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Gb 1456 Thomas
GERALD THOMAS COLLECTION GERALD THOMAS COLLECTION SCOPE AND CONTENT Documents relating to the career of director GERALD THOMAS (Born Hull 10/12/1920, died Beaconsfield 9/11/1993). When Gerald Thomas died, his producer partner of 40 years Peter Rogers said: ‘His epitaph will be that he directed all the Carry On films.’ Indeed, for an intense 20-year period Thomas directed the Carry On gang through their innuendo laden exploits, and became responsible, along with Rogers, for creating one of the most enduring and endearing British film series, earning him his place in British popular culture. Thomas originally studied to become a doctor, before war service with the Royal Sussex Regiment put paid to his medical career. When demobilised in 1946, he took a job as assistant in the cutting rooms of Two Cities Films at Denham Studios, where he took Assistant Editor credits on Laurence Olivier’s Hamlet (1948) and the John Mills thriller The October Man (1947). In 1949, he received his first full credit as editor, on the Margaret Lockwood melodrama Madness of the Heart (1949). During this time Peter Rogers had been working as associate producer with his wife, producer Betty Box, on such films as It’s Not Cricket (1949) and Don’t Ever Leave Me (1949). It was Venetian Bird in 1952 that first brought Thomas and Rogers together; Thomas employed as editor by director brother Ralph, and Rogers part of the producer team with Betty Box. Rogers was keen to form a director/producer pairing (following the successful example of Box and Ralph Thomas), and so gave Gerald his first directing credit on the Circus Friends (1956), a Children’s Film Foundation production. -
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. -
Carry on Cabby, Gender, and the Local Industrial Power Nexus
Carry on Cabby, Gender, and the Local Industrial Power Nexus Kieron O’Hara More than 900 years have passed since the Norman Conquest, and it is sobering to think that so many centuries of English history, that the slow, beneficent growth of a society so traditional and stable, that the legacy of Shakespeare, Jonson, Dryden and the like-should have issued at last with “Carry On Camping,” which opened yesterday at neighborhood theaters.’ For no man Laughs at old jests ....’ 1. Introduction The Curry On films have for a long time held an important place in British popular culture, although a place not acknowledged in the litera- ture on popular culture as often ‘as one might think. A series of comedy films played by a large ensemble of comedy actors, with little or no claim to art, whose humor would fairly be described as basic, the Curry Ons have a felt Englishness3 about them, often described as analogous to fish and chips, or saucy seaside postcards. They have not endeared them- selves to critics or intellectuals: feminists and the right deplore their near-obsession with the breasts and bottoms of a series of buxom actresses (chiefly Barbara Windsor); the left detect reactionary views: particularly of working relationships, perhaps most in evidence in Kenneth Cope’s doctrinaire and obstructive shop steward in Curry On At Your Convenience. Even where the influence of the Curry Ons is acknowledged without prejudice, it is not generally the case that that influence can be seen as a good one. For example, Peter Hutchings rightly notes the importance of the Curry On tradition for Hitchcock’s Fren~y;~however, no-one would claim that Frenzy was the most politi- cally correct of Hitch’s pictures. -
Apex Publishing
Apex Publishing Ltd PO Box 7086, Clacton on Sea, Essex, CO15 5WN, United Kingdom Tel: 01255 428500 E-mail: [email protected] Website: www.apexpublishing.co.uk _______________________________________________________________________________________ BOOK EXTRACT Title: The Official Carry On Facts, Figures & Statistics Author: Kevin Snelgrove Foreword by: Alan Hume and Jack Douglas Publication Date: 21 March 2008 Page Extent: 150 ISBN: 1-906358-09-5 ISBN 13: 978-1-906358-09-9 Book Type: Hardback Classification: Television Price: £9.99 _______________________________________________________________________________________ A–Z Guide A is for Abroad (1972), Again Doctor (1969), At Your Convenience (1971), Again Christmas (1970) and And in My Lady’s Chamber (1975) = 5 B is for Behind (1975) = 1 C is for Cabby (1963), Camping (1968), Cleo (1964), Columbus (1992), Constable (1959), Cowboy (1965), Cruising (1962), Christmas (1969), Christmas (1972), Christmas (1973) and Christmas Classics (1983) = 11 D is for Dick (1974), Doctor (1967) and Don’t Lose Your Head (1966) = 3 E is for Emmannuelle (1978) and England (1976) = 2 F is for Follow that Camel (1967) = 1 G is for Girls (1973) = 1 H is for Henry (1970) = 1 J is for Jack (1963) = 1 L is for Loving (1970), LampPosts of the Empire (1975), London (1973/75) and Laughing with The Slimming Factory (1975) = 4 M is for Matron (1971) = 1 N is for Nurse (1958) and Norbert Smith – A Life (1989) = 2 O is for Orgy and Bess (1975) and One in the Eye for Harold (1975) = 2 R is for Regardless (1960) = -
Towering Towering
ORIGINAL MUSIC SOUNDTRACKS FOR MOTION PICTURES AND TV VOLUME 7, NUMBER 10 Spidey’s Man! page 20 TOWERING ACHIEVEMENTS Howard Shore scores the second Lord of the Rings MAN of THE HOURS Philip Glass writes for Virginia Woolf WILD SIDES Adaptation & Punch-Drunk Love SOUND of SILENTS The Alloy Orchestra chimes in CD REVIEWS Music you haven’t heard— or heard of! 10> 7225274 93704 $4.95 U.S. • $5.95 Canada FSMCD Vol. 5, No. 20 • Released by Special Arrangement with Turner Classic Movies Music Never So Few by Hugo Friedhofer with 7 Women by Elmer Bernstein Hugo Friedhofer and Elmer Bernstein worked only occasionally at M-G-M, but each scored a feature film for the studio set in Asia. This CD fea- tures the premiere releases of Never So Few (1959) and 7 Women (1966), respectively, each filled with exotic melody and instrumentation. Never So Few is a WWII romance/adventure starring Frank Sinatra as the leader of a U.S. army unit in Southeast Asia. Known as a “Rat Pack” production (it also starred Peter Lawford) and directed by John Sturges, the film is perhaps most noteworthy for giving Steve McQueen his break on the silver screen. Hugo Friedhofer’s score features a dynamic main title with a throbbing ostinato followed by a mournful trumpet solo evoking the losses of war. Friedhofer was no stranger to the war genre and provided a brew of wartime suspense and also romance, as Sinatra romances the voluptuous Gina Lollobrigida. The setting is highlighted by enchanting, Thai-flavored colors. 7 Women is the last film directed by the legendary John Ford. -
University of Edinburgh Postgraduate Journal of Culture and the Arts Issue 04 | Spring 2007
University of Edinburgh Postgraduate Journal of Culture and the Arts Issue 04 | Spring 2007 Title Charles Hawtrey, Kenneth Williams, and Susan Sontag: Campaigners of Camp and the Carry On Films Author John Bannister Publication FORUM: University of Edinburgh Postgraduate Journal of Culture and the Arts Issue Number 04 Issue Date Spring 2007 Publication Date 05/06/2007 Editors Clare Bielby & Sally Henderson FORUM claims non-exclusive rights to reproduce this article electronically (in full or in part) and to publish this work in any such media current or later developed. The author retains all rights, including the right to be identified as the author wherever and whenever this article is published, and the right to use all or part of the article and abstracts, with or without revision or modification in compilations or other publications. Any latter publication shall recognise FORUM as the original publisher. Charles Hawtrey, Kenneth Williams, and Susan Sontag: Campaigners of Camp and the Carry On films. John Bannister University of Central Lancashire If Camp was the twentieth century carminative for fear of “Being-as-Playing-a-Role,” (Sontag 280) Queer , its efficacy as a laxative for such a depraving “social disease” 1 in the twenty-first century, is quite ineffective. As Roger Lewis points out, “Everything has to be Camp now, from Eddie Izzard to Graham Norton” (68). To be Camp is not to be a la commodious.2 It has passed into the mainstream. It is a la mode . How has this happened? Homosexuality had to be douched by lavatorial comedy. For over twenty years the Carry On series of films portrayed the homosexual stereotype as if it had been set in stone – or more appropriately perhaps - in porcelain. -
A Future for British Film, It Begins with the Audience
A Future For British Film It begins with the audience... A UK film policy review Contents The Panel and the Brief 1 Introduction 2 What We Know 4 Executive Summary 6 1. Growing the Audience of Today and Tomorrow: Education. Access. Choice. 10 2. Digital and Future Readiness 17 3. Films on the Big Screen 28 4. Development, Production, Distribution and Joint Venture Funding 36 5. Television Broadcasters and British Film 51 6. International Strategy 59 7. Skills and Talent Development 66 8. Screen Heritage 74 9. Research and Knowledge 80 10. BFI: The New Lead Agency for Film 85 Full List of Recommendations 90 Annexes – Summary of the Report on the Film Policy Review Online Survey 97 – Master Evidence List 98 – List of Panel and Stakeholder Meetings 104 An independent report commissioned by the Department for Culture, Media and Sport A UK film policy review 1 The Panel and the Brief The panel: In selecting the Panel, the chairman Lord Smith wanted A Future For people with industry experience and expertise who could provide a credible voice to represent each respective link in the value chain for UK film, whilst having a good British Film understanding of the overall complexities of the industry. The Panel first met on 1 June and issued an online call for It begins with evidence on 24 June. The members were: the audience... Rt Hon Lord Smith of Finsbury, former Secretary of State for Culture, Media and Sport (Chairman) Will Clarke, Independent film distributor, founder and former CEO, Optimum Releasing Lord Julian Fellowes, Oscar® winning writer -
The Spectacle of the Social Media & Rock Identity Media Violence the Marvel Universe Feminism in the Digital Age
DECEMBER 2015 ISSUE 54 THE SPECTACLE OF THE SOCIAL MEDIA & ROCK IDENTITY MEDIA VIOLENCE THE MARVEL UNIVERSE FEMINISM IN THE DIGITAL AGE MM54_cover.indd 1 30/11/2015 12:51 Contents 4 Making the Most of MediaMagazine is published MediaMag by the English and Media Centre, a non-profit making 6 Know Your Role and Shut organisation. The Centre Your Mouth: The Spectacle publishes a wide range of of The Rock classroom materials and Sean Richardson considers runs courses for teachers. the concept of the If you’re studying English Male Gaze, with a case at A Level, look out for study of The Rock. emagazine, also published by the Centre. 10 Social Media: Identity Heaven or Identity Hell? Mark Dixon looks at the impact of Web 2.0 technology in the context of AQA’s ‘Media and Identities’ topic. 13 In Defence of (Some) Media Violence: Style and Substance Steph Hendry explores the ongoing debates about the impact of 6 violence in TV drama. The English and Media Centre 18 Compton Terrace London N1 2UN 16 Jurassic-sized Box Telephone: 020 7359 8080 Office: The Chinese Fax: 020 7354 0133 Are Coming! The Email for subscription enquiries: Chinese Are Coming! [email protected] Nick Lacey analyses changes in the global box office, and the rapid rise of the Chinese market. Editor: Jenny Grahame 20 Why Watching Films Is Copy-editing: Andrew McCallum Good For You Andrew McCallum argues Additional proofing and copy-editing: that films should be afforded Tina Courtenay-Thompson 56 a similar status to literature. Subscriptions manager: Emma Marron This magazine is not photocopiable. -
War Cinema– Or How British Films Learned to Stop Worrying and Love the Affluent Society
1 THE PROFESSIONAL OFFICER CLASS IN POST- WAR CINEMA– OR HOW BRITISH FILMS LEARNED TO STOP WORRYING AND LOVE THE AFFLUENT SOCIETY A thesis submitted for the degree of Doctor of Philosophy by Andrew Roberts College of Business, Arts and Social Sciences of Brunel University 22nd September2014 2 ABSTRACT My central argument is that mainstream British cinema of the 1951 – 1965 period marked the end of the paternalism, as exemplified by a professional ‘officer class’, as consumerism gradually came to be perceived as the norm as opposed to a post-war enemy. The starting point is 1951, the year of the Conservative victory in the General Election and a time which most films were still locally funded. The closing point is 1965, by which point the vast majority of British films were funded by the USA and often featured a youthful and proudly affluent hero. Thus, this fourteen year describes how British cinema moved away from the People as Hero guided by middle class professionals in the face of consumerism. Over the course of this work, I will analyse the creation of the archetypes of post-war films and detail how the impact of consumerism and increased Hollywood involvement in the UK film industry affected their personae. However, parallel with this apparently linear process were those films that questioned or attacked the wartime consensus model. As memories of the war receded, and the Rank/ABPC studio model collapsed, there was an increasing sense of deracination across a variety of popular British cinematic genres. From the beginning of our period there is a number films that infer that the “Myth of the Blitz”, as developed in a cinematic sense, was just that and our period ends with films that convey a sense of a fragmenting society. -
Shakespeare on Film and Television in the Motion Picture, Broadcasting and Recorded Sound Division of the Library of Congress
SHAKESPEARE ON FILM AND TELEVISION IN THE MOTION PICTURE, BROADCASTING AND RECORDED SOUND DIVISION OF THE LIBRARY OF CONGRESS Compiled by Zoran Sinobad January 2012 Introduction This is an annotated guide to moving image materials related to the life and works of William Shakespeare in the collections of the Motion Picture, Broadcasting and Recorded Sound Division of the Library of Congress. While the guide encompasses a wide variety of items spanning the history of film, TV and video, it does not attempt to list every reference to Shakespeare or every quote from his plays and sonnets which have over the years appeared in hundreds (if not thousands) of motion pictures and TV shows. For titles with only a marginal connection to the Bard or one of his works, the decision what to include and what to leave out was often difficult, even when based on their inclusion or omission from other reference works on the subject (see below). For example, listing every film about ill-fated lovers separated by feuding families or other outside forces, a narrative which can arguably always be traced back to Romeo and Juliet, would be a massive undertaking on its own and as such is outside of the present guide's scope and purpose. Consequently, if looking for a cinematic spin-off, derivative, plot borrowing or a simple citation, and not finding it in the guide, users are advised to contact the Moving Image Reference staff for additional information. How to Use this Guide Entries are grouped by titles of plays and listed chronologically within the group by release/broadcast date. -
Freud, Laughter and the Hysterical Male in the Carry on Films John
Cany On Joking: Freud, Laughter and the Hysterical Male in the Carry On films John Bannister A thesis submitted in partial fulfilment for the requirements for the degree of MA (by Research) at the University of Central Lancashire September 2007 -4 ,qb S uclan University of Central Lancashire Student Declaration Concurrent registration for two or more academic awards Either *1 declare that while registered as a candidate for the research degree, I have not been a registered candidate or enrolled student for another award of the University or other academic or professional institution or *1 declare that whilep1gi a- or the research degree, I was wJ1hjbniversitys specific permission, a *registered capdt6ate/eISrolled student for the following pwid( c/ - Material submitted for another award Either *1 declare that no material contained in the thesis has been used in any other submission for an academic award and is sol Iymy own work. or *1 declare that th9_fd1 igi-naterial contained in the thesis9mifof a submission for the award of (state award and awarding body and list the material below): Collaboration Where a candidate's research programme is part of a collaborative project, the thesis must indicate in addition clearly the candidate's individual contribution and the extent of the collaboration. Please state below Signature of Candidate Type of Award Department H es .3,. 7Mfl Abstract The popularity of the Carry On films can be measured by the success of the series which ran for twenty years from 1958-1978. Twenty-nine films were made and at the height of their popularity in the 1960s two films a year were being produced to capitalise on the success of the series. -
Catalogue No.1 Literature, Photography & the Performing Arts
CATALOGUE NO.1 LITERATURE, PHOTOGRAPHY & THE PERFORMING ARTS BBC Feung excepay re BBC_SCRIPTS e ln a of dio my cdg “HANCOCK’S_HALF_HOUR” d “THE_GOON_SHOW” Item 85 I: LITERATURE AND PHOTOGRAPHY 2. BLOCH, Robert Pleasant Dreams - Nightmares, By Robert Bloch Sauk City: Arkham House, 1960 8vo, pp. 233. Original black boards, lettered in gilt on spine. Dustwrapper by Gary Gore. Spine ends a little bumped, otherwise a fine copy in a near fine, price-clipped dustwrapper, whites of panels a little browned, minimal edgewear, and with two small closed tears to top edge. First edition, SIGNED BY THE AUTHOR: ‘Best Wishes! Robert Bloch’. One of 2000 copies, according to the limitation page; one of 2060, according to popular bibliographical opinion. A collection of fifteen horror stories by the 3 4 author of Psycho (Hitchcock’s film of which was released the same year). 1 [1478] 3. BOYD, William 4. De BERNIERES, Louis £150 On The Yankee Station The Troublesome Offspring of INSCRIBED TO RICHARD rural America, where his sexuality saw him cast out by both his family and the wider London: Hamish Hamilton, 1981 Cardinal Guzman YATES community, and where he saw his (gay) best London: Secker & Warburg, 1992 8vo, pp. 184. Original blue boards, lettered in friend commit suicide on his wedding day. silver on spine. Fine in a near fine dustwrapper 1. BARR, James [pseud. FUGATE, Quatrefoil, semi-autobiographical and 8vo, pp. 388. Original black boards, lettered in with the very slightest of wear to top edge. James] unashamed, charts the central characters’ silver on spine. A fine copy in dustwrapper.