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SALLY HOPE ASSOCIATES 108 LEONARD STREET LONDON EC2A 4XS TELEPHONE 020 7613 5353 FAX 020 7613 4848 AGENCY LICENCED BY THE DEPARTMENT OF EMPLOYMENT NUMBER SE(A) 1327 PAUL ALBERTSON Height: 6ft Hair: Dark Brown Eyes: Blue/Green Training: BA (Hons) Drama, Guildhall School of Music and Drama, National Youth Theatre (4 years) Worked as Sound Engineer for 3 years prior to Drama School TELEVISION Director Andy Howlett in Doctors Lisa Clarke BBC Tim Lyle in Holby City David Innes Edwards BBC Mark Bright in CORONATION STREET John Anderson / ITV (4 eps) Duncan Foster Mr Ewart in SHERLOCK – Paul McGuigan Hartswood Films Ltd THE GREAT GAME Damon Clitheroe in MISSING Jill Robertson Leopard Drama/BBC Tony in LOVE SOUP Christine Gernon BBC Michael in EXTRAS Ricky Gervais / BBC Stephen Merchant Dean Roper in DOCTORS Jerry Smith BBC Ted Briscoe in HEARTBEAT Roger Bamford ITV Granada Alex in CASUALTY Terry Iland BBC Yves Bradman in IF-CLONING Jane Powell BBC Sid Wright in THE BILL (4 eps) Brett Fallis / Pearson Television Christopher King / Emma Bridgman-Williams Dean Flores in THE BILL Jamie Nuttgens Pearson Television Mark in ATTACHMENTS II Tony Smith World Productions PC in PIE IN THE SKY Keith Boak Select TV for BBC Fireman in INSIDERS Danny Hiller BBC FILM Andrew in BABYSITTING Max Jacoby International Film School THEATRE Carl in CARVER William Gaskill The Arcola Bas in DAMAGES Roxanna Silbert The Bush Theatre Phil in THE PEOPLE NEXT DOOR Roxanna Silbert Theatre Royal, Stratford Luke Bellows in SEMI MONDE Philip Prowse Lyric Theatre, West End Karl in HUNTING SCENES FROM LOWER BAVARIA Dominic Cooke Gate Theatre Chorus in UNDER MILKWOOD Anthony Hopkins Air Studios SALLY HOPE ASSOCIATES 108 LEONARD STREET LONDON EC2A 4XS TELEPHONE 020 7613 5353 FAX 020 7613 4848 AGENCY LICENCED BY THE DEPARTMENT OF EMPLOYMENT NUMBER SE(A) 1327 Bob Acres in THE RIVALS Edward Wilson Greenwich Theatre Peter in BLUE REMEMBERED HILLS Patricia Doyle Man in the Moon PAUL ALBERTSON cont. THEATRE AT CITIZENS Chorus in BLITZ Edward Wilson The Playhouse Mr. Neck in COLD COMFORT FARM Debbie Seymour Greenwich Theatre Macbeth in MACBETH Fiona Clark Salberg Studio, Salisbury Nero in BRITANNICUS Philip Prowse Citizens, Glasgow Joey Evans in PAL JOEY Philip Prowse Citizens, Glasgow Soldier in SUMMIT CONFERENCE Robert David McDonald Citizens, Glasgow Lenny in THE HOMECOMING Philip Prowse Citizens, Glasgow Spiegelberg in THE ROBBERS Philip Prowse Citizens for The Edinburgh and SCHILLER READINGS Festival Lory in THE RELAPSE Philip Prowse Citizens Glasgow/ National Tour Harry Trench in WIDOWER'S HOUSES Giles Havergal Citizens, Glasgow Jean in MISS JULIE Robert David McDonald Citizens, Glasgow Grand Duke in PERSONS UNKNOWN Robert David McDonald Citizens, Glasgow Geoffrey in A TASTE OF HONEY John Pope Citizens, Glasgow Dr.Ostermark & Nojd in THE FATHER Stuart Laing Citizens, Glasgow Herrick in EBB TIDE Robert David McDonald Citizens, Glasgow Nanni Lascal in THE SHE WOLF Stuart Laing Citizens, Glasgow Jimmy Porter in LOOK BACK IN ANGER Kenny Miller Citizens, Glasgow .

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From Real Time to Reel Time: the Films of John Schlesinger
From Real Time to Reel Time: The Films of John Schlesinger A study of the change from objective realism to subjective reality in British cinema in the 1960s By Desmond Michael Fleming Submitted in total fulfilment of the requirements of the degree of Doctor of Philosophy November 2011 School of Culture and Communication Faculty of Arts The University of Melbourne Produced on Archival Quality Paper Declaration This is to certify that: (i) the thesis comprises only my original work towards the PhD, (ii) due acknowledgement has been made in the text to all other material used, (iii) the thesis is fewer than 100,000 words in length, exclusive of tables, maps, bibliographies and appendices. Abstract The 1960s was a period of change for the British cinema, as it was for so much else. The six feature films directed by John Schlesinger in that decade stand as an exemplar of what those changes were. They also demonstrate a fundamental change in the narrative form used by mainstream cinema. Through a close analysis of these films, A Kind of Loving, Billy Liar, Darling, Far From the Madding Crowd, Midnight Cowboy and Sunday Bloody Sunday, this thesis examines the changes as they took hold in mainstream cinema. In effect, the thesis establishes that the principal mode of narrative moved from one based on objective realism in the tradition of the documentary movement to one which took a subjective mode of narrative wherein the image on the screen, and the sounds attached, were not necessarily a record of the external world. The world of memory, the subjective world of the mind, became an integral part of the narrative.
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