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The Representation of Reality and Fantasy in the Films of Powell and Pressburger: 1939-1946
The Representation of Reality and Fantasy In the Films of Powell and Pressburger 1939-1946 Valerie Wilson University College London PhD May 2001 ProQuest Number: U642581 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest. ProQuest U642581 Published by ProQuest LLC(2015). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. Microform Edition © ProQuest LLC. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 The Representation of Reality and Fantasy In the Films of Powell and Pressburger: 1939-1946 This thesis will examine the films planned or made by Powell and Pressburger in this period, with these aims: to demonstrate the way the contemporary realities of wartime Britain (political, social, cultural, economic) are represented in these films, and how the realities of British history (together with information supplied by the Ministry of Information and other government ministries) form the basis of much of their propaganda. to chart the changes in the stylistic combination of realism, naturalism, expressionism and surrealism, to show that all of these films are neither purely realist nor seamless products of artifice but carefully constructed narratives which use fantasy genres (spy stories, rural myths, futuristic utopias, dreams and hallucinations) to convey their message. -
HP0221 Teddy Darvas
BECTU History Project - Interview No. 221 [Copyright BECTU] Transcription Date: Interview Dates: 8 November 1991 Interviewer: John Legard Interviewee: Teddy Darvas, Editor Tape 1 Side A (Side 1) John Legard: Teddy, let us start with your early days. Can you tell us where you were born and who your parents were and perhaps a little about that part of your life? The beginning. Teddy Darvas: My father was a very poor Jewish boy who was the oldest of, I have forgotten how many brothers and sisters. His father, my grandfather, was a shoemaker or a cobbler who, I think, preferred being in the cafe having a drink and seeing friends. So he never had much money and my father was the one brilliant person who went to school and eventually to university. He won all the prizes at Gymnasium, which is the secondary school, like a grammar school. John Legard: Now, tell me, what part or the world are we talking about? Teddy Darvas: This is Budapest. He was born in Budapest and whenever he won any prizes which were gold sovereigns, all that money went on clothes and things for brothers and sisters. And it was in this Gymnasium that he met Alexander Korda who was in a parallel form. My father was standing for Student's Union and he found somebody was working against him and that turned out to be Alexander Korda, of course the family name was Kelner. They became the very, very greatest of friends. Alex was always known as Laci which is Ladislav really - I don't know why. -
Shelling Russia's White House in 1993
WWW.BNE.EU Russian retail investors piling into the stock market for the first time, but CBR worried about rising risks Estonian premier quits after Tallinn development scandal February 2021 Fears of authoritarianism as Kyrgyz populist wins landslide and backing for ‘Khanstitution’ Making Magnit great again Has Navalny started a revolution? SHELLING RUSSIA’S WHITE HOUSE IN 1993 What a real coup looks like Belarus’ IT industry The oligarch problem OUTLOOKS 2021 in meltdown p.35 p.42 p.24 ISSN 2059-2736 ISSN 2 I Contents bne February 2021 Senior editorial board Ben Aris editor-in-chief & publisher I Berlin 206 +49 17664016602 I [email protected] Clare Nuttall news editor I Glasgow +44 7766 513641 I [email protected] William Conroy editor Eurasia & SE Europe I Prague +420 774 849 172 I [email protected] ——— Subscriptions Stephen Vanson 7 London I +44 753 529 6546 [email protected] ——— COMPANIES & MARKETS 14 Russian petrochemical giant Sibur Advertising closes $11bn joint venture deal to 4 Hungarian official threatens build Amur Gas Chemical plant Elena Arbuzova to wage war on foreign with China’s Sinopec business development director I Moscow +7 9160015510 I [email protected] retailers ——— 16 Rio Tinto reports maiden ore 5 Hungary's largest bank reserve at Jadar project in Serbia Design merger granted exemption Olga Gusarova from competition scrutiny 17 Turkish hotels in fire sale art director I London +44 7738783240 I [email protected] 6 Foreign investors eye 18 Online video service ivi.ru starts bargains on distressed NASDAQ IPO registration procedure Please direct comments, letters, press releases Budapest hotel market, but and other editorial enquires to [email protected] owners won't budge 19 AFC CAPITAL: Uzbekistan’s stock market re-rating has much further All rights reserved. -
Crime Wave for Clara CRIME WAVE
Crime Wave For Clara CRIME WAVE The Filmgoers’ Guide to the Great Crime Movies HOWARD HUGHES Disclaimer: Some images in the original version of this book are not available for inclusion in the eBook. Published in 2006 by I.B.Tauris & Co Ltd 6 Salem Road, London W2 4BU 175 Fifth Avenue, New York NY 10010 www.ibtauris.com In the United States and Canada distributed by Palgrave Macmillan, a division of St. Martin’s Press, 175 Fifth Avenue, New York NY 10010 Copyright © Howard Hughes, 2006 The right of Howard Hughes to be identified as the author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988. All rights reserved. Except for brief quotations in a review, this book, or any part thereof, may not be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of the publisher. The TCM logo and trademark and all related elements are trademarks of and © Turner Entertainment Networks International Limited. A Time Warner Company. All rights reserved. © and TM 2006 Turner Entertainment Networks International Limited. ISBN 10: 1 84511 219 9 EAN 13: 978 1 84511 219 6 A full CIP record for this book is available from the British Library A full CIP record for this book is available from the Library of Congress Library of Congress catalog card: available Typeset in Ehrhardt by Dexter Haven Associates Ltd, London Printed and bound in Great Britain by TJ International, -
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. -
Imperalist Cinema: the Drum (Zoltan Korda, 1938); Gunga Din (George Stevens, 1939); the Thief of Bagdad (Michael Powell, Ludwig Berger, Tim Whelan Et
1 Imperalist cinema: The Drum (Zoltan Korda, 1938); Gunga Din (George Stevens, 1939); The Thief of Bagdad (Michael Powell, Ludwig Berger, Tim Whelan et. al ., 1940) and Black Narcissus (Michael Powell and Emeric Pressburger, 1947); Gandhi (Richard Attenborough, 1982); A Passage to India (David Lean, 1984); Heat and Dust (James Ivory, 1983) My main contact with India is a daily phone-call from a call-centre somewhere in the Subcontinent. Whoever it is, has never heard of my name, and can’t pronounce it – (Peter Sellers voice ): “Hello. Can I speak to Mr Coach-run, please?” I don’t know how they’re proposing to get money out of me, because I always hang up on them at once. In 2007, the Raj and its discontents seem a long way away. —————————— The Drum shows why the Brits were such successful imperialists – it was because of the public school dramsoc tradition. A fellow who could do Brutus or Hamlet, Bottom or Dogberry, would have no problem impersonating a starving mendicant on the North-West Frontier, which is what stalwart Roger Livesey is seen doing in the first reel here. Getting under the skin of the wily Pathan – more, getting into the chap’s clothes, learning his lingo, and experiencing his lice: what else did Eton or Charterhouse train you to do? What else did it prepare you for? Under cover of being a native, Livesey (whose character’s name really is Carruthers), is collecting intelligence; and half the pilgrims and travellers he meets seem to be fellow- Englishmen in native drag, too. -
Kosmorama114 176 Artikel2.Pdf
og billedernes retorik Peter Schepelern Ken Russell har i !øbet af fire år placeret sig som engelsk lavet »The Music Lovers« (»Tchaikovsky«) om den russi films eneste instruktør af internationalt format. Han har ske komponists liv og kunst, »The Devils« om heksepro meget målbevidst skabt sig et perfekt kunstnerimage: han cessen i 1634 mod præsten Urban Grandier, »The Boy er den geniale, fænomenale, grænseflyttende, tyrannisk Friend« (»Boy Friend«) om Sandy Wilsons musical i 20’er- blide, naivt storslåede renæssance-kunstner, der gerne miljø foran og bag kulisserne og »Savage Messiah« (»Li kaldes vidunderbarn og enfant terrible. Han har vist et vets Galskab«) om den franske billedhugger Henri Gau- ubestrideligt talent for publicity, forstår at skabe overfla dier-Brzeska. diske sensationer omkring sine film: »The Devils«, (»Djæv Russell kaldes ofte en provokatør, men det er værd at lene«), gik f. eks. vidt i sine skildringer af vold og sex, bemærke, at hans film ikke provokerer så meget ved deres hvilket forårsagede megen foromtale og censurproblemer; ideer, deres synspunkter, som ved deres billeder, den f. eks. bortklippedes indstillinger hvor der sås kønshår, og ekstravagante, morbidt-sensuelle billedfantasi, en blanding der var så mange, at »the hairs were strewn all over the af Rubens, Bosch og moderne franske tegneserier. For studio«. Russell kan også finde eller skabe stjerner: Gien- Russell har måske ikke så meget at sige sin samtid, men da Jackson - som fik en Oscar for »Women in Love« (»Når han har ét og andet at vise den. Russell formulerer ikke kvinder elsker«), men til Russells fortrydelse ikke kom et intellektuelt budskab i ord (som f. -
Premiererne Livs Eventyr
skrete suspense-virkninger er effektive. Filmen skæmmes kun af et noget hetero gent stilmiddel å la Brecht: de lejligheds vis indklippede indstillinger af hovedper sonen, som - åbenbart et sted hinsides fortællingen - med fremmedgørende ef fekt reciterer sentenser og moraler til sit Premiererne livs eventyr. Det giver filmen et anstrengt - og overflødigt - didaktisk og pædagogi- 1.1.75 - 31.3.75/ved Claus Hesselberg serende præg. »Der Lord von Barmbeck« er Ottokar Runzes anden film. Han er født i 1924, har været teaterleder, instrueret teater og Anvendte forkortelser: TV. Hans første spillefilm, »Viola und Se bastian«, 1971, var en parafrase over Adapt: = Adaption Komp: = Shakespeares »Helligtrekongersaften«. Komponist Ark: = Filmarkitekt Kost: = Kostumer Hans tredie film, »In Namen des Volkes«, Arr: = Musikarrangør Medv: = 1974, er lavet i samarbejde med og hand Medvirkende skuespillere ler om livsfanger i et tysk fængsel. As-P: = Associate Producer P: Producere Peter Schepelern Ass: = Assistent P-leder: = Produktionsleder Dekor: = Scenedekorationer Prem: = Dansk premiere Dir: = Dirigent P-selskab: = Produktionsselskab Dist: = Udlejer i oprindelsesland P-sup: = Produktions-superviser Usherbanden Ex-P: = Executive Producer P-tegn: = Produktionstegner (design) Foto: = Cheffotograf Rekvis: = Rekvisitør Budd Boettichers western fra 1957 med Instr: = Instruktør Sp-E: = Specielle effekter manuskript af Burt Kennedy er en solid Kamera: = Kameraoperatør Udi: Dansk udlejning og rimeligt underholdende film, selv om dens handling er traditionel på grænsen til det upersonlige. Tapre Randolph Scott og lidt mindre tapre Maureen O’Sullivan ALICE I BYERNE ladden), Urda Arneberg (Servitrice), Carsten Byh- kidnappes af banditter, fordi hendes far Alice in den Stådten. Vesttyskland 1973. Dist: ring (Hirdmand), Geir Børresen (Lærer), Bente Filmverlag der Autoren. -
War Cinema– Or How British Films Learned to Stop Worrying and Love the Affluent Society
1 THE PROFESSIONAL OFFICER CLASS IN POST- WAR CINEMA– OR HOW BRITISH FILMS LEARNED TO STOP WORRYING AND LOVE THE AFFLUENT SOCIETY A thesis submitted for the degree of Doctor of Philosophy by Andrew Roberts College of Business, Arts and Social Sciences of Brunel University 22nd September2014 2 ABSTRACT My central argument is that mainstream British cinema of the 1951 – 1965 period marked the end of the paternalism, as exemplified by a professional ‘officer class’, as consumerism gradually came to be perceived as the norm as opposed to a post-war enemy. The starting point is 1951, the year of the Conservative victory in the General Election and a time which most films were still locally funded. The closing point is 1965, by which point the vast majority of British films were funded by the USA and often featured a youthful and proudly affluent hero. Thus, this fourteen year describes how British cinema moved away from the People as Hero guided by middle class professionals in the face of consumerism. Over the course of this work, I will analyse the creation of the archetypes of post-war films and detail how the impact of consumerism and increased Hollywood involvement in the UK film industry affected their personae. However, parallel with this apparently linear process were those films that questioned or attacked the wartime consensus model. As memories of the war receded, and the Rank/ABPC studio model collapsed, there was an increasing sense of deracination across a variety of popular British cinematic genres. From the beginning of our period there is a number films that infer that the “Myth of the Blitz”, as developed in a cinematic sense, was just that and our period ends with films that convey a sense of a fragmenting society. -
The Agatha Christie Checklist
The Agatha Christie Checklist CHARACTER CODES FOR ENTIRE LIST: CR – Colonel Race | HQ – Harley Quin | HP – Hercule Poirot | MM – Miss Marple | PP – Parker Pyne | SB – Superintendent Battle | TT – Tommy & Tuppence NOVELS Murder is Easy [1939] SB (US: Easy to Kill) Ten Little Niggers [1939] (US: Ten Little Indians/And Then There Were The Mysterious Affair at Styles [1920] HP None) The Secret Adversary [1922] TT Sad Cypress [1940] HP The Murder on the Links [1923] HP One, Two, Buckle My Shoe [1940] HP (US: The Patriotic Murders) The Man in the Brown Suit [1924] CR Evil under the Sun [1941] HP The Secret of Chimneys [1925] SB N or M? [1941] TT The Murder of Roger Ackroyd [1926] HP The Body in the Library [1942] MM The Big Four [1927] HP Five Little Pigs [1942] HP (US: Murder in Retrospect) The Mystery of the Blue Train [1928] HP The Moving Finger [1943] MM The Seven Dials Mystery [1929] SB Towards Zero [1944] SB The Murder at the Vicarage [1930] MM Death Comes as the End [1945] The Floating Admiral [1931] (The Detection Club) Sparkling Cyanide [1945] CR (US: Remembered Death) The Sittaford Mystery [1931] (US: The Murder at Hazelmoor) The Hollow [1946] HP Peril at End House [1932] HP Taken at the Flood [1948] HP (US: There is a Tide) Lord Edgware Dies [1933] HP (US: Thirteen at Dinner) Crooked House [1949] Murder on the Orient Express [1934] HP (US: Murder in the Calais Coach) A Murder is Announced [1950] MM Why Didn’t They Ask Evans? [1934] (US: The Boomerang Clue) They Came to Baghdad [1951] Three Act Tragedy [1935] HP (US: Murder in Three Acts) Mrs. -
Musica Al Cinema: L'opera Rock
PROVINCIA AUTONOMA DI TRENTO ASSESSORATO ALLA CULTURA Percorsi cinematografici per la scuola MUSICA AL CINEMA: L’OPERA ROCK Cosimo Colazzo MUSICA AL CINEMA: ROCK L’OPERA PROVINCIA AUTONOMA DI TRENTO ASSESSORATO ALLA CULTURA Musica al cinema: l’opera rock Cosimo Colazzo GIUNTA DELLA PROVINCIA AUTONOMA DI TRENTO Trento 2004 © Giunta della Provincia Autonoma di Trento Assessorato alla Cultura 2004 PERCORSI CINEMATOGRAFICI PER LA SCUOLA Collana a cura del Servizio Attività Culturali Via Romagnosi, 5 - 38100 Trento Dirigente Gianluigi Bozza Centro Audiovisivi della Provincia Autonoma di Trento Via Zanella, 10/2 - 38100 Trento Volumi già pubblicati: - Primo tempo - Il cinema racconta la vita: preadolescenza e adolescenza 1997 - Alle origini del razzismo - Il cinema racconta le culture, l’incontro e lo scontro tra le diversità 1997 - La storia al cinema: il medioevo 1999 - La storia al cinema: il cinquecento 1998 - La storia al cinema: il seicento 1998 - I colori del cinema: il giallo 1999 - Cinema e vecchiaia 2001 - La storia al cinema: l’ottocento - Individuo e società nel Romanzo 2001 - Musica al cinema: l’opera 2002 - I colori del cinema: il noir 2002 - La storia al cinema: fantastico ottocento 2002 - Lo sguardo pittorico del cinema 2003 - La solitudine del sacerdote nel cinema 2003 - L’emigrante 2003 - La storia al cinema: il settecento 2004 - Primo tempo - Adolescenza e cinema: identità mediate 2004 COLAZZO, Cosimo Musica al cinema : l’opera rock / Cosimo Colazzo, - Trento : Provincia autonoma di Trento. Giunta, 2004. - 236 p. : fot. ; 24 cm. - (Percorsi cinematografici per la scuola) In testa al front.: Provincia autonoma di Trento, Assessorato alla cultura 1. Cinematografo e musica rock 2. -
Shakespeare on Film and Television in the Motion Picture, Broadcasting and Recorded Sound Division of the Library of Congress
SHAKESPEARE ON FILM AND TELEVISION IN THE MOTION PICTURE, BROADCASTING AND RECORDED SOUND DIVISION OF THE LIBRARY OF CONGRESS Compiled by Zoran Sinobad January 2012 Introduction This is an annotated guide to moving image materials related to the life and works of William Shakespeare in the collections of the Motion Picture, Broadcasting and Recorded Sound Division of the Library of Congress. While the guide encompasses a wide variety of items spanning the history of film, TV and video, it does not attempt to list every reference to Shakespeare or every quote from his plays and sonnets which have over the years appeared in hundreds (if not thousands) of motion pictures and TV shows. For titles with only a marginal connection to the Bard or one of his works, the decision what to include and what to leave out was often difficult, even when based on their inclusion or omission from other reference works on the subject (see below). For example, listing every film about ill-fated lovers separated by feuding families or other outside forces, a narrative which can arguably always be traced back to Romeo and Juliet, would be a massive undertaking on its own and as such is outside of the present guide's scope and purpose. Consequently, if looking for a cinematic spin-off, derivative, plot borrowing or a simple citation, and not finding it in the guide, users are advised to contact the Moving Image Reference staff for additional information. How to Use this Guide Entries are grouped by titles of plays and listed chronologically within the group by release/broadcast date.