION TWO Metro-Goldwyn-Mayer presents William Wyler’s production of “BEN-HUR” starring CHARLTON HESTON • JACK HAWKINS • Haya Harareet • Stephen Boyd • Hugh Griffith • Martha Scott • with Cathy O’Donnell • Sam Jaffe • Screen Play by Karl Tunberg • Music by Miklos Rozsa • Produced by Sam Zimbalist. M-G-M . EVEN GREATER IN Continuing its success story with current and coming attractions like these! ...and this is only the beginning! "GO NAKED IN THE WORLD” c ( 'KSX'i "THE Metro-Goldwyn-Mayer presents GINA LOLLOBRIGIDA • ANTHONY FRANCIOSA • ERNEST BORGNINE in An Areola Production “GO SPINSTER” • • — Metrocolor) NAKED IN THE WORLD” with Luana Patten Will Kuluva Philip Ober ( CinemaScope John Kellogg • Nancy R. Pollock • Tracey Roberts • Screen Play by Ranald Metro-Goldwyn-Mayer pre- MacDougall • Based on the Book by Tom T. Chamales • Directed by sents SHIRLEY MacLAINE Ranald MacDougall • Produced by Aaron Rosenberg. LAURENCE HARVEY JACK HAWKINS in A Julian Blaustein Production “SPINSTER" with Nobu McCarthy • Screen Play by Ben Maddow • Based on the Novel by Sylvia Ashton- Warner • Directed by Charles Walters. Metro-Goldwyn-Mayer presents David O. Selznick's Production of Margaret Mitchell’s Story of the Old South "GONE WITH THE WIND” starring CLARK GABLE • VIVIEN LEIGH • LESLIE HOWARD • OLIVIA deHAVILLAND • A Selznick International Picture • Screen Play by Sidney Howard • Music by Max Steiner Directed by Victor Fleming Technicolor ’) "GORGO ( Metro-Goldwyn-Mayer presents “GORGO” star- ring Bill Travers • William Sylvester • Vincent "THE SECRET PARTNER” Winter • Bruce Seton • Joseph O'Conor • Martin Metro-Goldwyn-Mayer presents STEWART GRANGER Benson • Barry Keegan • Dervis Ward • Christopher HAYA HARAREET in “THE SECRET PARTNER” with Rhodes • Screen Play by John Loring and Daniel Bernard Lee • Screen Play by David Pursall and Jack Seddon Hyatt • Directed by Eugene Lourie • Executive Directed by Basil Dearden • Produced by Michael Relph.
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Shoot the Messenger
Shoot the Messenger Dir: Ngozi Onwurah, UK, 2006 A review by Stephen Harper, University of Portsmouth, UK The BBC drama Shoot the Messenger (BBC2, 30 August, 2006) is a provocative exploration of racial politics within London's African Caribbean community. Originally entitled Fuck Black People!, the film provoked strong criticism, not least from the pressure group Ligali. The drama was written by Sharon Foster, best known as the writer of Babyfather, who won the Dennis Potter Screenwriting Award for her screenplay. David Oyelowo plays Joe Pascale, a well-meaning middle class schoolteacher whose efforts to 'make a difference' in the education of failing black pupils in an inner-city school result in unemployment, schizophrenia and homelessness. The tribulations of the idealistic teacher are hardly new in British television drama: Jimmy McGovern's 1995 series Hearts and Minds is one noteworthy example. But Shoot the Messenger's central concern with race orients it specifically towards contemporary debates around multiculturalism and social exclusion such as that prompted by the Parekh Report (2000). The concern with black educational failure is key within these debates. A DfES report 'Getting it. Getting it right' (2007) noted that Black Caribbean students in Britain are excluded from school far more often than white pupils. Although BBC television drama has addressed these issues in recent years in productions such as Lennie James' Storm Damage (BBC2, 2000), Shoot the Messenger nonetheless carries a heavy representational burden. For several years the lack of racial diversity in BBC programmes has been criticised (Creeber, 2004) and concerns about the BBC's treatment of its visible minority staff abound (see, for example, "BBC still showing its 'hideously white' face," 2002).
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Black Narcissus (Le Narcisse Noir) film De Michael Powell Et Emeric Pressburger - 1947
!1 sur !3 Black narcissus (Le narcisse noir) film de Michael Powell et Emeric Pressburger - 1947 « Les films de Michael Powell et Emeric Pressburger sont grandioses, poétiques, remplis de sagesse, d’aventure et d’obstination, en extase devant la beauté, qu’elle soit naturelle ou recréée, profondément romantiques mais pourtant dépourvus de tout compromis. » Martin SCORSESE Scénario : Michael Powell et Emeric Pressburger, d'après le roman Le Narcisse noir de Rumer Godden Direction artistique : Alfred Junge Costumes : Hein Heckroth Photographie : Jack Cardiff, assisté de Christopher Challis et Edward Scaife (cadreurs, non crédités) Son : Stanley Lambourne Musique : Brian Easdale Montage : Reginald Mills Production : Michael Powell et Emeric Pressburger Deborah Kerr : Sœur Clodagh David Farrar : Mr. Dean Kathleen Byron : Sœur Ruth Jean Simmons : Kanchi Sabu : le jeune général Judith Furse : Sœur Briony Flora Robson : Sœur Philippa Drame sensuel placé sous la beauté radieuse et écrasante des montagnes indiennes, Le Narcisse noir précède directement Les Chaussons rouges dans la filmographie de Powell et Pressburger. Œuvre atypique, décisive pour la génération de Coppola et de Scorsese, essentielle pour l’histoire du Technicolor, il s’agit de l’un des films les plus aimés et les plus commentés du cinéma classique. L’art de la mise en scène touche ici au mystère de l’extase à travers la flamboyance des décors et l’ivresse de la musique. Magnifiée par la grâce fébrile de Deborah Kerr, la virilité rustique de David Farrar ou la fraîcheur sauvage de Jean Simmons, l’histoire confronte le désir et l'interdit avec une audace extrême. À la fois spectacle majestueux et tragédie des sentiments exaltés, Le Narcisse noir correspond à un idéal de cinéma indépassable.
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Cinema at the End of Empire: a Politics of Transition
cinema at the end of empire CINEMA AT duke university press * Durham and London * 2006 priya jaikumar THE END OF EMPIRE A Politics of Transition in Britain and India © 2006 Duke University Press * All rights reserved Printed in the United States of America on acid-free paper Designed by Amy Ruth Buchanan Typeset in Quadraat by Tseng Information Systems, Inc. Library of Congress Cataloging-in-Publication Data and permissions information appear on the last printed page of this book. For my parents malati and jaikumar * * As we look back at the cultural archive, we begin to reread it not univocally but contrapuntally, with a simultaneous awareness both of the metropolitan history that is narrated and of those other histories against which (and together with which) the dominating discourse acts. —Edward Said, Culture and Imperialism CONTENTS List of Illustrations xi Acknowledgments xiii Introduction 1 1. Film Policy and Film Aesthetics as Cultural Archives 13 part one * imperial governmentality 2. Acts of Transition: The British Cinematograph Films Acts of 1927 and 1938 41 3. Empire and Embarrassment: Colonial Forms of Knowledge about Cinema 65 part two * imperial redemption 4. Realism and Empire 107 5. Romance and Empire 135 6. Modernism and Empire 165 part three * colonial autonomy 7. Historical Romances and Modernist Myths in Indian Cinema 195 Notes 239 Bibliography 289 Index of Films 309 General Index 313 ILLUSTRATIONS 1. Reproduction of ‘‘Following the E.M.B.’s Lead,’’ The Bioscope Service Supplement (11 August 1927) 24 2. ‘‘Of cource [sic] it is unjust, but what can we do before the authority.’’ Intertitles from Ghulami nu Patan (Agarwal, 1931) 32 3.
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Best of British Tuesday, September 8Th BLACK NARCISSUS (96 Minutes) 1947
islington Classic Film Group 2015-16 Season 1 September – December 2015 Best of British Tuesday, September 8th BLACK NARCISSUS (96 minutes) 1947 Directors: Michael Powell and Emeric Pressburger Cast: Deborah Kerr, David Farrar, Flora Robson, Sabu, Kathleen Byron Powell and Pressburger's colourful, hilariously over-the-top melodrama about a group of nuns (Deborah Kerr, Flora Robson and Kathleen Byron amongst them) living in a Himalayan convent, a former harem. Tuesday, September 22nd THE 39 STEPS (82 minutes) 1935 Director: Alfred Hitchcock Cast: Robert Donat, Madeleine Carrol Pre-Hollywood Hitchcock's splendid, loose adaptation of John Buchan's spy novel, with falsely-accused Robert Donat fleeing London for Scotland and, inconveniently hand-cuffed to Madeleine Carroll, on the run from police and dastardly foreign agents alike. Tuesday, October 6th A ROOM WITH A VIEW (109 minutes) 1985 Director: James Ivory Cast: Maggie Smith, Helena Bonham-Carter, Denholm Elliott, Simon Callow, Daniel Day-Lewis Sumptious 'heritage' film adapted from E.M. Forster's 1908 novel with chaperone Maggie Smith and charge 19-year-old Helena Bonham-Carter indulging in upper middle-class snobbery and romance in Florence and the Home Counties. Tuesday, October 20th BRIGHTON ROCK (92 minutes) 1947 Director: John Boulting Cast: Richard Attenborough, Carol Marsh, Hermione Baddeley, William Hartnell Graham Greene wrote the screenplay from his own Catholic-themed novel for this best ever British 'film noir' about a psychopathic gang-leader seeking to save his neck by marrying a murder-witness tea-room waitress in a pre-war seedy Brighton. Tuesday, November 3rd HOPE AND GLORY (108 minutes) 1987 Director: John Boorman Cast: Sebastian Rice-Edwards, Sarah Miles, Ian Bannen Boorman's golden-hued, heart-warming tribute to his own Blitz-era London suburban childhood.
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13 Lead Soldiers 1948
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Filmic Representations of the British Raj in the 1980S: Cultural Identity, Otherness and Hybridity
FILMIC REPRESENTATIONS OF THE BRITISH RAJ IN THE 1980S: CULTURAL IDENTITY, OTHERNESS AND HYBRIDITY Tesis doctoral presentada por Elena Oliete Aldea Dirigida por la Dra. Chantal Cornut-Gentille D’Arcy Dpto. de Filología Inglesa y Alemana Universidad de Zaragoza Marzo 2009 TABLE OF CONTENTS ACKNOWLEDGEMENTS INTRODUCTION…………………………………………………… 1 1. COMING TO TERMS WITH IDENTITY AND ‘BRITISHNESS’: THE INCESSANT CONSTRUCTION AND EROSION OF IDENTITY BOUNDARIES………………………. 21 1.1. Globalisation, Migration and Hybrid Societies……………………………… 22 1.2. Identity……………………………………………………………………….. 28 1.2.1. ‘Race’ and Racism……………………………………………………... 36 1.2.2. Miscegenation and Cultural Hybridity…………………………………. 54 1.2.3. Historical Multiculturality of the British Isles…………………………. 63 1.3. Immigration Policies in Britain……………………………………………… 76 2. BRITAIN IN THE 1980s: THE THATCHER DECADE………. 97 2.1. Definitions…………………………………………………………………….. 98 2.2. Britain Before Margaret Thatcher: ‘Labour Isn’t Working’………………….. 102 2.3. Thatcher’s Government: ‘Set the People Free’………………………………. 104 2.4. Britain’s Unique Position in the World………………………………………. 111 2.4.1. The Falklands War……………………………………………………... 116 2.5. Multicultural Britain in the 1980s……………………………………………. 120 2.5.1. New Right, New Racism……………………………………………….. 120 2.5.2. Immigration Controls for the Sake of Good Race Relations…………… 128 2.6. Thatcherism and Cinema……………………………………………………... 134 3. HISTORY, IDENTITY AND THE HERITAGE BUSINESS….. 141 3.1. History: the Ever-Present Past………………………………………………... 144 3.2. Different Perspectives of Historiography Through Time…………………….. 148 3.3. Heritage Industry: the National Identity Business……………………………. 169 3.4. Cinema and Heritage…………………………………………………………. 177 3.4.1. British Cinema, Genre and Society…………………………………….. 177 3.4.2. British Cinema in the 1980s: the Heritage Film……………………….. 189 4. THE RAJ REVIVAL FILMS IN THE 1980s…………………… 207 4.1.
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Architecture, Space and Landscape in the Film and Television of Stanley Kubrick and Ken Russell Matthew Melia
Special — Peer Reviewed Cinergie – Il cinema e le altre arti. N.12 (2017) https://doi.org/10.6092/issn.2280-9481/7352 ISSN 2280-9481 Altered States, Altered Spaces: Architecture, Space and Landscape in the Film and Television of Stanley Kubrick and Ken Russell Matthew Melia Published: 4th December 2017 Abstract Stanley Kubrick and Ken Russell, at first, seem like unlikely bedfellows for a critical comparative discussion, the Baroque, excessive and romantic nature of Russell’s screen standing in apparent contrast to the structure, order, organisation, brutalism and spatial complexity of Kubrick’s. Drawing on a range of archived material, I will suggest less that Kubrick borrowed from Russell (as Russell biographer Paul Sutton does) than that their work shares a set of key spatial, architectural, iconographic and visually linguistic concerns. Russell and Kubrick are two key directors – auteurs –of the post-war and counter-cultural era who share a distinct, unique and idiosyncratic style which has previously gone largely unrecognised. As well as highlighting a shared set of imagery and iconography, I will present their oeuvres as an extended cinematic conversation which lasted from the late 1950s. I will, for example, draw a close analysis of both Kubrick’s 2001: A Space Odyssey (1968) and Russell’s Altered States (1980), two films which enter into debate over the polysemic nature of space, offering similar images of spatial expansion and (Beckettian) corporeal restriction. The essay will consider the shared use of vertical and horizontal spatial screen organisation, suggesting how both directors create screens which are self-contained canvases whose contours form a contested space.
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Black Narcissus
Black Narcissus by Raymond Durgnat Young Sister Clodagh (Deborah Kerr), of an Anglo-Catholic order, is appointed Sister Superior of a new convent, St. Faith’s, to be established, with dispensary and school, among mountain peasants north of Darjeeling. The local ruler, the Old General (Esmond Knight), has given them a ‘palace’ (once his father’s “House of Women”). Sister Clodagh is assigned Sisters Briony, Philippa (Flora Robson), Blanche, and Ruth (Kathleen Byron), a problem nun. The English agent, Mr. Dean (David Farrar), is helpful but disconcertingly sardonic; Sister Clodagh’s resolve to manage without him is undermined by the atmosphere (keening winds, a silent holy man, sensual murals) and a variety of events. The central conflict in Black Narcissus is unusually diffuse, and multi-factorial. These reasonably well-balanced nuns run a chapel, a school, a dispensary and a garden; they combine faith and works, commitment and tolerance, vision and revision (their vows are renewable annually). At this ‘edge of the world’, however, their ‘team for all seasons’ synthesis is subtly destabilised by a miscellany of exotic attitudes. This Himalayan kingdom parades values which the nuns’ utilitarian idealism excludes: peacock males, sensuality, kingly power, female as sex object, a peasantry so unaccustomed to philanthropy that it refuses free health care, and disconcerting manipulations (the local despot pays the peasants to attend the school and clinic, despite their suspicions). The realm of the excluded is also a looking-glass world, for much of this exoticism is oddly familiar. The despot combines fairy-tale whimsicality with a semi-adaptation to Western ideas.
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BLACK NARCISSUS / 1947 (Quando Os Sinos Dobram)
CINEMATECA PORTUGUESA–MUSEU DO CINEMA DEBORAH KERR – ATÉ À ETERNIDADE 19 de maio de 2021 BLACK NARCISSUS / 1947 (Quando os Sinos Dobram) um filme de Michael Powell e Emeric Pressburger Realização: Michael Powell e Emeric Pressburger / Argumento: Michael Powell e Emeric Pressburger, baseado no romance homónimo de Rumer Godden / Fotografia: Jack Cardiff / Direcção Artística: Alfred Junge e Heinz Heckroth / Guarda-Roupa: Heinz Heckroth / Música: Brian Easdale / Som: Stanley Leenbourne / Interpretação: Deborah Kerr (Irmã Clodagh), David Farrar (Dean), Kathleen Byron (Irmã Ruth), Flora Robson (Irmã Philippa), Sabu (General Dilip Roi), Jean Simmons (Kachi), Esmond Knight (General Toda Rei), Judith Furse (Irmã Briony), Jenny Laird (Irmã Honey), Nancy Roberts (Madre Doroteia), Shann Noble (Con), etc. Produção: Michael Powell e Emeric Pressburger para The Archers / Cópia: da Cinemateca Portuguesa–Museu do Cinema, 35mm, technicolor, legendada em português, 98 minutos / Estreia Mundial: 26 de Maio de 1947, em Londres / Estreia em Portugal: Cinema Eden, a 26 de Novembro de 1948. _____________________________ “Without discipline, we’re all like children. Don’t you like children?” (Do diálogo do filme) Black Narcissus é um filme que faz irresistivelmente pensar em dois cineastas e em dois filmes que estão nos antípodas de Michael Powell: Robert Bresson e Les Anges du Péché (1943); John Ford e Seven Women (1966). Baseado num romance da escritora inglesa Rumer Godden (a autora do livro que cinco anos mais tarde inspiraria a Renoir o inadjectivável The River), Black Narcissus, foi inteiramente filmado em estúdios (ao contrário do filme de Renoir), numa Índia imaginária e mítica. Powell afirmou que julgava “ter percebido bem o livro, de que gostei imenso.
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Lindsay Anderson: Sequence and the Rise of Auteurism in 1950S Britain   
British cinema of the 1950s: a celebration MacKillop_00_Prelims 1 9/1/03, 9:23 am MacKillop_00_Prelims 2 9/1/03, 9:23 am British cinema of the 1950s: a celebration edited by ian mackillop and neil sinyard Manchester University Press Manchester and New York distributed exclusively in the USA by Palgrave MacKillop_00_Prelims 3 9/1/03, 9:23 am Copyright © Manchester University Press 2003 While copyright in the volume as a whole is vested in Manchester University Press, copyright in individual chapters belongs to their respective authors. This electronic version has been made freely available under a Creative Commons (CC-BY-NC-ND) licence, which permits non-commercial use, distribution and reproduction provided the author(s) and Manchester University Press are fully cited and no modifications or adaptations are made. Details of the licence can be viewed at https://creativecommons.org/licenses/by-nc-nd/3.0/ Published by Manchester University Press Oxford Road, Manchester M13 9NR, UK and Room 400, 175 Fifth Avenue, New York, 10010, USA http://www.manchesteruniversitypress.co.uk British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloging-in-Publication Data applied for 0 7190 6488 0 hardback 0 7190 6489 9 paperback First published 2003 10 09 08 07 06 05 04 03 10 9 8 7 6 5 4 3 2 1 Typeset in Fournier and Fairﬁeld Display by Koinonia, Manchester Printed in Great Britain by Bell & Bain Ltd, Glasgow Bell & Bain Ltd, Glasgow MacKillop_00_Prelims 4 9/1/03,
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Welcome Mr Washington on Talking Pictures TV Stars: Peggy Cummins , Barbara Mullen, Donald Stewart
Talking Pictures TV www.talkingpicturestv.co.uk Highlights for week beginning SKY 328 | FREEVIEW 81 Mon 5th October 2020 FREESAT 306 | VIRGIN 445 Welcome Mr Washington on Talking Pictures TV Stars: Peggy Cummins , Barbara Mullen, Donald Stewart. Directed by Leslie S. Hiscott in 1944. Once missing, presumed lost, this is a light, warm-hearted Home Front tale with a sparkling early performance by Peggy Cummins. Two sisters are forced to lease their estate as an airbase to American forces during World War II and romantic possibilities ensue. With a well-observed script by future James Bond writer Jack Whittingham, adapted from a story by children’s author Noel Streatfeild. Airs: Saturday 10th October 1:00pm. Monday 5th October 10:30am Tuesday 6th October 4:10pm Helter Skelter (1949) The Brides of Fu Manchu (1966) Comedy. Director: Ralph Thomas Adventure. Director: Don Sharp. Stars: Carol Marsh, Mervyn Johns, Stars: Christopher Lee, David Tomlinson, Richard Hearne, Douglas Wilmer, Heinz Drache. Terry-Thomas. A radio star becomes Fu Manchu and his army are involved with a wealthy heiress but a kidnapping daughters of brilliant case of hiccups causes problems. scientists to demand ransom. Monday 5th October 4:20pm Tuesday 6th October 10:00pm The Ghosts of Berkeley Square That’ll Be The Day (1973) (1947) Musical. Director: Claude Whatham. Comedy. Director: Vernon Sewell. Stars: David Essex, Ringo Starr, Stars: Robert Morley, Felix Aylmer, Rosemary Leach. David Essex makes Yvonne Arnaud, Claude Hulbert. his screen debut as wayward hero At a court in the afterlife a pair of Jim MacLaine, who lives a life of 18th century soldiers are sentenced dead-end jobs and one-night stands to haunt a mansion.
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