CARTERET PRESS Three Sections VOL
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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. -
Victor Saville - Film Producer and Director
Victor Saville - Film Producer and Director An art dealer's son, Victor Saville lived at 13 Speedwell Road in Balsall Heath and was educated at King Edward VI Grammar School in Birmingham. He served in the British Army during World War I, was wounded at the Battle of Loos in 1915 and invalided out the following year. His first involvement with the film business was as manager of a small theatre in Coventry, where he worked during the evenings. In the daytime, he was employed in a film distribution office. From 1917, Saville worked in the Features and Newsreels Department of the Pathé organisation in London. Just two years later, he co-founded Victory Pictures in conjunction with Michael Balcon. He produced his first film, Woman to Woman, with Michael Balcon in 1923, and on the back of its success produced pictures for the veteran director Maurice Elvey, including the classic British silent Hindle Wakes (1927). His first picture as director was The Arcadians in 1927. In 1929 he and Michael Balcon worked together again on a talkie remake of Woman to Woman for Balcon's company, Gainsborough Pictures, this time directed by Saville himself. From 1931, as Gainsborough Pictures and the Gaumont British Picture Corporation joined forces, Victor Saville produced a string of comedies, musicals and dramas for Gainsborough and Gaumont-British, including the popular Jessie Matthews pictures. In 1937 he left to set up his own production company, Victor Saville Productions, and made three pictures for Alexander Korda's London Films at Denham studios. As an independent producer he had purchased the film rights to A. -
Middlebrow Cinema
1 HOLLYWOOD MIDDLEBROW A dialectical approach to 1940s cinema Chris Cagle Is classical Hollywood primarily a middlebrow cultural form? In his influential taxonomy of high, middle and lowbrow culture for Harper’s Magazine in 1949, Russell Lynes remarks, ‘If the lowbrow reads the comics, the highbrow understands; he is a frequent connoisseur of the comics himself. But if he likes grade-B double features, the highbrow blames that on the corrupting influence of the middlebrow moneybags of Hollywood’ (1949, 25). Tongue-in-cheek, Lynes is nonetheless observing that in comparison to lowbrow culture, even the lower-status genre pictures are too respectable and too sure in their morality to qualify as working- class culture. As Joan Shelley Rubin notes, Lynes’ article fixed the terminology in the popular usage in the United States (1992, xiv). However influential his analy- sis, though, other critics have not shared his assessment of Hollywood. Dwight MacDonald offhandedly states in his famous 1960 essay on ‘Masscult and Midcult’ that in contrast to the middlebrow ‘Midcult’, ‘the enormous output of such new media as the radio, television and the movies is almost entirely Masscult’ (1960, 204). Lynes and MacDonald were two of the most prominent post-war American writers to try to theorize middlebrow culture in response to the widespread emergence of a middlebrow culture over the post-war years. As a later commentator, John Guillory, writes, middlebrow culture is ‘the ambivalent mediation of high culture within the field of the mass cultural’ (1995, 87). As a major mass medium and entertainment form in the first part of the twentieth century, Hollywood cinema undoubtedly provoked a crisis for the status of high culture, but Lynes and MacDonald have opposing appraisals over whether Hollywood represented middlebrow or mass culture. -
Ealing Studios and the Ealing Comedies: the Tip of the Iceberg
Ealing Studios and the Ealing Comedies: the Tip of the Iceberg ROBERT WINTER* In lecture form this paper was illustrated with video clips from Ealing films. These are noted below in boxes in the text. My subject is the legendary Ealing Studios comedies. But the comedies were only the tip of the iceberg. To show this I will give a sketch of the film industry leading to Ealing' s success, and of the part played by Sir Michael Balcon over 25 years.! Today, by touching a button or flicking a switch, we can see our values, styles, misdemeanours, the romance of the past and present-and, with imagination, a vision of the" future. Now, there are new technologies, of morphing, foreground overlays, computerised sets, electronic models. These technologies affect enormously our ability to give currency to our creative impulses and credibility to what we do. They change the way films can be produced and, importantly, they change the level of costs for production. During the early 'talkie' period there many artistic and technical difficulties. For example, artists had to use deep pan make-up to' compensate for the high levels of carbon arc lighting required by lower film speeds. The camera had to be put into a soundproof booth when shooting back projection for car travelling sequences. * Robert Winter has been associated with the film and television industries since he appeared in three Gracie Fields films in the mid-1930s. He joined Ealing Studios as an associate editor in 1942 and worked there on more than twenty features. After working with other studios he became a founding member of Yorkshire Television in 1967. -
'A British Empire of Their Own? Jewish Entrepreneurs in the British Film
‘A British Empire of Their Own? Jewish Entrepreneurs in the British Film Industry’ Andrew Spicer (University of the West of England) Introduction The importance of Jewish entrepreneurs in the development of Hollywood has long been recognized, notably in Neil Gabler’s classic study, An Empire of Their Own (1988). No comparable investigation and analysis of the Jewish presence in the British film industry has been conducted.1 This article provides a preliminary overview of the most significant Jewish entrepreneurs involved in British film culture from the early pioneers through to David Puttnam. I use the term ‘entrepreneur’ rather than ‘film-maker’ because I am analyzing film as an industry, thus excluding technical personnel, including directors.2 Space restrictions have meant the reluctant omission of Sidney Bernstein and Oscar Deutsch because the latter was engaged solely in cinema building and the former more significant in the development of commercial television.3 I have also confined myself to Jews born in the UK, thus excluding the Danziger brothers, Filippo del Giudice, Menahem Golan and Yoram Globus, Alexander Korda, Harry Saltzman and Max Schach.4 I should emphasize that my aim is to characterize the nature of the contribution of my chosen figures to the development of British cinema, not provide detailed career profiles.5 The idea that Jews controlled the British film industry surfaced most noticeably in the late 1930s when the undercurrent of anti-Semitic prejudice in British society took public forms; Isidore Ostrer, head of the giant Gaumont-British Picture Corporation (GBPC) was referred to in the House of Commons as an ‘unnaturalised alien’ (Low 1985: 243). -
The Many Deaths of Peggie Castle Jake Hinkson
The Many Deaths of Peggie Castle Jake Hinkson n Hollywood’s Golden Age, beauty was turned into a commodity, one found in abundance and renewed with each out-of-town bus. Thousands of lovely young women cycled through the system, had their physical attributes capital- ized upon, and wound up back on the street with little more than the handful of cash it would take to get back home. Of these unlucky multitudes, few lived long enough to see themselves become a new kind of star: the rediscovered filmI noir icon, the object of scholarly study and geek adoration. 42 NOIR CITY I SUMMER 2013 I filmnoirfoundation.org Though a lot of actresses played the doomed bad girl, Peggie Castle seemed to embody the ethos somehow. Something about her seemed dangerous—which is another way of saying, perhaps, that something about her threatened men. With her low, smoky voice and skeptical green eyes, she wasn’t hot, she was cool. She never seemed to lose con- trol. Her sensuality always seemed to be hers to do with as she pleased, a tool to get what she wanted. If this was her innate quality as an actor, then she was made to suffer for it in film after film. That cool quality seemed to reflect the real woman as well. Well- educated and ambitious, she had a caustic wit about most things, and she evinced few romantic illusions about the business she’d cho- sen for herself. “The difference between an old fashioned kiss and a movie kiss,” she said once, “is about 1500 feet of film.” She lived a disconnected life from the beginning. -
A Salute to the National Film Archive, British Film Institute
The Museum of Modern Art Department of Film 11 West 53 Street, New York, N.Y. 10019 Tel: 212-708-9400 Cable: MODERNART Telex: 62370 MODART ENTRANCE at 18 W. 54 release #10 FOR IMMEDIATE RELEASE A SALUTE TO THE NATIONAL FILM ARCHIVE, BRITISH FILM INSTITUTE April 29 - May 19, 1983 In celebration of the 50th Anniversary of the British Film Institute, and as part of the city-wide "Britain Salutes New York" Festival, The Department of Film of The Museum of Modern Art and The National Film Archive of the British Film Institute will co-present 18 programs of films culled from the London archive. The three-week series, to be screened in MoMA's Roy and Niuta Titus Theater 2 from April 29 through May 19, 1983, will include an eclectic sampling of British films preserved by the National Film Archive. The series will'include such classics as Alfred Hitchcock's 1926 The Lodger, Laurence Olivier's Henry V (1944), Alexander Korda's Rem brandt (1936) with Charles Laughton in the title role, E.A. Dupont's Piccadilly (1929), also starring Laughton with Anna May Wong, and, in a newly restored color print, Herbert Wilcox's 1937 Victoria the Great. The series will feature some exciting rediscoveries as well, among them Laburnum Grove (1936), an early Carol Reed comedy from the J.B. Priestley play, and Victor Saville's elegant First a Girl (1935), starring Jessie Matthews and taken from the same source as Blake Edwards's recent Victor/Victoria. Other programs include the directorial debut of writers Frank Launder and Sidney Gilliat with their 1943 wartime drama, Millions Like Us, to be shown in its original version for the first time in the U.S.; John and Roy Boulting's tense and low-key thriller, Seven Days to Noon (1950); and No Funny Business, a 1933 trifle (in its abbreviated 1951 reissue version) in which Laurence Olivier watches Gertrude Lawrence play the piano in a most unusual fashion. -
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. -
British Newspapers and Films in the Interwar Period: a History and a Review
ORBIT-OnlineRepository ofBirkbeckInstitutionalTheses Enabling Open Access to Birkbeck’s Research Degree output The representation of London nights in British popu- lar press and film, 1919-1939 https://eprints.bbk.ac.uk/id/eprint/40490/ Version: Public Version Citation: Arts, Mara (2020) The representation of London nights in British popular press and film, 1919-1939. [Thesis] (Unpublished) c 2020 The Author(s) All material available through ORBIT is protected by intellectual property law, including copy- right law. Any use made of the contents should comply with the relevant law. Deposit Guide Contact: email The Representation of London Nights in British Popular Press and Film, 1919-1939 Candidate name: Mara Arts Submitted for the degree of Doctor of Philosophy Birkbeck, University of London 1 Declaration of original work I hereby confirm that the work presented in this thesis is my own. 2 Abstract This thesis explores the representation of night-time activities in the capital in popular British newspapers and films of the period. It argues that, whilst an increasingly democratised night allowed for more opportunities for previously marginalised groups, popular media of the period largely promoted adherence to the status quo. The thesis draws on extensive primary source material, including eighty British feature films and newspaper samples of the Daily Mail, Daily Express and Daily Mirror to systematically analyse the representation of London’s nightlife in the British interwar period. This period saw the consolidation of the popular daily newspaper industry and, after government intervention, an expansion of the domestic film industry. The interwar period also saw great social change with universal suffrage, technological developments and an economic crisis. -
Collezione 16Mm
Elenco pellicole collezione “16mm GEH” TITOLO ORIGINALE TITOLO COPIA REGIA NAZIONE ANNO FORM. RULLI 20.000 YEARS IN SING SING 20.000 YEARS IN SING SING Michael Curtiz USA 1932 16 3 2001: A SPACE ODISSEY 2001: A SPACE ODISSEY Stanley Kubrick UK/USA 1968 16 4 2001: A SPACE ODISSEY 2001: A SPACE ODISSEY Stanley Kubrick UK/USA 1968 16 4 3 GODFATHERS 3 GODFATHERS John Ford USA 1948 16 3 3 MEN IN WHITE THREE IN WHITE Willis Goldbeck USA 1944 16 2 36 HOURS 36 HOURS George Seaton USA 1965 16 4 42ND STREET 42ND STREET Lloyd Bacon USA 1933 16 3 7 FACES OF DR. LAO 7 FACES OF DR. LAO George Pal USA 1964 16 3 7 WOMEN 7 WOMEN John Ford USA 1966 16 3 A CHRISTMAS CAROL A CHRISTMAS CAROL Edwin L. Marin USA 1938 16 2 A DATE WITH JUDY A DATE WITH JUDY Richard Thorpe USA 1948 16 3 A DAY AT THE RACES A DAY AT THE RACES Sam Wood USA 1937 16 3 A FAMILY AFFAIR A FAMILY AFFAIR George B. Seitz USA 1937 16 2 Elenco pellicole collezione “16mm GEH” Pagina 1 TITOLO ORIGINALE TITOLO COPIA REGIA NAZIONE ANNO FORM. RULLI A FREE SOUL A FREE SOUL Clarence Brown USA 1931 16 3 A GUY NAMED JOE A GUY NAMED JOE Victor Fleming USA 1943 16 3 A KISS IN THE DARK A KISS IN THE DARK Delmer Daves USA 1949 16 3 A LIFE FOR A LIFE A LIFE FOR A LIFE Stephen Whittaker UK 1998 16 2 A MIDSUMMER NIGHTʼS DREAM A MIDSUMMER NIGHTʼS DREAM William Dieterle, Max Reinhardt USA 1935 16 3 A MODERN HERO A MODERN HERO G.W. -
Lar Press and Film, 1919-1939
ORBIT - Online Repository of Birkbeck Institutional Theses Enabling Open Access to Birkbeck’s Research Degree output The representation of London nights in British popu- lar press and film, 1919-1939 https://eprints.bbk.ac.uk/id/eprint/40490/ Version: Public Version Citation: Arts, Mara (2020) The representation of London nights in British popular press and film, 1919-1939. [Thesis] (Unpublished) c 2020 The Author(s) All material available through ORBIT is protected by intellectual property law, including copy- right law. Any use made of the contents should comply with the relevant law. Deposit Guide Contact: email The Representation of London Nights in British Popular Press and Film, 1919-1939 Candidate name: Mara Arts Submitted for the degree of Doctor of Philosophy Birkbeck, University of London 1 Declaration of original work I hereby confirm that the work presented in this thesis is my own. 2 Abstract This thesis explores the representation of night-time activities in the capital in popular British newspapers and films of the period. It argues that, whilst an increasingly democratised night allowed for more opportunities for previously marginalised groups, popular media of the period largely promoted adherence to the status quo. The thesis draws on extensive primary source material, including eighty British feature films and newspaper samples of the Daily Mail, Daily Express and Daily Mirror to systematically analyse the representation of London’s nightlife in the British interwar period. This period saw the consolidation of the popular daily newspaper industry and, after government intervention, an expansion of the domestic film industry. The interwar period also saw great social change with universal suffrage, technological developments and an economic crisis. -
UCLA FESTIVAL of PRESERVATION 03.05.15 – 03.30.15 UCLA FESTIVAL of PRESERVATION 03.05.15 – 03.30.15 1 from the DIRECTOR
UCLA FESTIVAL of PRESERVATION 03.05.15 – 03.30.15 UCLA FESTIVAL of PRESERVATION 03.05.15 – 03.30.15 1 FROM THE DIRECTOR The year 2015 marks the 50th anniversary of UCLA Film & Television Archive In the comedy department, we are proud to be able to present the latest and so we are doubly proud to put on our biennial Festival of Preservation results in our ongoing effort to preserve the legacy of Laurel & Hardy, includ- (FOP) to kick off a series of anniversary-related events that will run through- ing the shorts, The Midnight Patrol (1933), and The Music Box (1932). We are out the year. As director of UCLA Film & Television Archive, I’m happy to also screening a new preservation of the comedy hit of last year’s Cinefest in introduce the 17th iteration of our FOP, which again reflects the broad and Syracuse, Bachelor’s Affairs (1932), a pre-Code gem, starring Adolphe Menjou deep efforts of the Archive to preserve and restore our national moving image as a die-hard bachelor who is felled by a ditzy blonde bombshell. heritage. And while the rest of the world has seemingly made the transition to As is standard operating practice, given our close working relationship with a 100 percent digital environment, the Archive is still committed to preserving the Film Noir Foundation, we have again preserved a number of rare and films on film, while we still can, even if our theater will increasingly be project- interesting film noirs, including Too Late for Tears (1949), starring Lizabeth Scott ing digital material.