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The Representation of Reality and Fantasy in the Films of Powell and Pressburger: 1939-1946
The Representation of Reality and Fantasy In the Films of Powell and Pressburger 1939-1946 Valerie Wilson University College London PhD May 2001 ProQuest Number: U642581 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest. ProQuest U642581 Published by ProQuest LLC(2015). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. Microform Edition © ProQuest LLC. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 The Representation of Reality and Fantasy In the Films of Powell and Pressburger: 1939-1946 This thesis will examine the films planned or made by Powell and Pressburger in this period, with these aims: to demonstrate the way the contemporary realities of wartime Britain (political, social, cultural, economic) are represented in these films, and how the realities of British history (together with information supplied by the Ministry of Information and other government ministries) form the basis of much of their propaganda. to chart the changes in the stylistic combination of realism, naturalism, expressionism and surrealism, to show that all of these films are neither purely realist nor seamless products of artifice but carefully constructed narratives which use fantasy genres (spy stories, rural myths, futuristic utopias, dreams and hallucinations) to convey their message. -
The North of England in British Wartime Film, 1941 to 1946. Alan
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by CLoK The North of England in British Wartime Film, 1941 to 1946. Alan Hughes, University of Central Lancashire The North of England is a place-myth as much as a material reality. Conceptually it exists as the location where the economic, political, sociological, as well as climatological and geomorphological, phenomena particular to the region are reified into a set of socio-cultural qualities that serve to define it as different to conceptualisations of England and ‘Englishness’. Whilst the abstract nature of such a construction means that the geographical boundaries of the North are implicitly ill-defined, for ease of reference, and to maintain objectivity in defining individual texts as Northern films, this paper will adhere to the notion of a ‘seven county North’ (i.e. the pre-1974 counties of Cumberland, Westmorland, Northumberland, County Durham, Lancashire, Yorkshire, and Cheshire) that is increasingly being used as the geographical template for the North of England within social and cultural history.1 The British film industry in 1941 As 1940 drew to a close in Britain any memories of the phoney war of the spring of that year were likely to seem but distant recollections of a bygone age long dispersed by the brutal realities of the conflict. Outside of the immediate theatres of conflict the domestic industries that had catered for the demands of an increasingly affluent and consuming population were orientated towards the needs of a war economy as plant, machinery, and labour shifted into war production. -
WHYTE's Movie Posters 31 May 2014 Results
, WHYTE S SINCE 1783 MOVIE POSTERS SATURDAY 31 MAY 2014 MOVIEA SinglePOST Owner CollectionERS SATURDAY 31 MAY 2014 VIEWING At our galleries 38 Molesworth Street, Dublin 2 Wednesday 28 May 10am to 5pm Thursday 29 May 10am to 7pm Friday 30 May 10am to 7pm Saturday 31 May 10am to 12 noon AUCTION Saturday 31 May at 12 noon The Freemasons Hall, 17 Molesworth Street, Dublin 2 ENQUIRIES Whyte's 38 Molesworth Street Dublin 2 Tel: 01 676 2888 Fax: 01 676 2880 E-mail: [email protected] BIDS Whyte's 38 Molesworth Street Dublin 2 Tel: 01 676 2888 Fax: 01 676 2880 E-mail: [email protected] Live bidding and on-line bids: www.whytes.ie Whyte’s Auction App WEBSITES now available for free download whytes.ie whytes.com Opposite: Ex lot 5, Gone With The Wind (detail) DESIGN: DES KIELY DESIGN PHOTOGRAPHY: GILLIAN BUCKLEY PRINTING: BRUNSWICK PRESS LTD. , © COPYRIGHT 2014 WHYTE AND SONS AUCTIONEERS LTD. WHYTE S ALL RIGHTS RESERVED SINCE 1783 TERMS AND CONDITIONS OF SALE NOTICE Whyte & Sons Auctioneers Limited, trading as Whyte’s, exercises all (c) If any lot sold at this auction is subsequently proved to be a reasonable care to ensure that all descriptions are reliable and accurate, “deliberate forgery”, Whyte’s will cancel the sale and refund to the buyer and that each item is genuine unless the contrary is indicated. However, the total amount paid by the buyer for the item, in the currency of the the descriptions are not intended to be, are not and are not to be taken original sale. -
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. -
Archers Assemble: Creating the Powell-Pressburger Partnership
23 SEPTEMBER 2019 Archers Assemble: Creating the Powell-Pressburger Partnership PROFESSOR IAN CHRISTIE A talk about Michael Powell and Emeric Pressburger obviously shouldn’t start at the beginning. If we follow the dream-like logic of many of their films, it should probably start at the end, or even later. In fact, Powell showed the way, when he ended his second volume of memoirs, Million Dollar Movie, with a visit to Pressburger at his Suffolk retreat, Shoemaker’s Cottage. He has Emeric explain what the secret of their partnership: ‘you and I know what it means… The only secret is that we are amateurs. Telling a story is not a business. It is an art, and we are different from other artists because we were left alone by Arthur Rank for ten years to go our own sweet way, thinking we were professionals.’ That imagined visit is actually dated to the day of Pressburger’s death, in February 1988, and it was published five years later, after Powell’s own death. Like the endings, and beginnings, of many of their great films, it offers an enigmatic clue to what made their work remarkable, and probably unique in 1940s cinema. Both Powell and Pressburger had benefited from a hard schooling in film construction during the 1930s. Pressburger had worked his way up in the script department of UFA, Europe’s most professional film organisation, before he was forced to start again, in another language, in Paris after Hitler came to power; and yet again, in yet another language in Britain, working for fellow-Hungarian Alexander Korda. -
Boxoffice Barometer (April 15, 1963)
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Film Club Sky 328 Newsletter Freesat 306 OCT/NOV 2020 Virgin 445
Freeview 81 Film Club Sky 328 newsletter Freesat 306 OCT/NOV 2020 Virgin 445 Dear Supporters of Film and TV History, Hoping you are all well in these strange times. It has certainly been a month of ‘Keep Calm and Carry On’ here! We were so sad to hear the recent news of the sad loss of French singer and actress Juliet Gréco who was recently seen in Whirpool and The Big Gamble on Talking Pictures TV. Also, our own dear Dame Diana Rigg DBE sadly passed away recently; there is a tribute to her on page 12. Good news on the ‘lost film can’ front – we’ve found another episode of No Hiding Place on 16mm from a viewer’s private collection! Lots of interesting short films have also been brought forward – so do keep on checking your lofts, sheds and under the bed…. I’m very proud of our new DVD release this month - it’s a charming film with George Cole and Prunella Scales:The Ghost of Greville Lodge. A wonderful film for all the family and a nice gift. Noel was the Executive Producer on the film and we have very fond memories as a family of being on set with George and Prunella. I was actually supposed to play one of the parts, but alas I didn’t make it through to the final audition! It’s now presented with optional subtitles for the very first time and just £10 with FREE UK postage. Details on pages 2 and 3. The second project I’ve been working on this month is a wonderful AUDIO BOOK of SCROOGE narrated by dear George Cole himself. -
O Elo Perdido Da Fotografia
“CONSCIÊNCIA DAS CORES”: NATALIE KALMUS E O TECHNICOLOR NA GRÃ-BRETANHA Sarah Street Quando o Technicolor foi visto pela primeira vez nos cinemas da Grã-Bretanha, ele foi recebido por uma onda de opiniões contraditórias, desde a queixa perplexa de que “com a tela em um ardente motim de cores é impossível se concentrar totalmente em qualquer indivíduo em particular” até a alegação de que “filmes em preto e branco em breve serão uma coisa do passado.”1 Os modos do discurso contemporâneo a respeito da cor frequentemente abordavam o impacto das cores no público que, temia-se, poderia ser distraído por sua aparência espetacular no contexto do cinema narrativo. Para muitos diretores, diretores de fotografia e diretores de arte, contudo, a escolha da cor demonstrava o seu fascínio como registro simbólico, como uma ferramenta para apoiar a narrativa e como técnica expressiva. Este ensaio discute a chegada do Technicolor na Grã-Bretanha e o impacto que teve sobre as práticas vigentes, bem como sobre os regimes estéticos. Filmes que demonstram notáveis, variados e por vezes extraordinários usos do Technicolor – Idílio cigano (Wings of the Morning, Harold D. Schuster, 1937), O ladrão de Bagdá (The Thief of Bagdad, Ludwig Berger et al., 1940) e Narciso negro (Black Narcissus, Michael Powell e Emeric Pressburger, 1947) – servirão como estudos de caso para demonstrar como concentrar-se na cor convida a uma combinação de perspectivas analíticas e teóricas que revelam os complexos desafios colocados por ela para os estudos de cinema. Apesar de a cor ter recebido certa atenção nos comentários contemporâneos, nas histórias da tecnologia do cinema, na teoria do cinema e na crítica, isso de maneira alguma formou um corpus extenso; este ensaio tem a intenção de contribuir para o renovado interesse na cor ao 1 SIMPSON, Shirley R. -
File Stardom in the Following Decade
Margaret Rutherford, Alastair Sim, eccentricity and the British character actor WILSON, Chris Available from the Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/17393/ A Sheffield Hallam University thesis This thesis is protected by copyright which belongs to the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Please visit http://shura.shu.ac.uk/17393/ and http://shura.shu.ac.uk/information.html for further details about copyright and re-use permissions. Sheffield Hallam University Learning and IT Services Adsetts Centre City Campus 2S>22 Sheffield S1 1WB 101 826 201 6 Return to Learning Centre of issue Fines are charged at 50p per hour REFERENCE Margaret Rutherford, Alastair Sim, Eccentricity and the British Character Actor by Chris Wilson A thesis submitted in partial fulfilment of the requirements of Sheffield Hallam University for the degree of Doctor of Philosophy September 2005 I should like to dedicate this thesis to my mother who died peacefully on July 1st, 2005. She loved the work of both actors, and I like to think she would have approved. Abstract The thesis is in the form of four sections, with an introduction and conclusion. The text should be used in conjunction with the annotated filmography. The introduction includes my initial impressions of Margaret Rutherford and Alastair Sim's work, and its significance for British cinema as a whole. -
S Is for Stanley
Talking Pictures TV www.talkingpicturestv.co.uk Highlights for week beginning SKY 328 | FREEVIEW 81 Mon 17th February 2020 FREESAT 306 | VIRGIN 445 S is for Stanley on Talking Pictures TV 30 Years Behind the Wheel for Stanley Kubrick This award winning documentary film depicts the 30-year relationship between legendary film director Stanley Kubrick and his chauffeur and assistant, Emilio D’Alessandro. Based on his autobiography, Stanley Kubrick and Me, the film is a personal glimpse of the man behind the myth. With a wealth of previously unknown material drawn from D’Alessandro’s personal archives, the film sheds new light on Kubrick and his film-making, which included: 2001: A Space Odyssey, A Clockwork Orange, Barry Lyndon, The Shining and Eyes Wide Shut in which D’Alessandro himself played a cameo role. One of the film’s pleasures is seeing and hearing Kubrick’s many memos, requesting things like birthday party supplies for his children, room thermometers and medication for his pets; both fondness and frustration are clear in this detailed portrait. Airs on Fri 21st Feb at 09:40am. Mon 17th Feb 09:15 Tues 18th Feb 15:55 Man of the Moment (1955) Five Guns West (1955) Director: John Paddy Carstairs Western, directed by: Roger Corman. Starring: Norman Wisdom, Belinda Stars: John Lund, Dorothy Malone, Lee, Lana Morris and Jerry Desmonde. Mike Connors, Jack Ingram. Humble civil service filing clerk A Confederate officer leads a band Norman becomes British delegate to of prisoners in search of a stolen a diplomatic conference in Geneva. shipment of Union gold. -
Renown Pictures New Dvd Release Includes Everything on These Two Pages
Freeview 81 Film Club Sky 328 newsletter Freesat 306 JULY/AUGUST 2021 Virgin 445 You can always call us V 0808 178 8212 Or 01923 290555 Dear Supporters of Film and TV History, We are excited to announce that our first confirmed guest for Stockport on Sunday October 10th is the lovely Amanda Barrie, Carry On star and TV soap queen, with many film & TV appearances; you may have seen her on TPTV in What a Whopper, I’ve Gotta Horse, Doctor in Distress and A Pair of Briefs among others. We are delighted to tell you that our hosts for the day will be Frazer Hines & Jenny Hanley. The day before, at the Savoy Cinema in Heaton Moor, our Saturday Morning Pictures show will be great fun for all you kids aged 50+! Tickets include breakfast roll, tea/coffee, free popcorn and a limited edition enamel badge. There will be prizes, a great line up of films & shorts on screen and audience participation. We are also looking forward to meeting our fellow film boffins at the Savoy for a quiz with afternoon tea.To those of you who have booked places for these events, tickets with information packs will be dispatched in August as ‘happy days are here again’ to quote dear Betty Driver! If you haven’t booked yet, grab your tickets quick – more details on page 11 and page 29. We can’t wait to see you all again! This month we are proud to present the latest in our Crime Collection series, Volume 8. This includes 11 rare and previously lost films, such asThe Girl on the Pier with Veronica Hurst; the once lost short, Vacant Possession with Brian Murphy; and Sid James & Bonar Colleano in Escape by Night.