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Catalogo Giornate Del Cinema Muto 2011
Clara Bow in Mantrap, Victor Fleming, 1926. (Library of Congress) Merna Kennedy, Charles Chaplin in The Circus, 1928. (Roy Export S.A.S) Sommario / Contents 3 Presentazione / Introduction 31 Shostakovich & FEKS 6 Premio Jean Mitry / The Jean Mitry Award 94 Cinema italiano: rarità e ritrovamenti Italy: Retrospect and Discovery 7 In ricordo di Jonathan Dennis The Jonathan Dennis Memorial Lecture 71 Cinema georgiano / Georgian Cinema 9 The 2011 Pordenone Masterclasses 83 Kertész prima di Curtiz / Kertész before Curtiz 0 1 Collegium 2011 99 National Film Preservation Foundation Tesori western / Treasures of the West 12 La collezione Davide Turconi The Davide Turconi Collection 109 La corsa al Polo / The Race to the Pole 7 1 Eventi musicali / Musical Events 119 Il canone rivisitato / The Canon Revisited Novyi Vavilon A colpi di note / Striking a New Note 513 Cinema delle origini / Early Cinema SpilimBrass play Chaplin Le voyage dans la lune; The Soldier’s Courtship El Dorado The Corrick Collection; Thanhouser Shinel 155 Pionieri del cinema d’animazione giapponese An Audience with Jean Darling The Birth of Anime: Pioneers of Japanese Animation The Circus The Wind 165 Disney’s Laugh-O-grams 179 Riscoperte e restauri / Rediscoveries and Restorations The White Shadow; The Divine Woman The Canadian; Diepte; The Indian Woman’s Pluck The Little Minister; Das Rätsel von Bangalor Rosalie fait du sabotage; Spreewaldmädel Tonaufnahmen Berglund Italianamerican: Santa Lucia Luntana, Movie Actor I pericoli del cinema / Perils of the Pictures 195 Ritratti / Portraits 201 Muti del XXI secolo / 21st Century Silents 620 Indice dei titoli / Film Title Index Introduzioni e note di / Introductions and programme notes by Peter Bagrov Otto Kylmälä Aldo Bernardini Leslie Anne Lewis Ivo Blom Antonello Mazzucco Lenny Borger Patrick McCarthy Neil Brand Annette Melville Geoff Brown Russell Merritt Kevin Brownlow Maud Nelissen Günter A. -
Scrutinised Long Manifestos - Tt20 (2Nd Election)
SCRUTINISED LONG MANIFESTOS - TT20 (2ND ELECTION) CANDIDATES FOR PRESIDENT-ELECT Amy Gregg (Ex-Treasurer, Exeter College ) - Candidate for President-Elect - Long Manifesto The Union has had significant setbacks in the last few years. I did not intend to run this term, but it is clear that the Union needs a President who has the experience and the capability to set it back on the right course. The Union can do so much better, and the Union must do so much better. As an undergraduate, I was President of the Cambridge Union. During this time I ran a record-setting membership drive, managed a £100,000 budget, and hosted over thirty speakers including Stephen Fry, Quentin Blake and Moazzam Begg. After leaving Cambridge I was a trainee solicitor at a Magic Circle Law firm, and I now hold an offer for a pupillage to be a barrister. I have real world experience which I can use to improve our Union as well. I previously served on committee for 7 terms. In this time I arranged 5 debates, including confirming 5/6 speakers for the Comedy debate. I ran Debates, Panels and Speaker events, confirmed multiple speakers and chaired the Union’s largest committee. I also spent over 50 days of vacation working for the Union and made 3 winning paper speeches. As Treasurer I secured 29 debate Floor Prizes, 12 New Treasurer’s Treats and coordinated sponsorship from a major Scholarship fund - ensuring transparency by publishing the audited accounts on the app. This demonstrates that I have the ability to run the Union, but it also made me realise: the Union needs real change - change only an experienced President can bring. -
Freshers' Guide
Freshers’ Guide 2020 Freshers’ Emmanuel Postgraduate Prepared by Emmanuel College MCR Contents Contents 1 Welcome 2 MCR Committee 4 How to get here 10 College 12 Accommodation 13 What to bring 18 What’s What and Who’s Who 22 Welfare 26 Disability 29 Students with Families 32 Healthy relationships 33 International students 42 Religion 45 Being Green 46 Computing 47 Sports and other activities 50 Cambridge Life 53 Freshers’ week 58 1 Welcome to Emmanuel Hello! Congratulations on joining Emmanuel — ‘Emma’ as it is affectionately known — and beginning your new postgraduate course. We are thrilled that you have chosen Emma to be your college and we hope that you are excited to be starting at Emma, and at Cambridge. But you probably also have a lot of questions. We hope that this guide will provide answers to some of those questions along with lots of other useful information, both for planning your arrival and once you are here. But let’s start right at the beginning, because some of you may be wondering what Emmanuel even is - you thought you were joining Cambridge! Well, you are. The University of Cambridge is at the same time one thing and many, being made up of many faculties and departments, and colleges. As a postgraduate student you will belong to both a department, responsible for your education, and to a college, responsible for your pastoral care, accommodation and an important part of your social life. So who are ‘we’? Emma has its own student unions, who represent the students to College and vice versa, and run various events. -
Juniper Hill Conservation Area Appraisal March 2009
Juniper Hill Conservation Area Appraisal March 2009 Planning, Housing and Economy Contents Page 1. Introduction 3 2. Planning Policy Context 4 3. Location and Topography 7 4. History of Kidlington 8 5. CharacterArchitectural area History 11 6. Character of Juniper Hill 13 7. Boundary Justification 17 8. DetailsMaterials & Details 18 9. Historic Photographs 19 10. Management Plan 20 11. ProposedBibliography Extensions and Justification 24 12. BibliographyAppendix 25 13. Appendix List of Figures 1. ConservationLocation Area Boundary 3 2. Area Designations 5 3. Topographical Map 6 4. Aerial View 7 5. DomesdayHistorical maps Book featuring village 9 6. Unlisted1900-06 buildingsMap 12 7. SketchFigure groundMap of planParish 18th century 14 8. VisualMap of Analysis Oxfordshire 1808 16 9. Buildings mentioned in text 10. Listed Buildings 11. Character Areas 12. Areas Proposed for Inclusion in Conservation Area 13. Existing Conservation Area Boundary 14. Proposed Conservation Area Boundary 2 1. Introduction Juniper Hill is a rural hamlet of scattered Juniper Hill was made famous as ‘Lark Rise’ in dwellings situated 7 miles (11.2Km) north of the novels by Flora Thompson which recall her Bicester close to the busy A43. childhood in 1880s rural Oxfordshire. The settlement was first established in the late It is this well documented social history, as 18th century originating with just two cottages well as the evocative nature of the hamlet, in 1754 as an offshoot of nearby Cottisford. which makes Juniper Hill of particular note and The majority of the inhabitants being employed led to its designation as a Conservation Area in local agriculture the population peaked in in 1980. -
Ull History Centre: Papers of Alan Plater
Hull History Centre: Papers of Alan Plater U DPR Papers of Alan Plater 1936-2012 Accession number: 1999/16, 2004/23, 2013/07, 2013/08, 2015/13 Biographical Background: Alan Frederick Plater was born in Jarrow in April 1935, the son of Herbert and Isabella Plater. He grew up in the Hull area, and was educated at Pickering Road Junior School and Kingston High School, Hull. He then studied architecture at King's College, Newcastle upon Tyne, becoming an Associate of the Royal Institute of British Architects in 1959 (since lapsed). He worked for a short time in the profession, before becoming a full-time writer in 1960. His subsequent career has been extremely wide-ranging and remarkably successful, both in terms of his own original work, and his adaptations of literary works. He has written extensively for radio, television, films and the theatre, and for the daily and weekly press, including The Guardian, Punch, Listener, and New Statesman. His writing credits exceed 250 in number, and include: - Theatre: 'A Smashing Day'; 'Close the Coalhouse Door'; 'Trinity Tales'; 'The Fosdyke Saga' - Film: 'The Virgin and the Gypsy'; 'It Shouldn't Happen to a Vet'; 'Priest of Love' - Television: 'Z Cars'; 'The Beiderbecke Affair'; 'Barchester Chronicles'; 'The Fortunes of War'; 'A Very British Coup'; and, 'Campion' - Radio: 'Ted's Cathedral'; 'Tolpuddle'; 'The Journal of Vasilije Bogdanovic' - Books: 'The Beiderbecke Trilogy'; 'Misterioso'; 'Doggin' Around' He received numerous awards, most notably the BAFTA Writer's Award in 1988. He was made an Honorary D.Litt. of the University of Hull in 1985, and was made a Fellow of the Royal Society of Literature in 1985. -
PLANNING COMMITTEE 10 January 2018 Application Number 17/1541
PLANNING COMMITTEE 10th January 2018 Application 17/1541/FUL Agenda Number Item Date Received 5th October 2017 Officer Michael Hammond Target Date 4th January 2018 Ward Market Site Cambridge Union Society 9A Bridge Street Cambridge CB2 1UB Proposal Demolition of ancillary buildings and removal of 1930's facade at the Grade II listed Cambridge Union Society. Construction of replacement facade, reinstatement and refurbishment of historic features and internal and external access and refurbishment works including enlargement of existing cafe (Use Class A3) and reopening of 'footlight's' entertainment space (sui generis). Demolition of squash courts and un-listed 3-5 Round Church Street in the conservation area. Construction of new link building for access and ancillary uses for the Union Society. Construction of adjacent new building with ground floor restaurant (Use Class A3) with 45 room post-graduate student accommodation above (Use Class C2) together with basement storage and services. Applicant Cambridge Union Society and Trinity College SUMMARY The development accords with the Development Plan for the following reasons: The principle of demolition and development has been established under the previously permitted application (16/0673/FUL). In comparison with the previously permitted plans (16/0673/FUL) the proposal is not considered to exacerbate the level of harm caused to heritage assets. The proposed changes compared to the previously approved development would not impact on the accessibility of the building. RECOMMENDATION APPROVAL 1.0 SITE DESCRIPTION/AREA CONTEXT 1.1 The Cambridge Union Society is located in the historic core of the City Centre. It occupies a large site on the south-west corner of Park Street and Round Church Street. -
Harold Pinter's Transmedial Histories
Introduction: Harold Pinter’s transmedial histories Article Published Version Creative Commons: Attribution 4.0 (CC-BY) Open Access Bignell, J. and Davies, W. (2020) Introduction: Harold Pinter’s transmedial histories. Historical Journal of Film, Radio & Television, 40. pp. 481-498. ISSN 1465-3451 doi: https://doi.org/10.1080/01439685.2020.1778314 Available at http://centaur.reading.ac.uk/89961/ It is advisable to refer to the publisher’s version if you intend to cite from the work. See Guidance on citing . To link to this article DOI: http://dx.doi.org/10.1080/01439685.2020.1778314 Publisher: Taylor & Francis All outputs in CentAUR are protected by Intellectual Property Rights law, including copyright law. Copyright and IPR is retained by the creators or other copyright holders. Terms and conditions for use of this material are defined in the End User Agreement . www.reading.ac.uk/centaur CentAUR Central Archive at the University of Reading Reading’s research outputs online Historical Journal of Film, Radio and Television ISSN: 0143-9685 (Print) 1465-3451 (Online) Journal homepage: https://www.tandfonline.com/loi/chjf20 Introduction: Harold Pinter’s Transmedial Histories Jonathan Bignell & William Davies To cite this article: Jonathan Bignell & William Davies (2020): Introduction: Harold Pinter’s Transmedial Histories, Historical Journal of Film, Radio and Television To link to this article: https://doi.org/10.1080/01439685.2020.1778314 © 2020 The Author(s). Published by Informa UK Limited, trading as Taylor & Francis Group Published online: 18 Jun 2020. Submit your article to this journal View related articles View Crossmark data Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=chjf20 Historical Journal of Film, Radio and Television, 2020 https://doi.org/10.1080/01439685.2020.1778314 INTRODUCTION: HAROLD PINTER’S TRANSMEDIAL HISTORIES Jonathan Bignell and William Davies This article introduces the special issue by exploring the transmediality of Harold Pinter's work. -
Samuel Beckett and the Reception of Harold Pinter's Early
“Random dottiness”: Samuel Beckett and the reception of Harold Pinter’s early dramas Book or Report Section Accepted Version Bignell, J. ORCID: https://orcid.org/0000-0003-4874-1601 (2020) “Random dottiness”: Samuel Beckett and the reception of Harold Pinter’s early dramas. In: Rakoczy, A., Hori Tanaka, M. and Johnson, N. (eds.) Influencing Beckett / Beckett Influencing. Collection Karoli. L'Harmattan, Budapest & Paris, pp. 61-74. ISBN 9782343219110 Available at http://centaur.reading.ac.uk/95305/ It is advisable to refer to the publisher’s version if you intend to cite from the work. See Guidance on citing . Published version at: https://webshop.harmattan.hu/? id=aa725cb0e8674da4a9ddf148c5874cdc&p=termeklap&tkod=4605 Publisher: L'Harmattan All outputs in CentAUR are protected by Intellectual Property Rights law, including copyright law. Copyright and IPR is retained by the creators or other copyright holders. Terms and conditions for use of this material are defined in the End User Agreement . www.reading.ac.uk/centaur CentAUR Central Archive at the University of Reading Reading’s research outputs online (Published in: Anita Rákóczy, Mariko Hori Tanaka & Nicholas Johnson, eds. Infleuncing Beckett / Beckett Influencing. Budapest & Paris: L’Harmattan, 2020, pp. 61-74). “Random dottiness”: Samuel Beckett and the reception of Harold Pinter’s early dramas by Jonathan Bignell Abstract This essay analyzes the significance of Samuel Beckett to the British reception of the playwright Harold Pinter’s early work. Pinter’s first professionally produced play was The Birthday Party, performed in London in 1958. Newspaper critics strongly criticized it and its run was immediately cancelled. Beckett played an important role in this story, through the association of Pinter’s name with a Beckett “brand” which was used in reviews of The Birthday Party to sum up what was wrong with Pinter’s play. -
The Constitution of the Cambridge Union Society
The Constitution of the Cambridge Union Society THE LAWS 0) Definitions 1) The Laws and Rules The Structure of The Cambridge Union 2) Membership 3) The Standing Committee 4) Officers 5) The Responsibilities of the Officers 6) The Review Committee Elections and Appointments 7) Elections Procedure 8) Charitable Points for Elections 9) Electoral Rules 10) Electoral Investigations 11) Appointments Procedure Codes and Policies 12) Code of Conduct 13) Code of Conduct Investigation 14) Principles of the Union 15) Restrictions on Invitations 16) Expenses Policy 17) Procedure for Main Debates 18) Policy on Reciprocal Membership Page 1 of 67 THE RULES Events Policies 1) Duty Officer 2) House Rules 3) Guest Policy Competitive Debating 4) Debating Team Selection and Reimbursement 5) Management of Debating Budget 6) Convenors 7) Convenors Positions and Responsibilities Organisational Committees 8) Full Committee 9) Full Committee Departments and Responsibilities 10) Sub-Committees 11) Budget Committee 12) Competitive Debating Committee 13) Vacation Committee 14) Executive Committee Miscellaneous 15) Handover 16) Social Events Planning Procedure Page 2 of 67 Definitions THE LAWS Definitions In these Laws and Rules the following expressions have the following means unless inconsistent with the context: 1) Accounts Manager means the individual hired by the Society to run its accounts. 2) Appeals Panel means the panel appointed in accordance with Law 13 which handles disciplinary appeals. 3) Appellant means a member of the Society who is seeking an appeal to a disciplinary decision. 4) Appointee means a member of the Society appointed to a formal position. 5) Board of Trustee-Directors means the group of individual trustee directors who have ultimate responsibility for directing the affairs of the charity from time to time in accordance with the Charities Act 2011. -
': the Making and Mauling of Churchill's People (BBC1, 1974-75)
Williams J, Greaves I. ‘Must We Wait 'til Doomsday?’: The Making and Mauling of Churchill's People (BBC1, 1974-75). Historical Journal of Film, Radio and Television 2017, 37(1), 82-95 Copyright: This is an Accepted Manuscript of an article published by Taylor & Francis in Historical Journal of Film, Radio and Television on 19th April 2017, available online: http://www.tandfonline.com/10.1080/01439685.2016.1272804 DOI link to article: http://dx.doi.org/10.1080/01439685.2016.1272804 Date deposited: 31/12/2016 Embargo release date: 19 October 2018 This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International licence Newcastle University ePrints - eprint.ncl.ac.uk ‘MUST WE WAIT 'TIL DOOMSDAY?’: THE MAKING AND MAULING OF CHURCHILL’S PEOPLE (BBC1, 1974-75) Ian Greaves and John Williams Correspondence: John Williams, 12 Queens Road, Whitley Bay NE26 3BJ, UK. E-mail: [email protected] In 1974, the lofty ambition of a BBC drama producer to manufacture a ‘prestige’ international hit along the lines of Elizabeth R (BBC2, 1971) came unstuck. In this case study, the authors consider the plight of Churchill’s People (BBC1, 1974-75) during a time of economic strife in the UK and industrial unrest at the BBC, and ask how a series which combined so many skilled writers, directors and actors could result in such a poorly-received end product. Churchill’s People is also placed in a wider context to assess its ‘neglected’ status, the authors drawing parallels with other historical drama of the era. The series’ qualification for being ‘forgotten’ is considered in relation to its struggle in the ratings against strong competition, the ‘blacking out’ by unions of production at the BBC for eight weeks and the subsequent pressures on transmission times, prompting the authors’ consideration of a more qualified definition of ‘lost’ drama, i.e. -
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. -
Xerox University Microfilms 300 North Zeeb Road Ann Arbor, Michigan 48106 I
INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1. The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced info the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on untii complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation.