The Innocents Wednesday 26Th March, 1.00Pm, Omniplex
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1 MAIN TITLE 2 THE SMOKING FROG 3 BEDTIME AT BLYE HOUSE 4 NEW CLOTHES FOR QUINT 5 THE CHILDREN'S HOUR 6 PAS DE DEUX 7 LIKE A CHICKEN ON A SPIT 8 ALL THAT PAIN 9 SUMMER ROWING 10 QUINT HAS A KITE 11 PUB PIANO 12 ACT TWO PRELUDE: MYLES IN THE AIR 13 UPSIDE DOWN TURTLE 14 AN ARROW FOR MRS. GROSE 15 FLORA AND MISS JESSEL 16 TEA IN THE TREE 17 THE FLOWER BATH 18 PIG STY 19 MOVING DAY 20 THE BIG SWIM 21 THROUGH THE LOOKING GLASS 22 BURNING DOLLS 23 EXIT PETER QUINT, ENTER THE NEW GOVERNESS; RECAPITULATION AND POSTLUDE MUSIC COMPOSED AND CONDUCTED BY JERRY FIELDING WE DISCOVER WHAT When Marlon Brando arrived in THE NIGHTCOMERS had allegedly come HAPPENED TO THE Cambridgeshire, England, during January into being because Michael Winner wanted to of 1971, his career literally hung in the direct “an art film.” Michael Hastings, a well- GARDENER PETER QUINT balance. Deemed uninsurable, too troubled known London playwright, had constructed a and difficult to work with, the actor had run kind of “prequel” to Henry James’ famous novel, AND THE GOVERNESS out of pictures, steam, and advocates. A The Turn of the Screw, which had been filmed couple of months earlier he had informed in 1961, splendidly, as THE INNOCENTS. MARGARET JESSEL author Mario Puzo in a phone conversation In Hastings’ new story, we discover what that he was all washed up, that no one was happened to the gardener Peter Quint and going to hire him again, least of all to play the governess Margaret Jessel: specifically Don Corleone in the upcoming film version how they influenced the two evil children, of Puzo’s runaway best-seller, The Godfather. -
Newark Works to Control Rowdies
JJB tA · UNIVERSITY OF DELAWAR.- [J c 3 19 l:i Caravel Academy reaches state football tournament/lb Bid for Bachelors blues/18a The Maley era ends/lh Newark works to control rowdies Off-campus studen~, landlords targeted Newark City Council has asked staff to continue with plans for a comprehensive program to deal with rowdy behavior by Univer sity of Delaware students living off campus. The cornerstone of the pro gram, City Planning Director Roy Lopata told Council Monday night, is a proposed ordinance I' which would provide the city the power to revoke landlords' rental permits H tenants are convicted of violating noise and disorderly premises ordinances more than once during the permit's one year lifetime. "This is one of the key items because it goes to the pocket books of the landlords themselves," Lopata said. Council plans to seek advice on &be lunch·Is hot the legality of the ordinance and · There are other, Uke single may consider it for passage at a man, who bave found their way later date. to the wanritb of the commWilty Also being proposed is an in church's lower level. They sit crease in the rental permit fee together 1n passive conversation from $25 to $100 per year, Lopata of muffled tones at tables said. modestly. dressed with paper Council has become increas clOthes and flowers. Moat of the ingly concerned about ~~ ha'Ve telt the brunt Of misbehavior by students living in *•a idsfortune, many are . clitrQheiU'ted. and ~ged. residential areas the past two years. The issue has become a I$Ut1n the atmosphere of Hope city concern because the Univer QJning Room, they talk of past sity of Delaware has limited on ...,_..ences and bard times and campus housing, and has no ~to console each ether. -
Lunch with Jason King” - Nick Wray's Short Stories and Bedtime Tales from the Past, Present and Future of the Digital Age
From “Lunch with Jason King” - Nick Wray's short stories and bedtime tales from the past, present and future of the Digital Age. Includes, ‘Three Clicks’ (full-version also available on the website here) as well as 'Machines for Singing', 'The Beach at Narbonne' and cult-classic 'Lunch with Jason King.’ As a tribute to mark the death of Peter Wyngarde, announced today (Friday 18th January 2018) I’m making this short story available, free of charge, for a limited time. It was inspired, in part, by the appalling Daily Mail ‘news’ story: “Is that really Jason King...” at: http://www.dailymail.co.uk/tvshowbiz/article-1259498/Is-really-Jason-King- suavest-man-TV.html If you enjoy it, please feel free to forward it to anyone else you know who admired the man and his various ‘parts’! More stories at www.lunchwithjasonking.com This file may be shared with other users for non-commercial use subject to the following conditions 1). This document remains unchanged in any way; 2). The Author, Nick Wray, is always attributed as the creator of this work, and 3). it’s source ‘Lunch with Jason King’ by Nick Wray – and the web address above – is fully and clearly attributed in any use. All other rights reserved. Nick Wray asserts his moral right to be identified as the author of this work. Lunch with Jason King The bloody sod was late. TV, media-types always were, weren’t they? A breeze stirred as he looked around, once again, searching the restaurant terrace. “One o’clock” he’d said. -
THE INNOCENTS Directed by Jack Clayton UKUS, 1961, 100 Mins, Cert 12A
THE INNOCENTS Directed by Jack Clayton UKUS, 1961, 100 mins, Cert 12A Starring Deborah Kerr, Peter Wyngarde, Michael Redgrave Martin Stephens, Pamela Franklin Opening on 13 December 2013 at BFI Southbank, IFI Dublin, QFT Belfast & selected cinemas nationwide 24 October 2013 – The second of three films to be released by the BFI in cinemas nationwide as part of GOTHIC: The DarK Heart of Film is Jack Clayton’s 1961 feature The Innocents, now widely considered to be one of the greatest of all cinematic tales of terror. This celebrated adaptation of Henry James’s The Turn of the Screw (1898) was scripted by William Archibald (whose play of the book had been on Broadway) and Truman Capote, with additional scenes and dialogue by John Mortimer. A brilliant exercise in psychological horror, The Innocents tells of an impressionable and repressed governess, Miss Giddens (Deborah Kerr), who agrees to tutor two orphaned children, Miles (Martin Stephens) and Flora (Pamela Franklin). On arrival at Bly House, she becomes convinced that the children are possessed by the perverse spirits of former governess Miss Jessel (Clytie Jessop) and her Heathclifflike lover Quint (Peter Wyngarde), who both met with mysterious deaths. The sinister atmosphere of The Innocents is carefully created – not through shocK tactics – but through its cinematography, soundtrack, and decor: Freddie Francis’ beautiful CinemaScope photography, with its eerily indistinct long shots and mysterious manifestations at the edges of the frame; Georges Auric’s eVocative and spooky soundtrack; and the grand yet decaying Bly House, with spiders crawling from dilapidated statues, ants from the eyes of dolls, and rooms coVered in dust sheets. -
Essential Journalism and Media Writing
Казанский (Приволжский) федеральный университет Институт языка Кафедра английского языка Essential Journalism and Media Writing Учебное пособие для студентов, обучающихся по специальности «Журналистика» - 031300.62; 031300.68 Казанский (Приволжский) федеральный университет 2012 1 Печатается по решению Редакционно-издательского совета ФГАОУВПО «Казанский (Приволжский) федеральный университет» Заседания Учёного совета Института Языка КФУ Протокол № от 24 октября 2012 г. заседания кафедры английского языка Протокол № от 17 октября 2012 г. Составители: А.А. Благовещенская, А.А. Гильманова, С.Е. Никитина, Г.И. Сосновская Научный редактор Рецензенты: Essential English and Media Writing: Учебное пособие для студентов, обучающихся по специальности «Журналистика»/ А.А. Благовещенская, А.А. Гильманова, С.Е. Никитина, Г.И. Сосновская – Казань: Казанский (Приволжский) федеральный университет, 2012. – 24. Данное пособие предназначено для студентов, обучающихся по специальности «Журналистика», и содержит материалы по специальности, дополняющие основной курс английского языка. Пособие также адресовано всем тем, кто интересуется проблемами современной журналистики. © Казанский (Приволжский) федеральный университет, 2012 2 Предисловие В современных условиях английский язык стал официальным международным языком науки и бизнеса и является частью объективной реальности, поэтому одной из важнейших характеристик современного учѐного, специалиста и практика- профессионала является умение работать с оригинальными источниками на английском языке, читать и переводить -
The Little Foxes Program
THE LITTLE FOXES 2016/17 SEASON We are deeply saddened by the recent passing of Zelda Fichandler, Arena Stage’s co-founder and first Artistic Director. She was 91. Zelda was an extraordinary woman and brilliant theater professional who transformed American theater with her vision and artistry. From Artistic Director Molly Smith: Zelda is the mother of us all in the American theater. It was her thinking as a seminal artist and architect of the not-for-profit resident theater that imagined resident theaters creating brilliant theater in our own communities. A revolutionary idea. Her thinking and her writing have forged the way we were created and the resident nature of our movement. She is irreplaceable but lives on in every single not-for-profit theater in America — now over 1,500 strong. Her legacy stretches from coast to coast. Arthur Miller wrote in the preface to Arena’s 40th anniversary keepsake book (The Arena Adventure) that Arena had the makings of a national theater for the U.S. Without Zelda and Margo Jones and Nina Vance there would not be this robust American theater landscape. So, it was a vision like Zelda’s that could lead to a time where our vision at Arena for American work can thrive. She had a remarkable openness to new ideas and most of all, to always, always support the artist. Our thoughts and prayers go out to her family and friends who knew her best. The Lillian Hellman Festival is dedicated to the memory of Zelda Fichandler. 2 2016/17 SEASON Remembering Zelda Fichandler1924 - 2016 Celebrate the Life of Zelda Fichandler The Words of a Visionary The Molly Smith Study Sunday, October 23 2:00 PM - 7:00 PM Public Memorial Service The Fichandler Monday, October 24 2:00 PM - 4:00 PM VISIT ARENASTAGE.ORG/ZELDA FOR MORE INFORMATION. -
Shakespeare on Film, Video & Stage
William Shakespeare on Film, Video and Stage Titles in bold red font with an asterisk (*) represent the crème de la crème – first choice titles in each category. These are the titles you’ll probably want to explore first. Titles in bold black font are the second- tier – outstanding films that are the next level of artistry and craftsmanship. Once you have experienced the top tier, these are where you should go next. They may not represent the highest achievement in each genre, but they are definitely a cut above the rest. Finally, the titles which are in a regular black font constitute the rest of the films within the genre. I would be the first to admit that some of these may actually be worthy of being “ranked” more highly, but it is a ridiculously subjective matter. Bibliography Shakespeare on Silent Film Robert Hamilton Ball, Theatre Arts Books, 1968. (Reissued by Routledge, 2016.) Shakespeare and the Film Roger Manvell, Praeger, 1971. Shakespeare on Film Jack J. Jorgens, Indiana University Press, 1977. Shakespeare on Television: An Anthology of Essays and Reviews J.C. Bulman, H.R. Coursen, eds., UPNE, 1988. The BBC Shakespeare Plays: Making the Televised Canon Susan Willis, The University of North Carolina Press, 1991. Shakespeare on Screen: An International Filmography and Videography Kenneth S. Rothwell, Neil Schuman Pub., 1991. Still in Movement: Shakespeare on Screen Lorne M. Buchman, Oxford University Press, 1991. Shakespeare Observed: Studies in Performance on Stage and Screen Samuel Crowl, Ohio University Press, 1992. Shakespeare and the Moving Image: The Plays on Film and Television Anthony Davies & Stanley Wells, eds., Cambridge University Press, 1994. -
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. -
ENG 6392 9111 23343 Mowchun
1 ENG 6392. Film and Video Production—"Theory and Practice of Film Adaptation" Spring 2020 Instructor: Dr. Trevor Mowchun Class: Wednesday, Period 6 - 8 (12:50 PM - 3:50 PM); Seminar Room (TUR 4112) Screening: Monday, Period 9 - 11 (4:05 PM - 7:05 PM); Room: ROL 115; Projectionist: Elizabeth Hernandez *Due to availability of projectionists, some screenings will start at 4:15pm Office hours (TUR 4336): Tuesday 3:15pm – 4:15pm, Thursday 4:30pm – 5:30pm, or by appointment. Email: [email protected] (please allow at least 24 hours for a response) Office phone number: 352-294-2839 Media Assistant: Jack Edmondson (TUR 4303) Availability: 10:40 AM - 1:40 PM, Tuesday: N/A, Wednesday: 5:10 PM - 7:05 PM, Thursday: 11:45 AM - 1:40 PM, Friday: 10:40 AM - 12:50 PM * Students can also reach Jack by email: [email protected], call or text at: 954-695-3720 "Theory and Practice of Film Adaptation" In this hybrid seminar workshop, students will have the opportunity to adapt a literary work of fiction, non-fiction or poetry into a filmable screenplay, one or two of which will be made into a short/medium length film by the end of the semester. To prepare for such a venture, we will address various issues at work in the field of film adaptation from writers such as André Bazin, Linda Hutcheon and Thomas Leitch, in addition to some practical dimensions from Linda Segar’s manual. We will also consider the cinema’s own natural predisposition towards adaptation, debate the value of remaining faithful to the original literary text versus betraying it, updating it, or exploiting its power to spur the imagination in unexpected ways, and ultimately as practitioners to experiment with the process by which “the spirit” of a literary work can be adapted and perhaps rendered complete by cinematic embodiment. -
Thought, Feeling, and the Cinema of Francis Ford Coppola: the Rain People As Exemplum
CHAPTER 12 THOUGHT, FEELING, AND THE CINEMA OF FRANCIS FORD COPPOLA: THE RAIN PEOPLE AS EXEMPLUM The Coppolas, Francis Ford and his daughter, Sophia, both have the same artistic problem: neither is a thinker. The father has always been short on thought; indeed, he stumbles when he thinks, when he thinks he’s thinking. The Godfather (1972, 1974, 1990) was strongest in its execution—also its executions—not in its adolescent implications of analogy between the Mafia and corporate capitalism (an analogy that ignores, among other things, the origins of the Mafia and its blood bonds of loyalty, which have nothing to do with capitalism). The Conversation (1974) faltered in its Orwellian idea-structure. And in Apocalypse Now (1979), the attempts to dramatize private moral agony and general moral abyss during the Vietnam War were disjointed, assumptive, weak, for all of Vittorio Storaro’s aptly hallucinogenic color cinematography. Even Coppola’s scripts for others have suffered from woolly thinking: his screenplay for Jack Clayton’s The Great Gatsby (1974), for example, turned Fitzgerald’s supple suggestiveness into mindless blatancy; and his scenario for Franklin Schaffner’s Patton (1970) presented the glaringly contradictory nature of this famous general as praiseworthy, even fathomless, complexity. That’s the top of the heap. From there, we head down to Coppola’s blotchy script for René Clément’s Is Paris Burning? (1966), a rambling, pseudo-documentary recreation of the liberation of Paris from Nazi occupation. Then we get to the adaptations of Tennessee Williams’ This Property Is Condemned and Carson McCullers’ Reflections in a Golden Eye, for Sydney Pollack (1966) and John Huston (1967) respectively, in which Coppola—who began his career in the early 1960s as a director of short sex films—manages to denude the world of Southern Gothicism of all but its trash, its kinkiness, and its pretense. -
Music by BENJAMIN BRITTEN Libretto by MYFANWY PIPER After a Story by HENRY JAMES Photo David Jensen
Regent’s Park Theatre and English National Opera present £4 music by BENJAMIN BRITTEN libretto by MYFANWY PIPER after a story by HENRY JAMES Photo David Jensen Developing new creative partnerships enables us to push the boundaries of our artistic programming. We are excited to be working with Daniel Kramer and his team at English National Opera to present this new production of The Turn of the Screw. Some of our Open Air Theatre audience may be experiencing opera for the first time – and we hope that you will continue that journey of discovery with English National Opera in the future; opera audiences intrigued to see this work here, may in turn discover the unique possibilities of theatre outdoors. Our season continues with Shakespeare’s As You Like It directed by Max Webster and, later this summer, Maria Aberg directs the mean, green monster musical, Little Shop of Horrors. Timothy Sheader William Village Artistic Director Executive Director 2 Edward White Benson entertained the writer one One, about the haunting of a child, leaves the group evening in January 1895 and - as James recorded in breathless. “If the child gives the effect another turn of There can’t be many his notebooks - told him after dinner a story he had the screw, what do you say to two children?’ asks one ghost stories that heard from a lady, years before. ‘... Young children man, Douglas, who says that many years previously he owe their origins to (indefinite in number and age) ... left to the care of heard a story too ‘horrible’ to admit of repetition. -
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.