England in a Miniature in Mike Leigh's “The Short and Curlies” 25
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Read Ebook {PDF EPUB} Loving Attitudes by Rachel Billington Loving Attitudes by Rachel Billington
Read Ebook {PDF EPUB} Loving Attitudes by Rachel Billington Loving Attitudes by Rachel Billington. ‘One Summer is a real emotional roller-coaster of a read, and Billington expertly sustains the suspense.’ Daily Mail. Available to order. One Summer is unashamedly a tragic love story. Great passion is a theme I return to every decade or so. (For example, my earlier book, based on Tolstoy’s Anna Karenina, Occasion of Sin.) Of course it is a theme recurring in all fiction over the centuries. In this case the man, K, is twenty four years older than his love object who is still a school girl – and a naïve school girl at that. I have, however, not just written about the love affair but about its consequences fourteen years on so that the story is told in two different time-scales. It is also told in two voices – the male and the female. Part of the book is set in Valparaiso, Chile, where I stayed with my daughter, Rose Gaete, and my Chilean son-in-law just as I started writing the novel. Chance experience always plays a big part in what goes into my novels, although my characters are virtually never drawn directly from life. ‘Writing with grace and unflinching intensity, Billington acknowledges the complexity of cause and effect in a novel that is as much about the sufferings of expiation as the joys of passion.’ Sunday Times. ‘One Summer is a real emotional roller-coaster of a read, and Billington expertly sustains the suspense.’ Daily Mail. ‘Reading One Summer is an intense, even a claustrophobic experience: there is no escape, no let up, no Shakespearian comic gravedigger to lighten the tension. -
'I Spy': Mike Leigh in the Age of Britpop (A Critical Memoir)
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Glasgow School of Art: RADAR 'I Spy': Mike Leigh in the Age of Britpop (A Critical Memoir) David Sweeney During the Britpop era of the 1990s, the name of Mike Leigh was invoked regularly both by musicians and the journalists who wrote about them. To compare a band or a record to Mike Leigh was to use a form of cultural shorthand that established a shared aesthetic between musician and filmmaker. Often this aesthetic similarity went undiscussed beyond a vague acknowledgement that both parties were interested in 'real life' rather than the escapist fantasies usually associated with popular entertainment. This focus on 'real life' involved exposing the ugly truth of British existence concealed behind drawing room curtains and beneath prim good manners, its 'secrets and lies' as Leigh would later title one of his films. I know this because I was there. Here's how I remember it all: Jarvis Cocker and Abigail's Party To achieve this exposure, both Leigh and the Britpop bands he influenced used a form of 'real world' observation that some critics found intrusive to the extent of voyeurism, particularly when their gaze was directed, as it so often was, at the working class. Jarvis Cocker, lead singer and lyricist of the band Pulp -exemplars, along with Suede and Blur, of Leigh-esque Britpop - described the band's biggest hit, and one of the definitive Britpop songs, 'Common People', as dealing with "a certain voyeurism on the part of the middle classes, a certain romanticism of working class culture and a desire to slum it a bit". -
Mike Leigh La Vie… Et Rien D’Autre
Document generated on 09/24/2021 6:51 p.m. Séquences La revue de cinéma Mike Leigh La vie… et rien d’autre Number 187, November–December 1996 URI: https://id.erudit.org/iderudit/49412ac See table of contents Publisher(s) La revue Séquences Inc. ISSN 0037-2412 (print) 1923-5100 (digital) Explore this journal Cite this document (1996). Mike Leigh : la vie… et rien d’autre. Séquences, (187), 13–14. Tous droits réservés © La revue Séquences Inc., 1996 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ r\ I T D C \/ I I C C Mike Leigh L/WIEa, ET RIEN 1 D'AUTRE WÊ Issu du milieu des théâtres expérimentaux où il participe à plusieurs recherches, Mike Leigh réalise Bleak Moments en 1970 et deux ans plus tard, reçoit le Grand Prix à Chicago et à Locarno pour ce film. Par la suite, il signe de nombreux téléfilms, notamment pour la BBC et Channel Four. En 1988, avec High Hopes, il se remet activement à tourner pour le cinéma. En 1993, il remporte le Prix de la mise en scène à Cannes pour Naked. Son tout dernier film, Secrets and Lies, a obtenu la Palme d'or cette année au même festival. -
March 19, 2013 (XXVI:9) Mike Leigh, NAKED (1994, 131 Min.)
March 19, 2013 (XXVI:9) Mike Leigh, NAKED (1994, 131 min.) Best Director (Leigh), Best Actor (Thewliss), Cannes 1993 Directed and written by Mike Leigh Written by Mike Leigh Produced by Simon Channing Williams Original Music by Andrew Dickson Cinematography by Dick Pope Edited by Jon Gregory Production Design by Alison Chitty Art Direction by Eve Stewart Costume Design by Lindy Hemming Steadicam operator: Andy Shuttleworth Music coordinator: Step Parikian David Thewlis…Johnny Lesley Sharp…Louise Clancy Jump, 2010 Another Year, 2008 Happy-Go-Lucky, 2004 Vera Katrin Cartlidge…Sophie Drake, 2002 All or Nothing, 1999 Topsy-Turvy, 1997 Career Girls, Greg Cruttwell…Jeremy G. Smart 1996 Secrets & Lies, 1993 Naked, 1992 “A Sense of History”, Claire Skinner…Sandra 1990 Life Is Sweet, 1988 “The Short & Curlies”, 1988 High Hopes, Peter Wight…Brian 1985 “Four Days in July”, 1984 “Meantime”, 1982 “Five-Minute Ewen Bremner…Archie Films”, 1973-1982 “Play for Today” (6 episodes), 1980 BBC2 Susan Vidler…Maggie “Playhouse”, 1975-1976 “Second City Firsts”, 1973 “Scene”, and Deborah MacLaren…Woman in Window 1971 Bleak Moments/ Gina McKee…Cafe Girl Carolina Giammetta…Masseuse ANDREW DICKSON 1945, Isleworth, London, England) has 8 film Elizabeth Berrington…Giselle composition credits: 2004 Vera Drake, 2002 All or Nothing, 1996 Darren Tunstall…Poster Man Secrets & Lies, 1995 Someone Else's America, 1994 Oublie-moi, Robert Putt...Chauffeur 1993 Naked, 1988 High Hopes, and 1984 “Meantime.” Lynda Rooke…Victim Angela Curran...Car Owner DICK POPE (1947, Bromley, -
Professor Robert Beveridge FRSA, University of Sassari
Culture, Tourism, Europe and External Relations Committee Scotland’s Screen Sector Written submission from Professor Robert Beveridge FRSA, University of Sassari 1. Introduction While it is important that the Scottish Parliament continues to investigate and monitor the state of the creative and screen industries in Scotland, the time has surely come for action rather than continued deliberation(s) The time has surely come when we need to stop having endless working parties and spending money on consultants trying to work out what to do. Remember the ‘Yes Minister’ Law of Inverse Relevance ‘ ‘The less you intend to do about something, the more you have to keep talking about it ‘ ‘Yes Minister’ Episode 1: Open Government Therefore, please note that we already know what to do. That is: 1.1 - Appoint the right people with the vision leadership and energy to succeed. 1.2 - Provide a positive legislative/strategic/policy framework for support. 1.3 - Provide better budgets and funding for investment and/or leverage for the same. (You already have access to the data on existing funding for projects and programmes of all kinds. If the Scottish Government wishes to help to improve performance in the screen sector, there will need to be a step change in investment. There is widespread agreement that more is needed.) 1.4 Give them space to get on with it. That is what happened with the National Theatre of Scotland. This is what happened with MG Alba. Both signal success stories. Do likewise with the Screen Industries in Scotland 2. Context Some ten years ago the Scottish Government established the Scottish Broadcasting Commission. -
Channel 4 and British Film: an Assessment Of
Channel 4 and British Film: An Assessment of Industrial and Cultural Impact, 1982-1998 Laura Mayne This thesis is submitted in partial fulfilment of the requirements for the award of the degree of Doctor of Philosophy of the University of Portsmouth. September 2014 i Abstract This thesis is an historical investigation of Channel 4’s influence on the British film industry and on British film culture between 1982 and 1998. Combining archival research with interview testimony and secondary literature, this thesis presents the history of a broadcaster’s involvement in British film production, while also examining the cultural and industrial impact of this involvement over time. This study of the interdependence of film and television will aim to bring together aspects of what have hitherto been separate disciplinary fields, and as such will make an important contribution to film and television studies. In order to better understand this interdependence, this thesis will offer some original ideas about the relationship between film and television, examining the ways in which Channel 4’s funding methods led to new production practices. Aside from the important part the Channel played in funding (predominantly low-budget) films during periods when the industry was in decline and film finance was scarce, this partnership had profound effects on British cinema in the 1980s and 1990s. In exploring these effects, this thesis will look at the ways in which the film funding practices of the Channel changed the landscape of the film industry, offered opportunities to emerging new talent, altered perceptions of British film culture at home and abroad, fostered innovative aesthetic practices and brought new images of Britain to cinema and television screens. -
Shail, Robert, British Film Directors
BRITISH FILM DIRECTORS INTERNATIONAL FILM DIRECTOrs Series Editor: Robert Shail This series of reference guides covers the key film directors of a particular nation or continent. Each volume introduces the work of 100 contemporary and historically important figures, with entries arranged in alphabetical order as an A–Z. The Introduction to each volume sets out the existing context in relation to the study of the national cinema in question, and the place of the film director within the given production/cultural context. Each entry includes both a select bibliography and a complete filmography, and an index of film titles is provided for easy cross-referencing. BRITISH FILM DIRECTORS A CRITI Robert Shail British national cinema has produced an exceptional track record of innovative, ca creative and internationally recognised filmmakers, amongst them Alfred Hitchcock, Michael Powell and David Lean. This tradition continues today with L GUIDE the work of directors as diverse as Neil Jordan, Stephen Frears, Mike Leigh and Ken Loach. This concise, authoritative volume analyses critically the work of 100 British directors, from the innovators of the silent period to contemporary auteurs. An introduction places the individual entries in context and examines the role and status of the director within British film production. Balancing academic rigour ROBE with accessibility, British Film Directors provides an indispensable reference source for film students at all levels, as well as for the general cinema enthusiast. R Key Features T SHAIL • A complete list of each director’s British feature films • Suggested further reading on each filmmaker • A comprehensive career overview, including biographical information and an assessment of the director’s current critical standing Robert Shail is a Lecturer in Film Studies at the University of Wales Lampeter. -
Authenticity and Englishness in the Films of Mike Leigh
Authenticity and Englishness in the Films of Mike Leigh 著者名(英) Anthony Mills journal or The Kyoritsu journal of international studies publication title volume 29 page range 123-143 year 2012-03 URL http://id.nii.ac.jp/1087/00002285/ Creative Commons : 表示 - 非営利 - 改変禁止 http://creativecommons.org/licenses/by-nc-nd/3.0/deed.ja Authenticity and Englishness in the Films of Mike Leigh Anthony Mills What you see in my films you mostly don't see in movies. As a kid in the '40s and '50s, I would sit in movies endlessly ... and think wouldn't it be great if you could see people in films like peo- ple actually are? Mike Leigh, The Salon Interview 1 I don't make films that are exclusively or idiosyncratically English; the subject matter of my films is not English, but universal. Mike Leigh, quoted in Movshovitz 2 Introduction In a 2008 interview for BAFTA (The British Academy of Film and Television Arts), the English movie director, Mike Leigh, recalled a moment of truth that he experienced during a life painting class at the Camberwell Art School in London in the mid 1960s.3 He had moved to London from Manchester in 1960, intending to train as an actor. At first, he attended RADA (the Royal Academy of Dramatic Arts), but he found the experience very unsatisfactory. In Leigh's opinion, RADA's teaching was based on old-fashioned and unsuitable methods. In par ticular, he felt that there was no room for actors to bring their own interpretation of characters or experience of life into the process of creating a film or play. -
December 8, 2009 (XIX:15) Mike Leigh TOPSY-TURVY (1999, 160 Min)
December 8, 2009 (XIX:15) Mike Leigh TOPSY-TURVY (1999, 160 min) Directed and written by Mike Leigh Produced by Simon Channing Williams Cinematography by Dick Pope Film Editing by Robin Sales Art Direction by Helen Scott Set Decoration by John Bush and Eve Stewart Costume Design by Lindy Hemming Allan Corduner...Sir Arthur Sullivan Dexter Fletcher...Louis Sukie Smith...Clothilde Roger Heathcott...Banton Wendy Nottingham...Helen Lenoir Stefan Bednarczyk...Frank Cellier Geoffrey Hutchings...Armourer Timothy Spall...Richard Temple (The Mikado) Francis Lee...Butt Kimi Shaw...Spinner William Neenan...Cook Toksan Takahashi...Calligrapher Adam Searle...Shrimp Akemi Otani...Dancer Martin Savage...George Grossmith (Ko-Ko) Kanako Morishita...Samisen Player Jim Broadbent...W. S. Gilbert Theresa Watson...Maude Gilbert Lesley Manville...Lucy Gilbert Lavinia Bertram...Florence Gilbert Kate Doherty...Mrs. Judd Togo Igawa...First Kabuki Actor Kenneth Hadley...Pidgeon Eiji Kusuhara...Second Kabuki Actor Keeley Gainey...Maidservant Ron Cook...Richard D'Oyly Carte Naoko Mori...Miss 'Sixpence Please' Eleanor David...Fanny Ronalds Eve Pearce...Gilbert's Mother Gary Yershon...Pianist in Brothel Neil Humphries...Boy Actor Katrin Cartlidge...Madame Vincent Franklin...Rutland Barrington (Pooh-Bah) Julia Rayner...Mademoiselle Fromage Michael Simkins...Frederick Bovill Jenny Pickering...Second Prostitute Alison Steadman...Madame Leon Kevin McKidd...Durward Lely (Nanki-Poo) Cathy Sara...Sybil Grey (Peep-Bo) Sam Kelly...Richard Barker Angela Curran...Miss Morton Charles Simon...Gilbert's Father Millie Gregory...Alice Philippe Constantin...Paris Waiter Jonathan Aris...Wilhelm David Neville...Dentist Andy Serkis...John D'Auban Matthew Mills...Walter Simmonds Mia Soteriou...Mrs. Russell Shirley Henderson...Leonora Braham (Yum-Yum) Louise Gold...Rosina Brandram (Katisha) Nicholas Woodeson...Mr. -
Il Progetto Artistico Del Cinema Di Mike Leigh
Sergio Guerra – Università di Urbino Life is ... : il progetto artistico del cinema di Mike Leigh [email protected] Quando si parla di cinema britannico il nome di Mike Leigh viene solitamente accostato a quello di Ken Loach, ed entrambi vengono accomunati sotto l’etichetta del naturalismo 1. Questa categorizzazione semplicistica tuttavia non tiene conto delle grandi differenze tra i due registi, né rende giustizia della complessità di un autore che in realtà si discosta nettamente dalle normali convenzioni del realismo sociale (come d’altronde, in modo diverso, anche Ken Loach) per giungere ad una sua personale estetica, ad un suo stile peculia- re messo a punto nell’ambito di un progetto artistico perseguito nel corso di una carriera ormai ultratrentennale. Sebbene si sia imposto solo negli ultimi quindici anni all’attenzione mondiale, prima di critici e cinefili, poi anche di un pubblico più vasto 2, come uno degli autori più interessanti d’oltremanica, la carriera del regista inglese è infatti cominciata all’inizio degli anni ’70 (prece- duta da varie esperienze in campo teatrale negli anni ’60 3), ma per la sua ec- centricità rispetto ai filoni più commerciali e più in generale per ragioni con- nesse alla crisi del cinema inglese in quel decennio Mike Leigh, dopo l’esordio con Bleak Moments nel 1971, dovette aspettare ben diciassette anni per vedere un altro suo lungometraggio, High Hopes, distribuito nelle sale, e fu costretto a dirigere nel frattempo la sua creatività sul medium televisivo 4. Analizzando l’intera produzione filmica di Leigh (diciassette film in totale —————————— 1 Cfr. ad esempio Cooke 1999: 378. -
Den Kollektive Skabelse Gloria Til En Del Meantimes Barbara)
misk drejning i form af sygeplejer sken Sandra (tre dele Grown-Ups Den kollektive skabelse Gloria til en del Meantimes Barbara). Der er vigtige kvindehistorier af Om Mike Leighs arbejde med skuespillere og miljø. bjærge fra vraget - især den, der til hører Johnnys 'engang imellem’ kæ reste, Louise, er væsentlig. Hun er af Dan Nissen parat til at tage sig af ham og til selv udslettende at tilbyde ham pleje og opvartning, indtil han får færten af ike Leigh er født i et arbejder skal læres, for 'prøverne er der så vi den klappende fælde og sluttelig M kvarter i Manchester. Men kan forberede os, så vi kan lave fil stikker af. som søn af den lokale læge, var han men’, har Mike Leigh sagt. Naked kan på ingen måde beskri nok i arbejderkvarteret, men også Derefter begynder ideen til en hi ves som en 'dårlig' film - dertil har udenfor og måske er det denne pla storie at tage form og ofte skrives den alt for megen hudløs, betændt cering både indenfor og udenfor det manuskriptet mens der prøves on lo intensitet, den er sværere at skubbet har skærpet den iagttagelsesevne cation. Når så optagelserne går i gang, ud af hovedet, end Gloria var at få som hans dramatiske arbejde er så skal alting være præcist og i orden. skubbet ud af sin sofa; og Thewlis’ båret af. Nuancer i sprog, gestik og Så er der ingen improvisation. 'At få livsfarlige præstation gør Johnny til mimik er stærkt betydningsbærende alting i orden til dette ene øjeblik på en uforglemmelig skiderik - et og som Morten Piil skrev i sin an film er hvad der interesserer mig. -
Mike Leigh Writer/Director
Mike Leigh Writer/Director Agents Anthony Jones Associate Agent Danielle Walker [email protected] +44 (0) 20 3214 0858 Nicki Stoddart [email protected] +44 (0) 20 3214 0869 Credits In Development Production Company Notes PETERLOO Thin Man Films 2017 Film Production Company Notes MR TURNER Thin Man Films with Timothy Spall, Marion Bailey, Paul Jesson & 2014 Lesley Manville ANOTHER YEAR Thin Man Films with Jim Broadbent, Lesley Manville & David 2010 Bradley *Nominated for Oscar for Best Original Screenplay 2011 *Nominated BAFTA Film Award for Outstanding British Film 2011 *Nominated for Best Director British Independent Film Awards 2011 *Nominated Best Film Evening Standard British Film Awards 2011 *Won Prize of the Ecumenical Jury - Special Mention Cannes Film Festival 2010 *Nominated Palme d'Or Cannes Film Festival 2010 United Agents | 12-26 Lexington Street London W1F OLE | T +44 (0) 20 3214 0800 | F +44 (0) 20 3214 0801 | E [email protected] Production Company Notes HAPPY-GO- Thin Man Films Produced by Simon Channing Williams LUCKY with Sally Hawkins, Eddie Marsan 2008 * Nominated for Oscar for Best Original Screenplay, 81st Academy Awards * Nominated for Best Picture (Comedy/Musical), Golden Globes 2009 * Winner of Best Director, National Society of Film Critic Awards, 2009 * Winner of Best Screenplay, National Society of Film Critic Awards, 2009 * Winner of Best Director, New York Critics’ Circle Awards, 2009 VERA DRAKE Thin Man Films Produced by Simon Channing Williams 2004 with Imelda Staunton, Phil Davies,