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Hippie Hippie Shake by Richard Neville Pete Steedman [email protected]
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Research Online Counterculture Studies Volume 1 | Issue 1 Article 9 2018 [Review] Hippie Hippie Shake by Richard Neville Pete Steedman [email protected] Follow this and additional works at: https://ro.uow.edu.au/ccs Recommended Citation Steedman, Pete, [Review] Hippie Hippie Shake by Richard Neville, Counterculture Studies, 1(1), 2018, 98-116. doi:10.14453/ ccs.v1.i1.9 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] [Review] Hippie Hippie Shake by Richard Neville Abstract The 60s, ew are constantly told, were a time of rebellion, a time of change, a time of hope, or just a self- indulgent game of the "me" generation, depending on point of view. The 60s ra e currently decried by a younger generation, jealous of the alleged freedoms and actions of the baby boomers who have supposedly left them nothing to inherit but the wind. Revisionist writers go to extraordinary lengths to debunk the mythology of the 60s, but in essence they mainly rail against the late 60s early 70s. In their attacks on the baby boomers they conveniently forget that the oldest of this demographic grouping was only 14 in 1960, and the vast majority of them were not even teenagers! Keywords hippies, counterculture, OZ Creative Commons License Creative ThiCommons works is licensed under a Creative Commons Attribution 4.0 License. Attribution 4.0 License This journal article is available in Counterculture Studies: https://ro.uow.edu.au/ccs/vol1/iss1/9 Richard Neville, Hippie Hippie Shake: The Dreams, The Trips, The Trials, The Screw Ups, The Love Ins, The Sixties, Heinemann, London, 1995, 384p. -
Hippie Hippie Shake by Richard Neville Pete Steedman [email protected]
Counterculture Studies Volume 1 | Issue 1 Article 9 2018 [Review] Hippie Hippie Shake by Richard Neville Pete Steedman [email protected] Follow this and additional works at: https://ro.uow.edu.au/ccs Recommended Citation Steedman, Pete, [Review] Hippie Hippie Shake by Richard Neville, Counterculture Studies, 1(1), 2018, 98-116. doi:10.14453/ ccs.v1.i1.9 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] [Review] Hippie Hippie Shake by Richard Neville Abstract The 60s, ew are constantly told, were a time of rebellion, a time of change, a time of hope, or just a self- indulgent game of the "me" generation, depending on point of view. The 60s ra e currently decried by a younger generation, jealous of the alleged freedoms and actions of the baby boomers who have supposedly left them nothing to inherit but the wind. Revisionist writers go to extraordinary lengths to debunk the mythology of the 60s, but in essence they mainly rail against the late 60s early 70s. In their attacks on the baby boomers they conveniently forget that the oldest of this demographic grouping was only 14 in 1960, and the vast majority of them were not even teenagers! Keywords hippies, counterculture, OZ Creative Commons License Creative ThiCommons works is licensed under a Creative Commons Attribution 4.0 License. Attribution 4.0 License This journal article is available in Counterculture Studies: https://ro.uow.edu.au/ccs/vol1/iss1/9 Richard Neville, Hippie Hippie Shake: The Dreams, The Trips, The Trials, The Screw Ups, The Love Ins, The Sixties, Heinemann, London, 1995, 384p. -
The British Underground Press, 1965-1974: the London Provincial Relationship, and Representations of the Urban and the Rural
THE BRITISH UNDERGROUND PRESS, 1965-1974: THE LONDON PROVINCIAL RELATIONSHIP, AND REPRESENTATIONS OF THE URBAN AND THE RURAL. Rich�d Deakin r Presented as part of the requirement forthe award of the MA Degree in Cultural, Literary, andHistorical Studies within the Postgraduate Modular Scheme at Cheltenham and Gloucester College of Higher Education June 1999 11 DECLARATIONS This.Dissertation is the product of my own work and is. not the result of anything done in collaboration. I agreethat this. Dissertationmay be available forreference and photocopying,. at the discretion of the College. Richard Deakin 111 ABSTRACT Whateverperspective one takes, contradictions in the relationship between the capital and the provinces have always been evident to some extent, and the British undergroundpress of the late 1960s and early 1970s is no exception. The introductoryfirst chapter will definethe meaning of the term 'underground' in this context, and outline some of thesources used and the methodologies employed. Chapter Two will show how the British underground press developed froman alternative coterie of writers, poets, and artists - often sympathisers of the Campaign forNuclear Disarmament movement. It will also show how having developed from roots that were arguably provincial the undergroundadopted London as its base. The third chapter will take a more detailed look at the background of some London and provincial underground publications andwill attempt to see what extent the London undergroundpress portrayed the provinces, and vice-versa. In Chapter Four actual aspects of lifein urbanand rural settings, such as communes, squats, and pop festivals,will be examined in relation to the adoption of these lifestylesby the wider counterculture and how they were adapted to particular environments as part of an envisioned alternativesociety. -
Short Synopsis
"THE EDGE OF LOVE" PRODUCTION NOTES Capitol Films and BBC Films present In association with the Wales Creative IP Fund and Prescience Film Partners 2 A Sarah Radclyffe Production A Rainy Day Films Production A John Maybury Film Keira Knightley Sienna Miller Cillian Murphy Matthew Rhys "The Edge of Love" Casting Director - Nina Gold Hair and Make-Up Designer - Daniel Phillips Costume Designer - April Ferry Music by Angelo Badalamenti Film Editor - Emma E. Hickox ACE Director of Photography - Jonathan Freeman Production Designer - Alan MacDonald Executive Producers David Bergstein, Linda James, Hannah Leader, Joe Oppenheimer, Tim Smith, David M Thompson Co-Producers Huw Penallt Jones Bill Godfrey Line Producer - Lesley Stewart Produced by Rebekah Gilbertson Produced by Sarah Radclyffe Written by Sharman Macdonald Directed by John Maybury SHORT SYNOPSIS Two feisty, free-spirited women are connected by a charismatic poet who loves them both. The passion and pathos of legendary poet Dylan Thomas is told through the lives of two women. Vera Phillips and Dylan were childhood sweethearts; fast forward ten years and the two reconnect in war- time London. She‟s working as a singer whilst he‟s churning out propaganda scripts for government in aid of the war effort. The two feel the thunderbolt once more, but Thomas is now married to the adventurous Caitlin. Despite their love-rival status, the women form a surprising friendship; whilst Caitlin indulges in her own infidelities she knows her husband‟s connection with Vera is something deeper. In Vera‟s life the turmoil continues. She marries her devoted admirer William Killick, but when William is posted abroad on a dangerous assignment behind enemy lines Vera returns with her friends to Wales, where the battle between her heart and head becomes more intense. -
London Underground Films Over a Century
The Scala Underground film map, station to station Film Underground Station Year 28 Days Later Bank 2002 30 is a Dangerous Age, Cynthia Barking 1968 80 Million Women Want-? Woodford 1913 A Clockwork Orange Fulham Broadway 1971 A Hard Day's Night Goodge Street 1964 A Kind of English Bethnal Green 1986 A Lizard in a Woman's Skin Wood Green 1971 A Matter of Life and Death Ruislip Gardens 1946 A Place to Go Old Street 1963 Abominable Dr. Phibes, The Stanmore 1971 Absolute Beginners White City 1986 Afraid of the Dark West Brompton 1991 Alfie Bayswater 1966 Alien North Acton 1979 All Neat in Black Stockings East Putney 1968 An American Werewolf in London Tottenham Court Road 1981 And Now for Something Completely Different Totteridge & Whetstone 1971 Animal Farm Highbury & Islington 1954 Another Year Wanstead 2010 Arsenal Stadium Mystery, The Arsenal 1939 Attack the Block Brixton 2011 Babymother Harlesden 1998 Bargee, The Moor Park 1964 Bed-Sitting Room, The Leyton 1969 Bedazzled Gunnersbury 1967 Belle Rickmansworth 2013 Berberian Sound Studio Bromley-by-Bow 2012 Beware of Mr. Baker Neasden 2012 Black Narcissus South Ruislip 1947 Blacksmith Scene Kenton 1893 Blowup North Greenwich 1966 Blue Lamp, The Royal Oak 1950 Bob Marley and the Wailers: Live! At the Rainbow Finsbury Park 1977 Boy Friend, The Preston Road 1971 Brazil Holland Park 1985 Breakfast on Pluto Leicester Square 2005 Breaking Glass Barkingside 1980 Breaking of Bumbo, The St. James's Park 1970 Bride of Frankenstein Dagenham Heathway 1931 Bright Young Things Broadgate (closed) 2003 -
Vivilcinema 5-07 Layout 1
numero52007 Bimestrale d’informazione cinematografica edito dalla FICE - Federazione Italiana Cinema d’Essai Giorni e nuvole di Silvio Soldini Speciale Festa di Roma Tutti i film Calopresti Greco Mazzacurati ANNO VII - NUOVA SERIE - N. 5- SETTEMBRE/OTTOBRE SERIE - N. ANNO VII - NUOVA 70% - FILIALE DI ROMA 2007 - Euro 2,50 SPED. ABBONAMENTO POSTALE interviste speciale Fabrizio Gifuni Incontri del Kenneth Branagh Cinema d’Essai George Clooney Vota il film d’essai: Terry Gilliam i vincitori Ken Loach Lorenzo Ventavoli anteprima I Premi Fice Fulvio Wetzl I vicerè Le anteprime di Roberto Faenza n.5/2007 editoriale Cover story 14 Giorni e nuvole di Silvio Soldini Coraggio e passione In copertina: Margherita Buy Alla vigilia della Festa di Roma, il cinema d’essai si e Antonio Albanese riunisce ad Asti per la VII edizione degli Incontri Fice Speciale Festa di Roma 2007 6 La Festa, i film (Mario Mazzetti) •••Mentre fervono i preparativi per la seconda, roboante edizione della Festa di Roma, cui dedichiamo un ampio speciale nelle pagine seguenti, il mondo del 12 Emidio Greco (Franco Montini) cinema d’essai si riunisce ad Asti dal 9 al 12 ottobre per gli Incontri organizzati per il settimo 14 Silvio Soldini (Franco Montini) anno dalla Fice, i primi sotto la presidenza di chi scrive. Un’edizione caratterizzata da una 18 Mimmo Calopresti (Barbara Corsi) dozzina abbondante di anteprime di ogni genere, nazionalità e provenienza (indipendenti 20 Carlo Mazzacurati (Barbara Corsi) e non), a dimostrazione della gran varietà dell’offerta di cinema d’autore -
David Ganly Seamus Ryan
Paddock Suite, The Courtyard, 55 Charterhouse Street, London, EC1M 6HA p: + 44 (0) 20 73360351 e: [email protected] David Ganly Seamus Ryan Location: Greater London Eye Colour: Blue Height: 5'11" (180 cm) Hair Colour: Strawberry Blond(e) Weight: 15st. 0lb. (95.25 kg) Hair Length: Mid Length Playing Age: 41 - 49 Voice Character: Earthy Appearance: White, Scandinavian Voice Quality: Warm Stage 2020, Stage, PJ, On Blueberry Hill, Trafalgar Studios, Jim Culleton 2019, Stage, Mr Burke, Girl From The North County, Toronto & Gielgud Theatre, London, Conor McPherson 2019, Stage, PJ, On Blueberry Hill, 59E59 Theater, Jim Culleton 2018, Stage, Willy, Aristocrats, Donmar Warehouse, Lyndsey Turner 2018, Stage, Bottom, A Midsummer Night's Dream, Lyric Hammersmith, Sean Holmes 2018, Stage, Mr Burke, Girl From The North Country, Noel Coward Theatre, Connor McPherson 2017, Stage, PJ, On Blueberry Hill, 2017, Stage, The Narrator, The Velveteen Rabbit, Unicorn Theatre, Purni Morell 2016, Stage, Valene, Lonesome West, Tron Theatre, Andy Arnold 2016, Stage, Fluther, The Plough & The Stars, Abbey Theatre Dublin and US Tour, Sean Holmes 2015, Stage, Seamus, Shadow of a Gunman, Abbey Theatre and Lyric Theatre Belfast, Wayne Jordan 2015, Stage, Vanya, Uncle Vanya, West Yorkshire Playhouse, Mark Rosenblatt 2014, Stage, Burbage, Shakespeare In Love, Noel Coward Theatre, Declan Donnellan 2013, Stage, Macheath, The Threepenny Opera, Gate Theatre, Dublin, Wayne Jordan 2013, Stage, Kent, King Lear, Theatre Royal Bath, Lucy Bailey 2013, Stage, Lumpy, Drum Belly, The -
Attack the Block Production Notes
PRESENTS Written and Directed by Joe Cornish Starring Jodie Whittaker, Luke Treadaway and Nick Frost And introducing John Boyega, Alex Esmail, Franz Drameh, Leeon Jones, Simon Howard, Jumayn Hunter Release Date: December 1, 2011 Running Time: 88 mins Rating: CTC For publicity & promotional opportunities, please contact Natalie Motto [email protected] / 02 8594 9037 www.iconmovies.com.au Images available on www.image.net 1 SYNOPSIS ATTACK THE BLOCK is a fast, funny, frightening action adventure movie that pits a teen gang against an invasion of savage alien monsters. It turns a London housing estate into a sci-fi playground. A tower block into a fortress under siege. And teenage street kids into heroes. It‟s inner city versus outer space. Trainee nurse Sam is walking home to her flat in a scary South London tower block when she‟s robbed by a gang of masked, hooded youths. She‟s saved when the gang are distracted by a bright meteorite, which falls from the sky and hits a nearby parked car. Sam flees, just before the gang are attacked by a small alien creature that leaps from the wreckage. The gang chase the creature and kill it, dragging its ghoulish carcass to the top of the block, which they treat as their territory. While Sam and the police hunt for the gang, a second wave of meteors fall. Confident of victory against such feeble invaders, the gang grab weapons, mount bikes and mopeds, and set out to defend their turf. But this time, the creatures are bigger. Much bigger. -
OZ Magazine and the Technologies of the Counterculture
An Architecture for the Mind: OZ magazine and the Technologies of the Counterculture AnnMarie Brennan [email protected] Author Bio AnnMarie Brennan is the Senior Lecturer of Design Theory at the University of Melbourne and an editorial board member of the Journal of Architectural Education. Her current research focuses on 20th and 21st century design with a strong interest in machines, media, and the political economy of design. Abstract This paper revisits the creative work of the Australian magazine OZ and its founding editors Martin Sharp (1942 – 2013) and Richard Neville (1941 – 2016). Established in Sydney on April Fool's Day in 1963 as a satirical magazine, the editors migrated to London in 1967, where the U.K. version of OZ garnered its status as the underground field guide for enlightened hippies. This paper claims that the visual and rhetorical editorial strategy of OZ, coupled with the technologies employed in its making, transformed the medium of the magazine to be more than simply a cipher for hippie life. In fact, it became a platform for immersive, multi-media experiences. Keywords Architecture, media, OZ magazine, immersive environment, counter-culture, technology, multi-media environment, Marshall McLuhan In the February 1968 issue of the alternative culture magazine OZ, designer Martin Sharp published the fold out graphic poster “If I Could Turn You On . .” an elaborate illustration of a figure’s head (Figure 1). At the center of the composition is a window appearing as a threshold to enter through the figure’s forehead and into the mind. It frames a view to a colonnade reminiscent of a mosque; a type of architectural feature Sharp encountered during his travels through Asia en route to London accompanied by his co-editor Richard Neville. -
Remarks on 1968, Richard Neville and His Book Play Power Jim Anderson [email protected]
Counterculture Studies Volume 2 | Issue 1 Article 13 2019 Remarks on 1968, Richard Neville and his book Play Power Jim Anderson [email protected] Follow this and additional works at: https://ro.uow.edu.au/ccs Recommended Citation Anderson, Jim, Remarks on 1968, Richard Neville and his book Play Power, Counterculture Studies, 2(1), 2019, 30-42. doi:10.14453/ ccs.v2.i1.13 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Remarks on 1968, Richard Neville and his book Play Power Abstract An account by OZ editor, journalist and artist Jim Anderson on his role in the production of Richard Neville's Play Power (1970) and events around 1968. Creative Commons License This work is licensed under a Creative Commons Attribution 4.0 License. This journal article is available in Counterculture Studies: https://ro.uow.edu.au/ccs/vol2/iss1/13 Remarks on 1968, Richard Neville and his book Play Power 1 Jim Anderson NOTE: ‘THIS COPY of PLAY POWER DOES NOT CONTAIN THE UNDERGROUND ALMANAC POSTER GAME HEADOPOLY AS A PROHIBITION NOTICE HAS BEEN IMPOSED ON IT by the Commonwealth of Australia Department of Customs and Excise. MARCH 26 1970 1 The title of Richard Neville’s book Play Power was a variation on flower power, a popular phrase at the time. Richard Neville, Play Power, Jonathan Cape, London, 1970, 300p. Counterculture Studies 2(1) 2019 30 Looking Back to ‘68 I have never been a certified student of the Sixties. -
1 Children of the Revolution? the Hippy Counter-Culture, the Idea of Childhood and the Case of Schoolkids Oz David Buckingham T
Children of the revolution? The hippy counter-culture, the idea of childhood and the case of Schoolkids Oz David Buckingham This essay is part of a larger project, Growing Up Modern: Childhood, Youth and Popular Culture Since 1945. More information about the project, and illustrated versions of all the essays can be found at: https://davidbuckingham.net/growing-up-modern/. On June 23rd 1971, a momentous trial began at London’s Old Bailey, the Central Criminal Court of England and Wales. In the dock were three young men, Richard Neville, Jim Anderson and Felix Dennis, the editors of Oz, an ‘underground’ magazine. They faced charges relating to issue 28 of the magazine, published in May of the previous year as Schoolkids Oz. They were accused of producing an obscene publication and sending it through the mail, for which the maximum penalties were three years and one year respectively; and, more broadly, of ‘conspiring… to produce a magazine containing divers lewd, indecent and sexually perverted articles, cartoons, drawings and illustrations with intent thereby to debauch and corrupt the morals of young children and young persons within the Realm and to arouse and implant in their minds lustful and perverted desires…’ – an archaic and rarely used charge for which the maximum penalty was life imprisonment, at the discretion of the judge. The Oz Trial was the longest-ever obscenity trial in British legal history, lasting nearly six weeks. Both at the time and subsequently, it assumed almost mythological proportions. Yet while the trial focused in great detail on the parts of Schoolkids Oz that were deemed obscene, relatively little attention was paid – either at the time or afterwards – to the publication as a whole. -
The Theatre of Revolution Transforms Spectators Into Political Actors: Performance As Political Engagement in the Transnational Counterculture
European journal of American studies 14-4 | 2019 Special Issue: Spectacle and Spectatorship in American Culture The Theatre of Revolution Transforms Spectators into Political Actors: Performance as Political Engagement in the Transnational Counterculture Andrew Hannon Electronic version URL: http://journals.openedition.org/ejas/15488 DOI: 10.4000/ejas.15488 ISSN: 1991-9336 Publisher European Association for American Studies Electronic reference Andrew Hannon, « The Theatre of Revolution Transforms Spectators into Political Actors: Performance as Political Engagement in the Transnational Counterculture », European journal of American studies [Online], 14-4 | 2019, Online since 12 December 2019, connection on 16 December 2019. URL : http://journals.openedition.org/ejas/15488 ; DOI : 10.4000/ejas.15488 This text was automatically generated on 16 December 2019. Creative Commons License The Theatre of Revolution Transforms Spectators into Political Actors: Perfor... 1 The Theatre of Revolution Transforms Spectators into Political Actors: Performance as Political Engagement in the Transnational Counterculture Andrew Hannon “Do you honestly believe that a gentleman can amuse himself in Soho?” - Guy Debord1 1. Introduction 1 OZ Magazine, the premier British sixties psychedelic magazine from 1967 to 1973, was widely influential.2 Its origins and development by Australians Richard Neville and Martin Sharp and British publisher John Wilcock provide a uniquely intersectional historical moment in which arts, music, and radical politics came together into a single formation. Underappreciated in its significance, the story of OZ, and most especially its influence by and spread of the ideas of the American anarchist artists and activists the San Francisco Diggers, illustrates two important elements of the 1960s counterculture. First, it demonstrates the connection between political and cultural ideas, techniques, and actors, a connection often occluded both at the time and in scholarship on the era, which has insisted on seeing politics and culture as separate.