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Lyrics and Music
Soundtrack for a New Jerusalem Lyrics and Music By Lily Meadow Foster and Toliver Myers EDITED by Peter Daniel The 70th Anniversary of the National Health Service 1 Jerusalem 1916 England does not have a national anthem, however unofficially the beautiful Jerusalem hymn is seen as such by many English people. Jerusalem was originally written as a preface poem by William Blake to his work on Milton written in 1804, the lyrics were added to music written by Hubert Parry in 1916 during the gloom of WWI when an uplifting new English hymn was well received and needed. Blake was in- spired by the mythical story Jesus, accompanied by Joseph of Arimathea, once came to England. This developed its major theme that of creating a heaven on earth in En- galnd, a fairer more equal country that would abolish the exploitation of working people that was seen in the ‘dark Satin mills’ of the Industrial revolution. The song was gifted by Hubert Parry to the Suffragette movement who were inspired by this vi- sion of equality. 2 Jerusalem William Blake lyrics Hubert Parry Music 1916 And did those feet in ancient time Walk upon England's mountains green? And was the holy Lamb of God On England's pleasant pastures seen? And did the countenance divine Shine forth upon our clouded hills? And was Jerusalem builded here Among those dark Satanic Mills? Bring me my bow of burning gold! Bring me my arrows of desire! Bring me my spear! O clouds, unfold! Bring me my chariot of fire! I will not cease from mental fight Nor shall my sword sleep in my hand Till we have built Jerusalem In England's green and pleasant Land Hubert Parry 1916 Words by William Blake 1804 3 Jerusalem 1916 4 Jerusalem 1916 5 Jerusalem 1916 William Blake imagined a time when Britain would be a fairer more equal society. -
The Development of the Role of the Actor-Musician in Britain by British Directors Since the 1960’S
1 The Development of the Role of the Actor-Musician in Britain by British Directors Since the 1960’s Francesca Mary Greatorex Theatre and Performance Department Goldsmiths University of London A thesis presented in fulfilment of the requirements for the degree of Doctor of Philosophy (PhD) 2 I hereby declare that the work presented in this thesis is my own. Signed: ……………………………………………. 3 Acknowledgements This thesis could not have been written without the generosity of many individuals who were kind enough to share their knowledge and theatre experience with me. I have spoken with actors, musical directors, set designers, directors, singers, choreographers and actor-musicians and their names and testaments exist within the thesis. I should like to thank Emily Parsons the archivist for the Liverpool Everyman for all her help with my endless requests. I also want to thank Jonathan Petherbridge at the London Bubble for making the archive available to me. A further thank you to Rosamond Castle for all her help. On a sadder note a posthumous thank you to the director Robert Hamlin. He responded to my email request for the information with warmth, humour and above all, great enthusiasm for the project. Also a posthumous thank you to the actor, Robert Demeger who was so very generous with the information regarding the production of Ninagawa’s Hamlet in which he played Polonius. Finally, a big thank you to John Ginman for all his help, patience and advice. 4 The Development of the Role of the Actor-Musician in Britain by British Directors During the Period 1960 to 2000. -
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. -
Three Men in a Boat the Passionate Stranger Dreaming
Only hard men wear cravats! See These Dangerous Years! Also on release this month: Three Men in a Boat This is My Street The Passionate Stranger The Bailiffs Dreaming The Flying Squad Elstree Calling Drake of England Laburnum Grove Loyalties Death is a Woman King’s Rhapsody The Comedy Man Mister Ten Per Cent All The Way Up Dead Men Are Dangerous Murder in Soho Hide and Seek Legendary crooner Frankie Vaughan stars with George Ian Hendry, June Ritchie, John Hurt, Annette Andre Baker, Kenneth Cope and Thora Hird in this 1957 and Mike Pratt feature among an outstanding cast drama directed by Herbert Wilcox. The first of four films in this mid-sixties realist drama from noted director produced by Wilcox’s wife Anna Neagle and starring Sidney Hayers. This Is My Street is presented Vaughan, These Dangerous Years is presented here in here in a brand-new transfer from the original film a brand-new transfer from the original film elements in elements in its as-exhibited theatrical aspect ratio. its as-exhibited theatrical aspect ratio. Jubilee Close, a drab street of decaying houses in Dave, a young Liverpudlian gang-leader and would-be London’s Battersea, is home to a cross-section of rock ‘n’ roll star, is conscripted into the army where, to working-class families. Yearning to escape from this everyone’s surprise, the rebellious youth makes good. depressing environment is the pretty, ambitious But then he is tricked by the camp bully into crossing Margery Graham; the victim of an enforced marriage... a minefield, causing the death of his best friend. -
8330 Jewish History Book
Cultural Exploring the vanishing Walks 1&2 Jewish East End night ‘hang out’. ‘The Waste’, as it was called, along Introduction Whitechapel, was another place of adventure and I worked there for a while for a man who called himself the ‘Pen By Steven Berkoff, King’. I worked for him occasional Saturdays and I believe still resident in the East End it was here that I first got my taste for acting. Eventually The East End, as I knew it from our family was re-housed to a council flat in Manor House, the brief time I spent there after N4. But for years I would take the No. 653 bus back to the the war, was a place of constant East End. I somehow found it hard to get away. activity. In the summer, my street mates and I would go swimming © Steven Berkoff 2003 by Tower Bridge; tons of sand had been placed on the shore Walk 1 and it became the Cockney’s Riviera. After a vigorous swim, it would be a treat to go to the Lyon’s teashop in Aldgate and avail ourselves of the Aldgate to Whitechapel Library goodies to be had there, tomato soup with mashed potatoes being the favourite. Artists, Cigarmakers and Markets Naturally Sunday morning in the ‘Lane’ was a must and a Starting point St. Botolph’s, Aldgate place to haggle with stamp collectors, since I was an avid Finishing point Whitechapel Library philatelist in those days. Weeknights were spent at the Oxford and St. George’s Boys Club in Berner Street, where I Estimate time 2.25 hours acquired high skills in ‘ping pong’, the working man’s tennis. -
File Stardom in the Following Decade
Margaret Rutherford, Alastair Sim, eccentricity and the British character actor WILSON, Chris Available from the Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/17393/ A Sheffield Hallam University thesis This thesis is protected by copyright which belongs to the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Please visit http://shura.shu.ac.uk/17393/ and http://shura.shu.ac.uk/information.html for further details about copyright and re-use permissions. Sheffield Hallam University Learning and IT Services Adsetts Centre City Campus 2S>22 Sheffield S1 1WB 101 826 201 6 Return to Learning Centre of issue Fines are charged at 50p per hour REFERENCE Margaret Rutherford, Alastair Sim, Eccentricity and the British Character Actor by Chris Wilson A thesis submitted in partial fulfilment of the requirements of Sheffield Hallam University for the degree of Doctor of Philosophy September 2005 I should like to dedicate this thesis to my mother who died peacefully on July 1st, 2005. She loved the work of both actors, and I like to think she would have approved. Abstract The thesis is in the form of four sections, with an introduction and conclusion. The text should be used in conjunction with the annotated filmography. The introduction includes my initial impressions of Margaret Rutherford and Alastair Sim's work, and its significance for British cinema as a whole. -
Royal Jews: Jewish Life in Berkshire from the Readmission Till Today
10.14324/111.444.jhs.2016v47.014 Royal Jews: Jewish Life in Berkshire from the Readmission till Today jonathan romain In a previous article for Transactions,1 I covered the remarkable history of the medieval river Jews – those who arrived after the Norman Conquest, settled in London and then gradually moved out along the River Thames to places where Jews today go for Sunday picnics (to Windsor, Marlow, Henley), which were certainly not high-density Jewish areas in the Middle Ages, but where there was a Jewish presence. That came to an end following the expulsion of the Jews in 1290 and lasted until their readmission by Cromwell in 1656. In reality there were a few exceptions by those who made brief appearances in the area under examination, Berkshire (but occasionally straying across its borders to South Buckinghamshire and parts of Oxfordshire). One such individual was found in 1450 living near Eton College, which had been established ten years earlier by Henry VI. Once discovered, the only way he could remain in the country was to be baptized. This occurred under the auspices of the king and so he took the name Henry of Eton, presumably a way of reflecting both his loyalty to the monarch and his place of residence at the time. He went to live in the Domus Conversorum in London, but left after three years, after which his whereabouts are unknown.2 A much longer resident was a Jew who converted and took the name Henry of Windsor, who stayed there from 1488 until his death in 1509.3 Everything changed after Cromwell: Jews emerged in London and later migrated to the Home Counties, the area west of London covering Berkshire, Buckinghamshire, and Oxfordshire. -
The British War Film, 1939-1980: Culture, History, and Genre
The British War Film, 1939-1980: Culture, History, and Genre by Kevin M. Flanagan B.A., College of William and Mary, 2006 M.A., North Carolina State University, 2009 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2015 UNIVERSITY OF PITTSBURGH KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Kevin M. Flanagan It was defended on April 15, 2015 and approved by Colin MacCabe, Distinguished Professor, Department of English Adam Lowenstein, Associate Professor, Department of English David Pettersen, Assistant Professor, Department of French and Italian Dissertation Advisor: Lucy Fischer, Distinguished Professor, Department of English ii Copyright © by Kevin M. Flanagan 2015 iii THE BRITISH WAR FILM, 1939-1980: CULTURE, HISTORY, AND GENRE Kevin M. Flanagan, Ph.D. University of Pittsburgh, 2015 This dissertation argues that discussions of war representation that privilege the nationalistic, heroic, and redemptively sacrificial strand of storytelling that dominate popular memory in Britain ignore a whole counter-history of movies that view war as an occasion to critique through devices like humor, irony, and existential alienation. Instead of selling audiences on what Graham Dawson has called “the pleasure culture of war” (a nationally self-serving mode of talking about and profiting from war memory), many texts about war are motivated by other intellectual and ideological factors. Each chapter includes historical context and periodizing arguments about different moments in British cultural history, explores genre trends, and ends with a comparative analysis of representative examples. -
Mapping the British Biopic: Evolution, Conventions, Reception and Masculinities
Mapping the British Biopic: Evolution, Conventions, Reception and Masculinities Matthew Robinson A thesis submitted in partial fulfilment of the requirements of the University of the West of England, Bristol for the degree of Doctor of Philosophy Faculty of Arts, Creative Industries and Education, University of the West of England, Bristol June 2016 90,792 words Contents Abstract 2 Chapter One: Introduction 3 Chapter Two: Critical Review 24 Chapter Three: Producing the British Biopic 1900-2014 63 Chapter Four: The Reception of the British Biopic 121 Chapter Five: Conventions and Themes of the British 154 Biopic Chapter Six: This is His Story: ‘Wounded’ Men and 200 Homosocial Bonds Chapter Seven: The Contemporary British Biopic 1: 219 Wounded Men Chapter Eight: The Contemporary British Biopic 2: 263 Homosocial Recoveries Chapter Nine: Conclusion 310 Bibliography 323 General Filmography 355 Appendix One: Timeline of the British Biopic 1900-2014 360 Appendix Two: Distribution of Gender and Professional 390 Field in the British Biopic 1900-2014 Appendix Three: Column and Pie Charts of Gender and 391 Profession Distribution in British Biopics Appendix Four: Biopic Production as Proportion of Total 394 UK Film Production Previously Published Material 395 1 Abstract This thesis offers a revaluation of the British biopic, which has often been subsumed into the broader ‘historical film’ category, identifying a critical neglect despite its successful presence throughout the history of the British film industry. It argues that the biopic is a necessary category because producers, reviewers and cinemagoers have significant investments in biographical subjects, and because biopics construct a ‘public history’ for a broad audience. -
Taylorian Productions Presents
Taylorian Productions presents A musical celebration of the lives of Flanagan & Allen and The Crazy Gang 23rd August 2007 to 1st September 2007 Gaiety Theatre, Isle of Man Programme sponsored by Bishopswood Trust Ltd The key to comfortable living Our new sales and marketing suite is now open on Victoria Street, Douglas. The brand new state of the art offices Pop in for friendly professional advice offer a one-stop shop for residential on all your property requirements. and investment property sales. We’re here 7 days a week. Winners of The Daily Express British House Builders Gold Award 2006 Sales Offices open: Call 615000 Monday - Friday 9am-5.30pm Saturday 9am-4pm 22-24 Victoria Street, Douglas Sunday 11am-4pm Heritage Homes - laying solid foundations by investment in youth sports TAPR1810/0807 Heritage Homes - a member of the Dandara Group Performances from 21st December 2007 to 5th January 2008 Tickets on sale from 1st September 2007 with family tickets (2 adult 2 children) available from £45 Taylorian Productions presents A musical celebration of the lives of Flanagan & Allen and The Crazy Gang Written by Patrick Garland, Brian Glanville and Roy Hudd in association with Chesney Allen Directed and Staged by John Cumberlidge Musical Director – Julian Power Assistant Director – Emma Gleave Lighting design by Paul Seed for PSC Productions Sound Design by Alex Linney The Amateur rights for this production given by arrangement with Josef Weinberger Ltd. Wash and Go Window Cleaners Professional, reliable and friendly service All island coverage Domestic and commercial work undertaken Conservatory roofs and internal windows cleaned All work fully insured Tel: Aaron 305835 SESSION TIMES 9AM TO 1PM MONDAY TO FRIDAY CHILDREN AGED 2 TO 5 YEARS WELCOME WILLASTON PLAYGROUP TELEPHONE 493435 or 420918 OPEN ALL YEAR ROUND INC SCHOOL HOLIDAYS & BANK HOLIDAYS ST JOSEPHS CHURCH HALL SNAEFELL ROAD WILLASTON BUD FLANAGAN & CHESNEY ALLEN The East End had to put up with plenty during World War II. -
Fasc Facts October 2018
Daily Sparkle CD - A Review of Famous Songs of the Past ‘Fascinating Facts’ October 2018 Track 1 My Bonnie Lies Over The Ocean Although the song's origin is uncertain, its subject may be Charles Edward Stuart ('Bonnie Prince Charlie’). After the defeat of the Prince at the Battle of Culloden in 1746 his Jacobite supporters could have sung the tune in his honour. Thanks to the ambiguity of the term "bonnie", which can refer to a woman as well as to a man, they could pretend it was a love song. In 1881 sheet music for "Bring Back My Bonnie to Me” was published. People had been requesting the song at sheet music stores in the 1870s, and the song became a big hit. Mitchell "Mitch" Miller (July 4, 1911 – July 31, 2010) was prominent in the American music industry. Miller was involved in almost all aspects of the industry, working as a musician, singer, conductor, record producer and record company executive. Miller was one of the most influential people in American popular music during the 1950s and early 1960s, both as the head of A&R at Columbia Records and as a best-selling recording artist with an NBC television series, Sing Along with Mitch. Track 2 Dashing Away with a Smoothing Iron by Dws Chorale Dashing Away with the Smoothing Iron is a traditional English folk song written in the 19th century about a housewife carrying out her linen chores. In 1973 the tune was used by the English composer John Rutter for the fourth movement of his Suite for Strings under the title ‘Dashing Away’. -
Florrie Forde
FLORRIE FORDE Once described as "the epitome of music hall gusto," Florrie Forde gave her debut vaudeville performance in Sydney's in 1892. After initially specialising in popular and comic songs she later established herself as pantomime actor. She travelled to England in 1897 quickly established herself as one of Britain's great music hall and recording stars. She also appeared in several films in the 1930s. Once described as "the epitome of music hall gusto," Florrie Forde was one of eight children born to Lott Flannagan, an Irish-born stonemason who later ran the United Service Hotel, Fitzroy, and his wife Phoebe (née Simmons). It was at the hotel on 16 August 1876 that Florence Mary, their sixth child was born. One of her brothers, Frank Victor Flanagan later established himself as a Sydney tailor, first in Newtown (22 years) and then Dulwich Hill. Another sibling, Dolly, became the wife of scenic artist George Upward (most associated with J. C. Williamsons Theatre Royal, Melb). After her husband died in 1878, Phoebe began a relationship with another man theatrical costumier, Thomas Forde. The couple had six children (some prenuptial) before she died in 1892, aged 46 (Brownrigg, 230). That same year Florence, aged 16, and one of her sisters, Nan ran away to Sydney to try their luck on the stage. Calling herself Florrie Forde, the young serio-comic artist made her debut for American dancer/entrepreneur Dan Tracey at the Polytechnic Hall on 1 February. Her turn included the song "See Me Dance the Polka." Although having received no theatrical tuition she was reportedly a hit with the audience and soon afterwards secured engagements at Chowder Bay (Sydney).