The Early Life and Adventures of Sylvia Scarlett
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
The Rat Pack and the British Pierrot
THE RAT PACK AND THE BRITISH PIERROT: NEGOTIATIONS OF NATIONAL IDENTITY, ALIENATION AND BELONGING IN THE AESTHETICS AND INFLUENCES OF CONCERTED TROUPES IN POPULAR ENTERTAINMENT. DAVE CALVERT A thesis submitted to the University of Huddersfield in partial fulfilment of the requirements for the degree of Master of Arts by Research The University of Huddersfield January 2013 Abstract The thesis below consists of an introduction followed by three chapters that reflect on the performance work of two distinct forms, the British Pierrot troupe and the Rat Pack. The former is a model of performance adopted and adapted by several hundred companies around the British coastline in the first half of the twentieth century. The latter is an exclusive collaboration between five performers with celebrated individual careers in post-World War Two America. Both are indebted to the rise of blackface minstrelsy, and the subsequent traditions of variety or vaudeville performance. Both are also concerned with matters of national unity, alienation and belonging. The Introduction will expand on the two forms, and the similarities and differences between them. While these broad similarities lend a thematic framework to the thesis, the distinctions are marked and specific. Accordingly, the chapters are discrete and do not directly inform or refer to each other. Chapter One considers the emergence of the Pierrot troupe from a historical European aesthetic and argues that despite references to earlier Italian and French modes of performance, the innovations of the new form situate the British Pierrot in its contemporary and domestic context. Chapter Two explores this context in more detail, and looks at the Pierrot’s place in a symbolic network that encompasses royal imagery and identity, the racial implications of blackface minstrelsy and the carnivalesque liminality of the seaside. -
Annual Report and Accounts 2004/2005
THE BFI PRESENTSANNUAL REPORT AND ACCOUNTS 2004/2005 WWW.BFI.ORG.UK The bfi annual report 2004-2005 2 The British Film Institute at a glance 4 Director’s foreword 9 The bfi’s cultural commitment 13 Governors’ report 13 – 20 Reaching out (13) What you saw (13) Big screen, little screen (14) bfi online (14) Working with our partners (15) Where you saw it (16) Big, bigger, biggest (16) Accessibility (18) Festivals (19) Looking forward: Aims for 2005–2006 Reaching out 22 – 25 Looking after the past to enrich the future (24) Consciousness raising (25) Looking forward: Aims for 2005–2006 Film and TV heritage 26 – 27 Archive Spectacular The Mitchell & Kenyon Collection 28 – 31 Lifelong learning (30) Best practice (30) bfi National Library (30) Sight & Sound (31) bfi Publishing (31) Looking forward: Aims for 2005–2006 Lifelong learning 32 – 35 About the bfi (33) Summary of legal objectives (33) Partnerships and collaborations 36 – 42 How the bfi is governed (37) Governors (37/38) Methods of appointment (39) Organisational structure (40) Statement of Governors’ responsibilities (41) bfi Executive (42) Risk management statement 43 – 54 Financial review (44) Statement of financial activities (45) Consolidated and charity balance sheets (46) Consolidated cash flow statement (47) Reference details (52) Independent auditors’ report 55 – 74 Appendices The bfi annual report 2004-2005 The bfi annual report 2004-2005 The British Film Institute at a glance What we do How we did: The British Film .4 million Up 46% People saw a film distributed Visits to -
Film Directors by Deborah Hunn
Film Directors by Deborah Hunn Encyclopedia Copyright © 2015, glbtq, Inc. A portrait of actor Jack Entry Copyright © 2002, glbtq, Inc. Larson (left) with director Reprinted from http://www.glbtq.com James Bridges and their dog Max by Stathis Gay, lesbian and bisexual film directors have been a vital creative presence in cinema Orphanos. Courtesy Stathis since the medium's inception over one hundred years ago. Until the last two decades, Orphanos.Copyright © however, mainstream directors kept their work (and not infrequently their lives) Stathis Orphanos.All discreetly closeted, while the films of underground and experimental creators, Rights Reserved. although often confrontational in theme and technique, had limited circulation and financial support. More recently, new queer filmmakers have capitalized on increased (although by no means unproblematic) public acceptance to win critical recognition and commercial viability for their projects. The Hollywood Golden Era In the so-called Golden Era of Hollywood, there were a number of famous directors privately known for their alternative sexual preferences. These included George Cukor, Edmund Goulding, Mitchell Leisen, F.W. Murnau, Mauritz Stiller, James Whale, and Dorothy Arzner, who functioned with varying degrees of success in the industry. Cukor (1899-1983) is primarily famous as a prolific and assured director of women's films. His sexuality was a well known secret in Hollywood, and while it did not do substantial harm to his career, it is generally believed that his "fairy" reputation cost him the directorship of Gone With the Wind (1939), following objections from macho star Clark Gable. Although Cukor's work never overtly addresses gay issues, later critics and viewers have come to appreciate its many queer subtexts: Katharine Hepburn's cross dressing in Sylvia Scarlett (1935); the gloriously camp bitchiness in the dress and dialogue of the all women cast of The Women (1939); the effete figure of Kip in the classic Adam's Rib (1948). -
Book Reviews
BOOK REVIEWS The Rural Tradition: a Study of the Non-Fiction Prose Writers of the English Countryside. By W.J. Keith. Toronto: University of Toronto Press, 1974. Pp. xiv, 310. $15.00. Thirteen years ago, a young university teacher and novelist enquired what I had done my recently completed Ph.D. dissertation on; and when I told him it was on George Sturt and English rural labouring life, he asked if 1 was joking. I could see why. On the face of it, writers like Sturt or Richard Jefferies - assuming one knew of them at all - were simply not the kind whose non-fiction about rural life demanded academic treatment. They wrote about relatively uncomplicated beings and doings, in lucid and unostentatious prose. There were no metaphysical depths to sound in them, no paradoxes to tease out, no striking historical obscurities to elucidate. Their works did not belong in any obvious genre, and there had been no significant critical controversies about them. Yet these very qualities could make such writers peculiarly interesting to work on if one was moved by them and wanted to find out why. 1n 1965, W.J. Keith gave us the first academic book on Richard Jefferies, based in part on an MA. thesis of his own. It was a very decent piece of work, unmarred by special pleading or a self-servingly ingenious discovery of non-existent complexities, and it was well calculated to get Jefferies taken seriously by readers ignorant of, or prejudiced against, the important review-article on hirp by Q.D. Leavis in Scrutiny (1938). -
Figuring Jewishness in George Cukor's a Double Life
article Figuring Jewishness in George Cukor’s A Double Life Elyce rae Helford AbstrAct This study considers the ways in which Jewishness figures in the production of the 1947 film A Double Life, contextualized within Hollywood director George Cukor’s personal experience, film oeuvre, and the post–world war ii era in which it was released. issues of cultural assimilation and discourses of gender, race, class, and ethnicity are evident in film form, content, and especially process, including casting, direction, narrative, and visual design. From the film’s mobilization of blackface to its condemnation of “ethnic” femininity, this little-studied, oscar-nominated thriller about a murderous shakespearean actor offers valuable commentary on Jewish identity and anxieties in mid-twentieth-century America. In The American Cinema: Directors and Directions, 1929–1968, Andrew Sarris states, “It is no accident that many of [George] Cukor’s characters are thespians of one form or another.”1 Such insight is echoed and extended by multiple biographers, from Gavin Lambert (1972) and Gene D. Phillips (1982) to Patrick McGilligan (1991) and Emanuel Levy (1994), who find theater and theatricality central to the director’s films as well as his life. Before moving to Hollywood, the young Cukor was a hopeful actor, a stage manager, and a director in New York. Upon arrival in California, his first position was as speech coach to actors entering the new realm of talking pictures. And in films throughout his career, theatrical performance plays a significant role. Cukor is well known for his screen 114 | Jewish Film & New Media, Vol. 1, No. -
Loc66-Line-Up-2013.Pdf
Line-up Locarno, 17 July 2013 Via Ciseri 23, ch–6601 Locarno t +41(0)91 21 21 | f +41(0)91 21 49 [email protected] | www.pardo.ch The press kit and stills can be downloaded from our website www.pardo.ch/press (Press Area) Excerpts of some of the offi cial selection’s fi lms are available in broadcast and web quality. In order to download them, please contact the Press Offi ce ([email protected] / +41 91 756 21 21). Join the conversation: #Locarno66 www.Facebook.com/FilmFestivalLocarno www.Twitter.com/FilmFestLocarno Contents 1 Introduction by Carlo Chatrian, Artistic Director 2 Introduction by Mario Timbal, COO 3 Offi cial Juries 4 The 2013 Selection Piazza Grande Concorso internazionale Concorso Cineasti del presente Pardi di domani Fuori concorso Premi speciali Histoire(s) du cinéma Retrospettiva George Cukor Open Doors 5 Industry Days 6 Locarno Summer Academy 7 Swiss Cinema in Locarno 8 Attachments Locarno 66 – Carlo Chatrian – Frontier cinema As I set out to write this short introduction, I naturally looked back over the route covered so far. Before the fi lms themselves, the guests, the programs thought out and implemented over the past months, there fi rst came to mind the people whose substantial contributions have ensured that the Festival fi nds itself where it is today. First and foremost Mark Peranson, Head of Programming, and Nadia Dresti, our International Head, and then Lorenzo Esposito, Sergio Fant and Aurélie Godet (“my” selection committee), Alessandro Marcionni (Pardi di domani), Carmen Werner and Olmo Giovannini (Programming Offi ce), Martina Malacrida and Ananda Scepka (Open Doors). -
The Collected Lord Fred
T h e C o l l ec t e d P o e m s o f Lord fred D o u glas L o n d o n M a r t i n S e e k e r xvii Buc kingham Street Ade lphi T h e C o l l e c t e d P o e m s o f Lord fred D o u gl as L o n d o n M a r t i n S e e k e r xvu Buckingham Stre et Ade lphi LIBRAA Y UNIVE RS ITY OF CALIF ORNIA S ANTA BARBARA 0 M Y MOTHE R T HE poems in thi s collection dating from about 1 890 to the 1 1 e present year 9 9, are print d in something approximating to ch ro i d n olog c al or er. Consequently readers are invited to note that the ll best poems are not , genera y speaking, to be found in the begin i n ng of the volume . A D . Contents 1 1 Apologia , 1 Autumn Days , 3 1 To Shakespeare, 4. Am oris I Vincula , 5 1 6 A Summer Storm , 1 A Winter Sunset , 7 1 8 In Summer , 2 0 In Winter, e 2 1 In Sarum Clos , 2 2 The Sphynx, o 2 Impressi n de Nuit , 3 To L 2 4 2 Night Coming Into a Garden, 5 2 6 Night Coming Out of a Garden , P e 2 rkin Warbeck, 7 6 A Song, 3 Et ern elle Plainte , 3 7 F - - Jonquil and leur de lys , 39 A Prayer, : In Memoriam Francis Archibald Douglas , The Image of Death, Vae Victis 49 1 The Garden of Death, 5 To Sleep, 5 3 Ode to My Soul , 54. -
The Rebel, December 1918
Price 15 Cents. December, 1918. *m Vol. 3. No. 2. THE CONVENIENT Book Store *-=- TYRRELL'S HERE you will find the newest and best books classified and grouped for easy selection. HERE you will get intelligent, painstaking service by salespeople who know books and their authors. HERE Gift Books have been carefully chosen from the lists of the best publishers, having in view their suitability and desirability, thus saving both time and money to our customers. HERE money will be saved because it _is our policy to give our customers the advantage of every possible discount or "cut price." Tyrrell's Book & Art Store At Yonge and Bloor Sts., Toronto NOTE: Any book advertised here or elsewhere, supplied at lowest prices. Send for new catalogues. ANY YOUNG MAN Of* WOMAN^ Graduates Especially Succeed in Business when the General Training after a Four Year Course receives a bit of fine polish and practical direction. Shaw's School, Yonge and Gerrard, Toronto, offers Special Courses in Higher Accounting and Secretarial Work which are much appreciated by discriminating students. This School has proven the Open Door into Business to many College Graduates and to thousands of Matriculants and High School Students during the past twenty-six years. Free Curriculum mailed on request. Write W. H. SHAW, President. (Mention The Rebel) : Ehj> fUlrel Any one who wishes to read his own copy will find it as follows : CONTENTS PAGE Editorial 46 November 11th, 1918 (verse) 50 Oxford—Summer, 1918 51 Home (verse) 54 The Terrier and the China Dog 55 The Old Horse -
December 6, 2011 (XXIII:15) George Cukor, MY FAIR LADY (1964, 170 Min.)
December 6, 2011 (XXIII:15) George Cukor, MY FAIR LADY (1964, 170 min.) Directed by George Cukor Book of musical play by Alan Jay Lerner From a play by George Bernard Shaw Screenplay by Alan Jay Lerner Produced by Jack L. Warner; James C. Katz (1994 restoration) Original Music by André Previn Cinematography by Harry Stradling Sr. Film Editing by William H. Ziegler Production Design by Cecil Beaton and Gene Allen Art Direction by Gene Allen and Cecil Beaton Costume Design by Cecil Beaton and Michael Neuwirth Musical play lyrics by Alan Jay Lerner Music by Frederick Loewe Choreography by Hermes Pan Audrey Hepburn...Eliza Doolittle Rex Harrison...Professor Henry Higgins Stanley Holloway...Alfred P. Doolittle Report, 1960 Let's Make Love, 1960 Heller in Pink Tights, 1957 Wilfrid Hyde-White...Colonel Hugh Pickering Wild Is the Wind, 1957 Les Girls, 1956 Lust for Life, 1956 Gladys Cooper...Mrs. Higgins Bhowani Junction, 1954 A Star Is Born, 1954 It Should Happen Jeremy Brett...Freddy Eynsford-Hill to You, 1953 The Actress, 1952 Pat and Mike, 1952 The Theodore Bikel...Zoltan Karpathy Marrying Kind, 1950 Born Yesterday, 1950 A Life of Her Own, Mona Washbourne...Mrs. Pearce 1949 Adam's Rib, 1949 Edward, My Son, 1947 A Double Life, Isobel Elsom...Mrs. Eynsford-Hill 1944 Gaslight, 1942 Keeper of the Flame, 1940 The John Holland...Butler Philadelphia Story, 1939 The Women, 1936 Camille, 1936 Romeo and Juliet, 1935 Sylvia Scarlett, 1935 David Copperfield, 1965 Academy Awards: 1933 Little Women, 1933 Dinner at Eight, 1932 Rockabye, 1932 Best Picture – Jack L. Warner A Bill of Divorcement, 1932 What Price Hollywood?, 1931 Best Director – George Cukor Tarnished Lady, 1930 The Royal Family of Broadway, 1930 The Best Actor in a Leading Role – Rex Harrison Virtuous Sin, and 1930 Grumpy. -
Dancing Lady Robert Z. Leonard M-G-M USA 1933 16Mm 5/6/1972
Listed Screening Season Title Director Studio Country Year Format runtime Date Notes Dancing Lady Robert Z. Leonard M-G-M USA 1933 16mm 5/6/1972 The first screening ever! 11/25/1972 Per Trib article from 11/23/1972, "our meeting this Saturday will be our last until after the Holidays" Go Into Your Dance Archie Mayo Warner Bros. USA 1935 16mm 1/18/1975 per Chuck Schaden's Nostalgia Newsletter 1/1975 Sunny Side Up David Butler Fox Film Corp. USA 1929 16mm 1/25/1975 per Chuck Schaden's Nostalgia Newsletter 1/1975 Shall We Dance Mark Sandrich RKO USA 1937 16mm 2/1/1975 per Chuck Schaden's Nostalgia Newsletter 1/1975 You'll Never Get Rich Sidney Lanfield Columbia USA 1941 16mm 2/8/1975 per Chuck Schaden's Nostalgia Newsletter 2/1975 - subbed in for A Night at the Opera Stand-In Tay Garnett United Artists USA 1937 16mm 2/15/1975 per Chuck Schaden's Nostalgia Newsletter 2/1975 - subbed in for No Man Of Her Own Now And Forever Henry Hathaway Paramount USA 1934 16mm 2/22/1975 per Chuck Schaden's Nostalgia Newsletter 2/1975 Spy Smasher Returns William Witney Republic USA 1942 16mm 3/1/1975 per Chuck Schaden's Nostalgia Newsletter 3/1975 - subbed in for Sing You Sinners White Woman Stuart Walker Paramount USA 1933 16mm 3/8/1975 per Chuck Schaden's Nostalgia Newsletter 1/1975 Broadway Gondolier Lloyd Bacon Warner Bros. USA 1935 16mm 3/15/1975 per Chuck Schaden's Nostalgia Newsletter 4/1975 Argentine Nights Albert S. -
Katharine Hepburn Season February – March 2015
Katharine Hepburn season February – March 2015 BFI Southbank today announces a season dedicated to one of Hollywood’s most iconic actresses, Katharine Hepburn. Taking place from 1 February – 19 March 2015, this season will feature 24 of her most famous films, including Bringing Up Baby (1938), The African Queen (1951), The Lion in Winter (1968), On Golden Pond (1981) and an extended run of The Philadelphia Story (1940), re- released by the BFI in selected cinemas across the UK from February 13. Hepburn worked with some of the greatest leading men and the most successful directors of the golden era of Hollywood, including Spencer Tracy, Cary Grant and Howard Hawks, and won four Oscars® for acting, a record which is yet to be bettered. She was brilliantly versatile and could handle serious drama or the lightest of comedies with a rare grace and charm, but she was best at portraying a new kind of fiercely independent woman. Raised in Connecticut by wealthy, progressive parents, Hepburn began to act at college and her early years in the industry were successful and saw her win her first Oscar for her third film Morning Glory (1933). However, this period was followed by a series of commercial failures such as Sylvia Scarlett (1935), Stage Door (1937) and one of her finest films Howard Hawks’ Bringing Up Baby (1938) opposite Cary Grant, with whom she would star in four films. Along with her reputed bossy demeanour and unfeminine image, these film failures led her to be labelled as box office poison. However, this unpopularity also ensured a degree of control over her career that saw her snatch back success on her own terms, and left a string of incomparably assured, complex and winning performances. -
Bertram Rota
January 2013 Bertram Rota Ltd 31 LONG ACRE COVENT GARDEN, LONDON WC2E 9LT Telephone: + 44 (0) 20 7836 0723 * Fax: + 44 (0) 20 7497 9058 E-mail: [email protected] www.bertramrota.co.uk IN OUR NINETIETH ANNIVERSARY YEAR From the Gavin H. Fryer Collection a fine selection of works by Joseph Conrad, Compton Mackenzie, V.S. Pritchett and others Catalogue 308 Part II Established 1923 TERMS OF BUSINESS. The items in this catalogue are offered at net sterling prices, for cash upon receipt. Charges for postage and packing will be added. All books are insured in transit. PAYMENT. We accept cheques and debit and credit cards (please quote the card number, start and expiry date and 3 digit security code as well as your name and address). For direct transfers: HSBC, 129 New Bond Street, London, W1A 2JA, sort code 40 05 01, account number 50149489 . VAT is added and charged on autograph letters and manuscripts (unless bound in the form of a book), drawings, prints and photographs WANTS LISTS. We are pleased to receive lists of books especially wanted. They are given careful attention and quotations are submitted without charge. We also provide valuations of books, manuscripts, archives and entire libraries. HOURS OF BUSINESS. We are open from 10.30 to 6.00 from Monday to Friday. Appointment recommended. Unless otherwise described, all the books in this catalogue are published in London, in the original cloth or board bindings, octavo or crown octavo in size. Dust-wrappers should be assumed to be present only when specifically mentioned. Featuring in particular works by Conrad and those two other literary masters of their time, Compton Mackenzie and V.S.