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Genevieve O'reilly Genevieve O'Reilly Agents Dallas Smith Associate Agent Sarah Roberts [email protected] +44 (0) 20 3214 0800 Assistant Alexandra Rae [email protected] +44 (0) 20 3214 0800 Sophie Austin Assistant [email protected] Emma Collier [email protected] Roles Film Production Character Director Company THE DRY Gretchen Robert Connolly Pacific Standard TOLKIEN Mrs Smith Dome Karukoski Fox Searchlight Pictures THE SNOWMAN Birte Becker Tomas Alfredson Drapsmann Films ROGUE ONE: A STAR WARS Mon Mothma Gareth Edwards Lucasfilms STORY THE LEGEND OF TARZAN Tarzan's Mother David Yates Dark Horse Entertainment FORGET ME NOT Eve Lance Roehrig and Quicksilver Films Alex Holt 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 Character Director Company SURVIVOR Lisa James McTeigue Nu Image / Millennium Films THE YOUNG VICTORIA Lady Flora Jean-Marc Vallée JK Films Hastings RIGHT HERE, RIGHT NOW Matthew Newton STAR WARS EPISODE III Mon Mothma George Lucas Jak Australia THE MATRIX REVOLUNTIONS Officer Wirtz Andy and Larry The Burly Man Wachowski Productions THE MATRIX RELOADED Officer Wirtz Andy and Larry The Burly Man Wachowski Productions AVATAR Dash Jian Hong Kuo Exile Productions Television Production Character Director Company TIN STAR S.1, S.2 & S.3 Angela Worth Various Kudos for Amazon THE FALL - S3 Joan Kinkhead Various BBC THE SECRET Hazel Nick Murphy Hat Trick/ ITV ENDEAVOUR Annette Bryn Higgins ITV Richardson GLITCH Elishia Glass Australian Broadcasting Corporation (ABC) BANISHED Mary Johnson Dan Percival RSJ Films THE HONOURABLE Frances Hugo Blick BBC/ Drama Republic WOMAN CROSSING LINES Sienna Pride Daniel Percival Bernero and Tandem Communications THE LAST WEEKEND Daisy John East ITV EPISODES - S1, 2 & 3 Jamie Lapidus James Griffiths BBC MIDSOMER MURDERS Nina Nick Laughland Bentley Productions LAW AND ORDER Claudia Martin Various Kudos NEW TRICKS Miranda Armstrong Julian Simpson BBC WAKING THE DEAD Julie Rees Marc Jobst BBC SPOOKS Sarah Caulfield- Ulrich Riley Kudos for BBC1 regular DAY OF THE TRIFFIDS Michelle Nick Copus BBC / Power AN ACCIDENT WAITING TO Diana Dangerous Films Limited HAPPEN 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 Character Director Company THE TIME OF YOUR LIFE Kate David Blair ITV THE STATE WITHIN Caroline Hanley Michael Offer BBC BUTTERFLIES Sophie Leo Regan Kudos MARY BRYANT Alicia Peter Andrikidis Screentime SECOND CHANCE Suzi Peter Andrikidis BBHTV ALL SAINTS Leanne Amalgamated Television YOUNG LIONS Kimberley Michael Jenkins LIFE Shelly Beyond BEASTMASTER Nagha Coote Stage Production Character Director Company THE FERRYMAN Mary Carney Sam Mendes Bernard B. Jacobs Theatre/ Broadway / Sonia Friedman THE FERRYMAN Mary Sam Mendes The Royal Court // The Gielgud Theatre SPLENDOUR Kathryn Robert Hastie Donmar Theatre THE DOCTOR'S DILEMMA Jennifer Nadia Fall National Theatre 13 Sarah Thea Sharrock National Theatre EMPEROR & GALILEAN Helena Jonathan Kent National Theatre BIRDSONG Isabelle Trevor Nunn Comedy Theatre THE WEIR Valerie Garry Hynes Gate Theatre, Dublin RICHARD II Old Vic Theatre THE VIOLET HOUR Rosamund Ensemble Thatre OUR LADY OF SLIGO Joanie Company B THE WAY OF THE WORLD Millamant Sydney Theatre Company A MAN WITH FIVE CHILDREN Sydney Theatre Company THERE IS NO NEED TO WAKE Barrie Kosky UP BERLIN TO BROADWAY WITH Jim Sharman NIDA KURT WEILL THE UGLY MAN Veronica Helmut Bakaitis NIDA THE BEAUX STRATEGEM Gypsy Jennifer Hagan NIDA TWELFTH NIGHT Olivia Adam Cook NIDA THE THREE SISTERS Olga Carlton Lamb NIDA United Agents | 12-26 Lexington Street London W1F OLE | T +44 (0) 20 3214 0800 | F +44 (0) 20 3214 0801 | E [email protected].
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  • Visualising Victoria: Gender, Genre and History in the Young Victoria (2009)
    Visualising Victoria: Gender, Genre and History in The Young Victoria (2009) Julia Kinzler (Friedrich-Alexander-University Erlangen-Nuremberg, Germany) Abstract This article explores the ambivalent re-imagination of Queen Victoria in Jean-Marc Vallée’s The Young Victoria (2009). Due to the almost obsessive current interest in Victorian sexuality and gender roles that still seem to frame contemporary debates, this article interrogates the ambiguous depiction of gender relations in this most recent portrayal of Victoria, especially as constructed through the visual imagery of actual artworks incorporated into the film. In its self-conscious (mis)representation of Victorian (royal) history, this essay argues, The Young Victoria addresses the problems and implications of discussing the film as a royal biopic within the generic conventions of heritage cinema. Keywords: biopic, film, gender, genre, iconography, neo-Victorianism, Queen Victoria, royalty, Jean-Marc Vallée. ***** In her influential monograph Victoriana, Cora Kaplan describes the huge popularity of neo-Victorian texts and the “fascination with things Victorian” as a “British postwar vogue which shows no signs of exhaustion” (Kaplan 2007: 2). Yet, from this “rich afterlife of Victorianism” cinematic representations of the eponymous monarch are strangely absent (Johnston and Waters 2008: 8). The recovery of Queen Victoria on film in John Madden’s visualisation of the delicate John-Brown-episode in the Queen’s later life in Mrs Brown (1997) coincided with the academic revival of interest in the monarch reflected by Margaret Homans and Adrienne Munich in Remaking Queen Victoria (1997). Academia and the film industry brought the Queen back to “the centre of Victorian cultures around the globe”, where Homans and Munich believe “she always was” (Homans and Munich 1997: 1).
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  • Downloaded from Manchesterhive.Com at 10/02/2021 09:03:16PM Via Free Access Andrew Higson
    1 5 From political power to the power of the image: contemporary ‘British’ cinema and the nation’s monarchs Andrew Higson INTRODUCTION: THE HERITAGE OF MONARCHY AND THE ROYALS ON FILM From Kenneth Branagh’s Henry V Shakespeare adaptation in 1989 to the story of the fi nal years of the former Princess of Wales, inDiana in 2013, at least twenty-six English-language feature fi lms dealt in some way with the British monarchy. 1 All of these fi lms (the dates and directors of which will be indi- cated below) retell more or less familiar stories about past and present kings and queens, princes and princesses. This is just one indication that the institution of monarchy remains one of the most enduring aspects of the British national heritage: these stories and characters, their iconic settings and their splendid mise-en-scène still play a vital role in the historical and contemporary experience and projection of British national identity and ideas of nationhood. These stories and characters are also of course endlessly recycled in the pre- sent period in other media as well as through the heritage industry. The mon- archy, its history and its present manifestation, is clearly highly marketable, whether in terms of tourism, the trade in royal memorabilia or artefacts, or images of the monarchy – in paintings, prints, fi lms, books, magazines, televi- sion programmes, on the Internet and so on. The public image of the monarchy is not consistent across the period being explored here, however, and it is worth noting that there was a waning of support for the contemporary royal family in the 1990s, not least because of how it was perceived to have treated Diana.
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  • The Young Victoria Production Notes
    THE YOUNG VICTORIA PRODUCTION NOTES GK Films Presents THE YOUNG VICTORIA Emily Blunt Rupert Friend Paul Bettany Miranda Richardson Jim Broadbent Thomas Kretschmann Mark Strong Jesper Christensen Harriet Walter Directed by Jean-Marc Vallée Screenplay By Julian Fellowes Produced by Graham King Martin Scorsese Tim Headington Sarah Ferguson, The Duchess of York 2 SHORT SYNOPSIS The Young Victoria chronicles Queen Victoria's ascension to the throne, focusing on the early turbulent years of her reign and her legendary romance and marriage to Prince Albert. SYNOPSIS 1837. VICTORIA (17) (Emily Blunt) is the object of a royal power struggle. Her uncle, KING WILLIAM (Jim Broadbent), is dying and Victoria is in line for the throne. Everyone is vying to win her favor. However Victoria is kept from the court by her overbearing mother, THE DUCHESS OF KENT (Miranda Richardson), and her ambitious advisor, CONROY (Mark Strong). Victoria hates them both. Her only friend is her doting governess, LEHZEN (Jeanette Hain), who is seemingly as untrustworthy as the rest. Victoria’s handsome cousin, ALBERT (Rupert Friend) is invited to visit by her mother. He's also the nephew of her Uncle, KING LEOPOLD OF BELGIUM (Thomas Kretschmann). It's obvious that Albert has been coached to win her hand. At first she's annoyed as she has no intention of being married. She never wants to be controlled again. However Albert is also tired of being manipulated by his relatives. Victoria and Albert talk openly and sincerely and become friends. When he returns home she grants him permission to write to her.
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    The Historiography of Queen Victoria: On the Threshold of Private Psychoanalysis and Public Feminism By Rebecca Willis Queen Victoria was one of the longest rulers in history, and one of the few British women to carry a nation from near revolution to empire in the course of her lifetime. With such an impressive longevity, the Queen saw many events pass by, and experienced many important landmarks in her own life as well. Living through so much rich history, she was one of the most documented monarchs. In this paper, I will critique the historiography of Queen Victoria’s life. Too many historians use the psychohistorical method to describe her life; a feminist method is necessary for a new and more accurate historiography. Commentary, however biased or politicized, was essential to the historicizing of Queen Victoria’s life. Most biographers from the 20th and 21st centuries tend to cover her life from a psychoanalytic approach.1 Her childhood, mar- riage, children, and relationship to men are all key factors of her life. Published newspaper articles, political cartoons, portraits, and children’s books during her reign in the 19th and early 20th century depict her as a political puppet, as a stubborn, crotchety old woman, as a naive ingénue, as an attractive bride, 1 Lytton Strachey, An Eminent Illustrated Biography: Queen Victoria (London: Harcourt Brace, 1921); John Raymond, ed. Queen Victoria’s Early Letters (New York, Macmillan, 1963); Philip Guedalla, The Queen and Mr. Gladstone (New York: Doubleday, 1969); Cecil Woodham-Smith, Queen Victoria: From her Birth to the Death of the Prince Consort (New York, Alfred A.
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  • Texto Completo (Pdf)
    Teresa Sorolla-Romero La reina del (melo)drama. La representación cinematográfica de Victoria del Reino Unido 105 La reina del (melo)drama. La representación cinematográfica de Victoria del Reino Unido The (Melo)Drama Queen. Filmic Representations of Queen Victoria Teresa Sorolla-Romero Universitat Jaume I Recibido: 20/04/2019 Evaluado: 05/06/2019 Aprobado: 05/06/2019 Resumen: En este texto nos proponemos destacar los aspectos más signi- ficativos de las estrategias de representación –estéticas y narrativas– que entretejen los discursos de los filmes dedicados a Victoria del Reino Unido durante las dos primeras décadas del siglo xxi: The Young Victoria (Jean- Marc Valleé, 2009), Mrs. Brown (John Madden, 1997) y Victoria & Abdul (Stephen Frears, 2017) identificando qué elecciones biográficas son desta- can en ellas –qué aspectos se enfatizan, omiten o inventan– con el fin de comprender los mecanismos de articulac ión de las diferentes imágenes fílmicas de la monarca británica y emperatriz de la India. Palabras clave: Victoria del Reino Unido; monarquía británica; drama de época; biopic. Abstract: In this article we intend to focus on the most significant as- pects of the aesthetic and narrative strategies which interwave the filmic discourses devoted to Victoria of the United Kingdom along the first two decades of the 21st century: The Young Victoria (Jean-Marc Valleé, 2009), Mrs. Brown (John Madden, 1997) and Victoria & Abdul (Stephen ISSN: 1888-9867 | e-ISSN 2340-499X | http://dx.doi.org/10.6035/Potestas.2019.14.5 106 POTESTAS, No 14, junio 2019 | pp. 105-141 Frears, 2017). Our aim is to identify which biographical choices are em- phasized –that is, which facets are highlighted, omitted or invented– in order to understand which mechanisms articula te several filmic images of the British monarch and Empress of the India.
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  • The Young Victoria
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  • Queen Victoria, by E
    The Project Gutenberg EBook of Queen Victoria, by E. Gordon Browne This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.net Title: Queen Victoria Author: E. Gordon Browne Release Date: October 30, 2005 [EBook #16965] Language: English *** START OF THIS PROJECT GUTENBERG EBOOK QUEEN VICTORIA *** Produced by Ron Swanson [Frontispiece: QUEEN VICTORIA] QUEEN VICTORIA BY E. GORDON BROWNE, M.A. WITH TWELVE FULL-PAGE ILLUSTRATIONS Lamp Decoration LONDON GEORGE G. HARRAP & COMPANY 2 & 3 PORTSMOUTH STREET KINGSWAY W.C. MCMXV Turnbull & Spears, Printers, Edinburgh, Great Britain Contents CHAPTER I. A LOOK BACK II. CHILDHOOD DAYS III. EARLY YEARS IV. HUSBAND AND WIFE V. FAMILY LIFE VI. STRIFE VII. THE CHILDREN OF ENGLAND VIII. MINISTERING WOMEN IX. BALMORAL X. THE GREAT EXHIBITION XI. ALBERT THE GOOD XII. FRIENDS AND ADVISERS XIII. QUEEN AND EMPIRE XIV. STRESS AND STRAIN XV. VICTORIA THE GREAT Illustrations QUEEN VICTORIA . .Frontispiece THE QUEEN'S FIRST COUNCIL AT KENSINGTON PALACE KENSINGTON PALACE THE DUKE AND DUCHESS OF KENT THE ANNOUNCEMENT OF THE QUEEN'S ACCESSION PRINCE ALBERT BUCKINGHAM PALACE FLORENCE NIGHTINGALE QUEEN VICTORIA IN THE HIGHLANDS THE ALBERT MEMORIAL SIR ROBERT PEEL, LORD MELBOURNE, AND BENJAMIN DISRAELI THE SECRET OF ENGLAND'S GREATNESS THE VICTORIA AND ALBERT MUSEUM CHAPTER I: A Look Back In the old legend of Rip Van Winkle with which the American writer Washington Irving has made us so familiar, the ne'er-do-weel Rip wanders off into the Kaatskill Mountains with his dog and gun in order to escape from his wife's scolding tongue.
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