TPTV Schedule Aug 12Th– Aug 18Th 2019
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
From the Woman in White to La Donna in Bianco Saverio Tomaiuolo
Screening Collins in (and out of) Italy: from The Woman in White to La donna in bianco Saverio Tomaiuolo Abstract The Woman in White is an intrinsically visual narrative, in which images are as excessive as its themes. In light of the impact and influence of theatricality and of melodrama on Collins’s novel, visuality and sensation are thus constantly aligned in this narrative, which addresses its audience through a constant reference to the powerful appeal on the mind (and imagination) of the sensorial organ of sight. The first- rate value attributed by Collins to optical perception may be considered one of the reasons why many of his texts, and in particular The Woman in White, have had a fruitful visual afterlife on TV and cinema. After introducing a selection of movies and of TV renditions of Collins’s most famous novel, my essay will focus on its Italian adaptation, broadcast with the title of La donna in bianco on the National Public Broadcasting Company (RAI) in 1980. A common denominator in almost all screen translations of Collins’s story is their focusing on marital brutality, women’s legal imbalance, and female assertiveness. In this sense, my analysis aims at showing that Collins’s visual narrative succeeded in addressing its Italian audience in a specific historical, political and cultural phase of the nation’s history, during which divorce as well as social and domestic violence (including the inhumane treatment of the insane) were still cogent issues. Key Words Wilkie Collins; The Woman in White; divorce; domestic violence; La donna in bianco; Italian television; adaptation; treatment of the insane; RAI; BBC. -
Lacon 1 Film Program
BY WAY OF INTRODUCTION This film program represents for the most part an extremely personal selection by me, Bill Warren, with the help of Donald F. Glut. Usually convention film programs tend to show the established classics -- THINGS TO COME, METROPOLIS, WAR OF THE WORLDS, THEM - and, of course, those are good films. But they are seen so very often -- on tv, at non-sf film programs, at regional cons, and so forth -- that we decided to try to organize a program of good and/or entertaining movies that are rarely seen. We feel we have made a good selection, with films chosen for a variety of reasons. Some of the films on the program were, until quite recently, thought to be missing or impossible to view, like JUST IMAGINE, TRANSATLANTIC TUNNEL, or DR JEKYLL AND MR. HYDE. Others, since they are such glorious stinkers, have been relegated to 3 a.m. once-a-year tv showings, like VOODOO MAN or PLAN 9 FROM OUTER SPACE. Other fairly recent movies (and good ones, at that) were, we felt, seen by far too few people, either due to poor distribution by the releasing companies, or because they didn't make enough money to ensure a wide release, like TARGETS or THE DEVIL'S BRIDE. Still others are relatively obscure foreign films, a couple of which we took a sight-unseen gamble on, basing our selections on favorable reviews; this includes films like THE GLADIATORS and END OF AUGUST AT THE HOTEL OZONE. And finally, there are a number of films here which are personal favorites of Don's or mine which we want other people to like; this includes INTERNATIONAL HOUSE, MAD LOVE, NIGHT OF THE HUNTER, RADIO RANCH, and SPY SMASHER RETURNS. -
Dracula for Doctors
The Newsletter of the DRACULA SOCIETY spring 2020 CONTENTS REGULARS EDITORIAL 1 CHAIR’S CHAT 2 RECENT EVENTS 3 TOMES FROM THE TOMB 5 SCREAMS FROM THE SCREEN 15 POEMS 20 MEMBERS IN THE SPOTLIGHT 27 FEATURES LA MORTE AMOUREUSE 17 MEMBERSHIP REPORT 24 COTNA SHORTLIST 24 THE CARDINAL’S PAMPHLETS 25 SOCIETY ACCOUNTS 26 DATES FOR THE DIARY 2020 Friday 17th – Sunday 19th July ‘Dracula in Derby’ (provisional) A weekend in Derby, where Deane’s Dracula premiered, and Lugosi’s Count appeared on stage; with local guide Darrell Buxton. Saturday 3rd October Autumn Meeting Hammer’s unmade film scripts – a talk by Kieran Foster. Saturday 7th November Bram Stoker Birthday Dinner The Civil Service Club Wednesday 16th December Christmas Party The George, Southwark EDITORIAL What an unprecedented and strange time to write the editorial for Voices. But I hope, as I write this, that you’re all well, and coping with the oddest and scariest year many of us have ever experienced. I also hope that several of the most-used ‘new’ sayings will shortly never be needed again – as in “These strange/difficult/unusual (delete where applicable) times”, “Social distancing”, “Self-isolating”, and so on. I never thought I’d become obsessed with supermarket deliveries either – how sad is that? But we soon became one of “those couples” playing a board game to stay awake past midnight, in order to secure one of the very valuable delivery slots. A good idea in theory, except Mildred Hubble (Millie) our very helpful black cat, thought it hugely entertaining to sit in the middle of the table and bat all the game tiles onto the floor. -
British Horror Cinema
Running head recto i British Horror Cinema Horror is one of the most popular and talked-about film genres and yet British horror films, aside from those made by Hammer, have received little critical attention. British Horror Cinema investigates a wide range of horror film-making in Britain, from early chillers like The Ghoul and Dark Eyes of London to modern classics such as Witchfinder General and The Wicker Man. Contributors explore the contexts in which British horror films have been censored and classified, judged by critics and consumed by fans. Uncovering neglected gems like Death Line, and addressing issues such as the representation of women and the family, they consider the Britishness of British horror and examine sub-genres such as the psycho-thriller and witchcraft movies, the work of the Amicus studio, and key film-makers including Pete Walker. British Horror Cinema also features a comprehensive filmography and contributions from contemporary horror directors Clive Barker and Richard Stanley. Contributors: Brigid Cherry, Steve Chibnall, Ian Conrich, Leon Hunt, Peter Hutchings, Mark Kermode, Kim Newman, Marcelle Perks, Julian Petley, Steven Jay Schneider, L.S. Smith, Richard Stanley, John C. Tibbetts, Paul Wells. Editors: Steve Chibnall is Principal Lecturer in Film Studies at De Montfort University, Leicester. He is the co-editor of British Crime Cinema (Routledge, 1999). Julian Petley is Senior Lecturer in Communication and Information Studies at Brunel University. He is co-editor of Ill Effects: The Media Violence Debate, Second Edition (Routledge, 2001). ii Running head verso British Popular Cinema Series Editors: Steve Chibnall and I.Q. Hunter De Montfort University, Leicester At a time when there is a growing popular and scholarly interest in British film, with new sources of funding and notable successes in world markets, this series explores the largely submerged history of the UK’s cinema of entertainment. -
Forgotten British Film
Forgotten British Film Forgotten British Film: Value and the Ephemeral in Postwar Cinema by Philip Gillett Forgotten British Film: Value and the Ephemeral in Postwar Cinema By Philip Gillett This book first published 2017 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2017 by Philip Gillett All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-9890-2 ISBN (13): 978-1-4438-9890-4 For Roz, with love TABLE OF CONTENTS Preface ....................................................................................................... ix Abbreviations ............................................................................................. x Chapter One ................................................................................................ 1 The Forgotten Film Chapter Two ............................................................................................. 10 The Main Features that Time Forgot Chapter Three ........................................................................................... 33 The Film that Was Overtaken Chapter Four ............................................................................................ -
Cites & Insights (V10i11)
Cites & Insights Crawford at Large Libraries • Policy • Technology • Media Volume 10, Number 11: November 2010 ISSN 1534-0937 Walt Crawford Bibs & Blather December 2002, and 154,668 HTML article page- views, for a total of 833,890 since December 2002. Three Times Ten Most Widely-Read Issues As was true in May 2009, there are two “hot” is- This is the first of three issues that could each be th sues—ones downloaded more than 10,000 times in considered 10 Anniversary issues for Cites & In- PDF form. Volume 6 Issue 2, Library 2.0 and “Li- sights—depending on your definitions: brary 2.0,” is now up to 28,634 PDF downloads This issue completes a decade of publishing (that’s more than 7,000 more than in May 2009!), C&I. The first issue, which appeared before not including all the HTML pageviews. Volume 3 Volume 1 Issue 1, was dated December 2000; Issue 9, Coping with CIPA: A Censorware Special, is thus, November 2010 completes a decade. up to 14,942 PDF downloads. The next issue will complete the 10th volume. Assuming there is a January 2011 issue, it’s Inside This Issue the first issue after the completion of ten vo- The CD-ROM Project ....................................................... 4 lumes. We celebrate anniversaries and The Zeitgeist: Blogging Groups and Ethics .................... 7 birthdays the first day after the completion Offtopic Perspective: Legends of Horror, Part 1 ............ 18 of X number of years, and from what I’ve Five issues have more than 8,000 PDF down- seen most magazines also celebrate signifi- loads each (there were none of these in May 2009); cant anniversaries that way. -
Realism, Fantasy, and the ‘H’ Certificate: Rethinking Horror Cinema in Britain During the 1940S by Paul William Frith
CORE Metadata, citation and similar papers at core.ac.uk Provided by University of East Anglia digital repository Realism, Fantasy, and the ‘H’ Certificate: Rethinking Horror Cinema in Britain during the 1940s by Paul William Frith Submitted for the Degree of Doctor of Philosophy University of East Anglia School of Film, Television and Media September 2014 ©This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that use of any information derived there from must be in accordance with current UK Copyright Law. In addition, any quotation or extract must include full attribution. Abstract Existing research on British cinema during the 1940s has often assumed an opposition between realism and fantasy or, as it is also known, 'realism and tinsel'. However, through an analysis of contemporary critical reception and censorship discourses, it becomes apparent how this division was nowhere near as clearly defined as is often argued. Discussions surrounding a supposed ‘ban’ on horror during 1942- 45, and the subsequent debates regarding realism in the post-war climate, demonstrate how realism was often associated with fantasy and vice versa. While the ‘quality’ realist film of the 1940s demonstrates a concern with verisimilitude and the reproduction of the surface appearances of reality, when confronting the obscene or the taboo hidden below this surface realism was deemed to be far more closely associated with ‘horrific’ fantasy. This thesis therefore looks beyond common perceptions of British cinema during this period through an analysis of contemporary discussions surrounding the relationship between ‘realism and tinsel’, with a particular emphasis upon the misapprehension that the horror ‘ban’ signified a falling interest in fantasy in favour of the ‘quality’ of realism. -
The Dramaturgy of SWEENEY TODD Michael Hegarty Virginia Commonwealth University
Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2013 Serve the Ones Below: The Dramaturgy of SWEENEY TODD Michael Hegarty Virginia Commonwealth University Follow this and additional works at: http://scholarscompass.vcu.edu/etd Part of the Theatre and Performance Studies Commons © The Author Downloaded from http://scholarscompass.vcu.edu/etd/3077 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. © Michael J. Hegarty 2013 All Rights Reserved SERVE THE ONES BELOW: THE DRAMATURGY OF SWEENEY TODD A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in Theatre at Virginia Commonwealth University. by Michael J. Hegarty Bachelor of Arts, York College of Pennsylvania, 1994 Master of Arts, Montclair State University, 2002 Director: Dr. Noreen Barnes Director of Graduate Studies, Department of Theatre Virginia Commonwealth University Richmond, Virginia May, 2013 ii Acknowledgment The author would like to thank the following people for their assistance on this project. I would especially like to acknowledge Dr. Noreen Barnes for her kindness and generosity. Her guidance throughout my graduate studies has been invaluable. I would also like to thank Dr. Aaron Anderson for opening my eyes to new ways to teach and practice theatre. I am also grateful to have worked with Barry Bell who taught me volumes about how to be an actor, director and teacher. -
Film Club Sky 328 Newsletter Freesat 306 SEPT/OCT 2020 Virgin 445
Freeview 81 Film Club Sky 328 newsletter Freesat 306 SEPT/OCT 2020 Virgin 445 Dear Supporters of Film and TV History, Hoping you are all well. It’s entering the best time of year for us film lovers, as the nights draw in and a good DVD or Talking Pictures TV can be enjoyed in the warmth. If this was ‘The Smallest Show On Earth’ we would be turning the heating up to sell more ice creams! Our new Renown DVD Box set is The Vintage Transport Collection Volume 2 – a must for all vintage transport fans, it’s three discs full of shorts and films featuring Austins, Stock Cars, 1950s Taxi Cabs, bikes, planes, boats and good old steam trains. Just £20 with free UK postage, it’s a real wallow in transport nostalgia – a perfect (dare I say it) Christmas gift for vintage transport enthusiasts! By popular demand, we have produced a beautiful Limited Edition shiny enamel lapel pin for all you Film Club members! £6.99 each or two for £12, which you can wear with pride as being a proud member of the only independent British club dedicated to preserving film and TV history! AND the moment you have all been waiting for has arrived – the 2021 TPTV Calendar is here! £10 each while stocks last, full of important dates for film buffs, with stars birthdays, along with wonderful images of stars close to all our hearts. These go like HOT CAKES so do get yours quick! There’s also a very special 4 films for £20 offer, just £5 a DVD! While stocks last; plus many more offers exclusive to you all with some excellent articles to also keep you entertained. -
Public Domain Movies
Public Domain Films 1 Public Domain Movies Public domain films may be re-sold on DVD, shown on TV, in theaters, streamed on the Internet, used for stock footage and many other purposes -- all without paying royalties since the copyrights have long expired. Films are sold on DVD-R or Mpeg2 video files. The Public Domain films and TV shows in the library: 1) Are Clean. They contain no logos or watermarks in the corners. 2) Come with information as to WHY they are in the public domain. 3) DVDs contain no copy guard and are easy to rip and copy. 4) No phony "FBI Warnings" before the start of each film. 5) Quality guarantee. 6) Free replacement of any films not up to our normal high standards. These pages are a partial listing of the Festival Films Library that divides out the Color films and indicates approximate gigabyte size for many films. Read more about the films at the Festival Films Website. Television Shows All are half-hour TV shows, unless noted. Some contain original commercials. All are available on Mpeg2 video files as well as DVD-R. ADVENTURE TV SHOWS -- all are half-hour The Adventures of Robin Hood - 143 episodes 113gb The Adventures of Sir Lancelot - 30 episodes 23.75gb • The Buccaneers - 30 episodes 23.6gb Captain Gallant of the Foreign Legion - 12 episodes 8.86gb • Flash Gordon - 14 episodes 11.45gb Passport to Danger - 13 episodes 11.37gb • Ramar of the Jungle - 24 episodes 19.91gb Rocky Jones, Space Ranger - 20 shows 16.44gb Sergeant Preston of the Yukon - 12 episodes 9.8gb • Sheena, Queen of the Jungle - 16 episodes 13.14gb • Terry and the Pirates - 16 episodes 13.19gb Public Domain Films 2 • • TOTAL = 330 TV shows 264gb c. -
In Early Nineteenth-Century True Crime Murder Melodrama
ABSTRACT Title of Document: MATERIAL MURDERS: “AUTHENTICITY” IN EARLY NINETEENTH-CENTURY TRUE CRIME MURDER MELODRAMA Erin Rebecca Bone Steele, Ph.D., 2012 Directed By: Professor Franklin J. Hildy, School of Theatre, Dance, and Performance Studies In the early nineteenth century, London’s illegitimate playhouses featured melodramas based on murder accounts. The value of comparing a true-crime drama to its historical antecedent lies in asking how the theatre makes its claim, and what social or political issues jump to the fore. Spectatorship at public hangings is a regular feature of this period, but crowds sought to “see more” and “know more” by attending all sorts of spectacles. The courtroom, scaffold, publishing house, fair, and theatre all proclaimed their goal was to provide a moral lesson. The intent was education as well as profit; the effect for the audience was one of titillation. This study is rooted in archival print material including playscripts, pamphlets, newspapers, and broadsides, and employs theoretical concepts developed by theatre historians to illuminate the ways competing public narratives functioned in the minds of audiences. Four cases are examined in detail: the Ashford/Thornton case and a “trial by battle” courtroom confrontation, the Weare/Thurtell case featuring a sloppy murder amongst gamblers, the Marten/Corder case of murder in a red barn, and the Bradford case following a wrongly-accused innkeeper. The dramas they spawned appeared between 1818 and 1833. Broadly speaking, each play communicates a warning to the working classes beyond simple moral proscriptions. Doomed characters might have no opportunity for redemption but there is a sense that social and political structures could and should be changed, reflecting the lived experience of a period when the legal system was being reformed, cities were being rebuilt, workers’ associations were growing, and the police system was being established anew. -
The Dramaturgy of SWEENEY TODD
Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2013 Serve the Ones Below: The Dramaturgy of SWEENEY TODD Michael Hegarty Virginia Commonwealth University Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the Theatre and Performance Studies Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/3077 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. © Michael J. Hegarty 2013 All Rights Reserved SERVE THE ONES BELOW: THE DRAMATURGY OF SWEENEY TODD A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in Theatre at Virginia Commonwealth University. by Michael J. Hegarty Bachelor of Arts, York College of Pennsylvania, 1994 Master of Arts, Montclair State University, 2002 Director: Dr. Noreen Barnes Director of Graduate Studies, Department of Theatre Virginia Commonwealth University Richmond, Virginia May, 2013 ii Acknowledgment The author would like to thank the following people for their assistance on this project. I would especially like to acknowledge Dr. Noreen Barnes for her kindness and generosity. Her guidance throughout my graduate studies has been invaluable. I would also like to thank Dr. Aaron Anderson for opening my eyes to new ways to teach and practice theatre. I am also grateful to have worked with Barry Bell who taught me volumes about how to be an actor, director and teacher.