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DVD Movie List by Genre – Dec 2020
Action # Movie Name Year Director Stars Category mins 560 2012 2009 Roland Emmerich John Cusack, Thandie Newton, Chiwetel Ejiofor Action 158 min 356 10'000 BC 2008 Roland Emmerich Steven Strait, Camilla Bella, Cliff Curtis Action 109 min 408 12 Rounds 2009 Renny Harlin John Cena, Ashley Scott, Aidan Gillen Action 108 min 766 13 hours 2016 Michael Bay John Krasinski, Pablo Schreiber, James Badge Dale Action 144 min 231 A Knight's Tale 2001 Brian Helgeland Heath Ledger, Mark Addy, Rufus Sewell Action 132 min 272 Agent Cody Banks 2003 Harald Zwart Frankie Muniz, Hilary Duff, Andrew Francis Action 102 min 761 American Gangster 2007 Ridley Scott Denzel Washington, Russell Crowe, Chiwetel Ejiofor Action 113 min 817 American Sniper 2014 Clint Eastwood Bradley Cooper, Sienna Miller, Kyle Gallner Action 133 min 409 Armageddon 1998 Michael Bay Bruce Willis, Billy Bob Thornton, Ben Affleck Action 151 min 517 Avengers - Infinity War 2018 Anthony & Joe RussoRobert Downey Jr., Chris Hemsworth, Mark Ruffalo Action 149 min 865 Avengers- Endgame 2019 Tony & Joe Russo Robert Downey Jr, Chris Evans, Mark Ruffalo Action 181 mins 592 Bait 2000 Antoine Fuqua Jamie Foxx, David Morse, Robert Pastorelli Action 119 min 478 Battle of Britain 1969 Guy Hamilton Michael Caine, Trevor Howard, Harry Andrews Action 132 min 551 Beowulf 2007 Robert Zemeckis Ray Winstone, Crispin Glover, Angelina Jolie Action 115 min 747 Best of the Best 1989 Robert Radler Eric Roberts, James Earl Jones, Sally Kirkland Action 97 min 518 Black Panther 2018 Ryan Coogler Chadwick Boseman, Michael B. Jordan, Lupita Nyong'o Action 134 min 526 Blade 1998 Stephen Norrington Wesley Snipes, Stephen Dorff, Kris Kristofferson Action 120 min 531 Blade 2 2002 Guillermo del Toro Wesley Snipes, Kris Kristofferson, Ron Perlman Action 117 min 527 Blade Trinity 2004 David S. -
Shakespeare, William Shakespeare
Shakespeare, William Shakespeare. Julius Caesar The Shakespeare Ralph Richardson, Anthony SRS Caedmon 3 VG/ Text Recording Society; Quayle, John Mills, Alan Bates, 230 Discs VG+ Howard Sackler, dir. Michael Gwynn Anthony And The Shakespeare Anthony Quayle, Pamela Brown, SRS Caedmon 3 VG+ Text Cleopatra Recording Society; Paul Daneman, Jack Gwillim 235 Discs Howard Sackler, dir. Great Scenes The Shakespeare Anthony Quayle, Pamela Brown, TC- Caedmon 1 VG/ Text from Recording Society; Paul Daneman, Jack Gwillim 1183 Disc VG+ Anthony And Howard Sackler, dir. Cleopatra Titus The Shakespeare Anthony Quayle, Maxine SRS Caedmon 3 VG+ Text Andronicus Recording Society; Audley, Michael Horden, Colin 227 Discs Howard Sackler, dir. Blakely, Charles Gray Pericles The Shakespeare Paul Scofield, Felix Aylmer, Judi SRS Caedmon 3 VG+ Text Recording Society; Dench, Miriam Karlin, Charles 237 Discs Howard Sackler, dir. Gray Cymbeline The Shakespeare Claire Bloom, Boris Karloff, SRS- Caedmon 3 VG+ Text Recording Society; Pamela Brown, John Fraser, M- Discs Howard Sackler, dir. Alan Dobie 236 The Comedy The Shakespeare Alec McCowen, Anna Massey, SRS Caedmon 2 VG+ Text Of Errors Recording Society; Harry H. Corbett, Finlay Currie 205- Discs Howard Sackler, dir. S Venus And The Shakespeare Claire Bloom, Max Adrian SRS Caedmon 2 VG+ Text Adonis and A Recording Society; 240 Discs Lover's Howard Sackler, dir. Complaint Troylus And The Shakespeare Diane Cilento, Jeremy Brett, SRS Caedmon 3 VG+ Text Cressida Recording Society; Cyril Cusack, Max Adrian 234 Discs Howard Sackler, dir. King Richard The Shakespeare John Gielgud, Keith Michell and SRS Caedmon 3 VG+ Text II Recording Society; Leo McKern 216 Discs Peter Wood, dir. -
ENG 351 Lecture 20 1 Look at Eugene O'neill Here. Won The
ENG 351 Lecture 20 1 Look at Eugene O’Neill here. Won the Nobel Prize in 1936. I’m amazed sometimes by the amazing statements that editors make. “Eugene O’Neill, the nation’s first major playwright” — okay. It’s hard it’s hard to think of anybody really major before O’Neill, certainly in the modern age — “the first to explore serious themes in the theater and to experiment with theatrical conventions” — more so than anybody else, particularly in some of the early plays, the early experimentation things that broke with traditional realism. The play we have at hand, however, of course, is a realistic play. Even though it is loaded with all kinds of Freudian psychology and symbolism and references, and this and that, it is nevertheless fourth wall theater. It’s as if it’s a box and one side is taken off of it and you’re looking into it like a doll’s house. It’s realistic theater. But he did do a lot of experimentation. The history of his family you know very well. His father, James, was an actor who made a fortune and also ruined his career for any future acting playing the Count of Monte Cristo. His mother was an Irish girl who fell in love with the actor and who became addicted to morphine. His older brother, Jamie, was also an actor and an alcoholic. And the only real difference between Eugene and Edmond is the name. So the story that you have set forth in “Long Day’s Journey into Night” is pretty much Eugene O’Neill’s family background. -
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. -
SHAKESPEARE in PERFORMANCE Some Screen Productions
SHAKESPEARE IN PERFORMANCE some screen productions PLAY date production DIRECTOR CAST company As You 2006 BBC Films / Kenneth Branagh Rosalind: Bryce Dallas Howard Like It HBO Films Celia: Romola Gerai Orlando: David Oyelewo Jaques: Kevin Kline Hamlet 1948 Two Cities Laurence Olivier Hamlet: Laurence Olivier 1980 BBC TVI Rodney Bennett Hamlet: Derek Jacobi Time-Life 1991 Warner Franco ~effirelli Hamlet: Mel Gibson 1997 Renaissance Kenneth Branagh Hamlet: Kenneth Branagh 2000 Miramax Michael Almereyda Hamlet: Ethan Hawke 1965 Alpine Films, Orson Welles Falstaff: Orson Welles Intemacional Henry IV: John Gielgud Chimes at Films Hal: Keith Baxter Midni~ht Doll Tearsheet: Jeanne Moreau Henry V 1944 Two Cities Laurence Olivier Henry: Laurence Olivier Chorus: Leslie Banks 1989 Renaissance Kenneth Branagh Henry: Kenneth Branagh Films Chorus: Derek Jacobi Julius 1953 MGM Joseph L Caesar: Louis Calhern Caesar Manluewicz Brutus: James Mason Antony: Marlon Brando ~assiis:John Gielgud 1978 BBC TV I Herbert Wise Caesar: Charles Gray Time-Life Brutus: kchard ~asco Antony: Keith Michell Cassius: David Collings King Lear 1971 Filmways I Peter Brook Lear: Paul Scofield AtheneILatenla Love's 2000 Miramax Kenneth Branagh Berowne: Kenneth Branagh Labour's and others Lost Macbeth 1948 Republic Orson Welles Macbeth: Orson Welles Lady Macbeth: Jeanette Nolan 1971 Playboy / Roman Polanslu Macbe th: Jon Finch Columbia Lady Macbeth: Francesca Annis 1998 Granada TV 1 Michael Bogdanov Macbeth: Sean Pertwee Channel 4 TV Lady Macbeth: Greta Scacchi 2000 RSC/ Gregory -
Documenting the Director: Delbert Mann, His Life, His Work, and His Papers
http://spider.georgetowncollege.edu/htallant/border/bs10/fr-harw.htm Border States: Journal of the Kentucky-Tennessee American Studies Association, No. 10 (1995) DOCUMENTING THE DIRECTOR: DELBERT MANN, HIS LIFE, HIS WORK, AND HIS PAPERS Sarah Harwell Vanderbilt University Library The Papers of Delbert Mann at the Special Collections Library of Vanderbilt University provide not only a rich chronicle of the award-winning television and motion picture director's life and work, but also document the history of aspects of American popular culture and motion picture art in the latter half of the twentieth century. Delbert Mann was born in Lawrence, Kansas, in 1920. He moved to Nashville, which he considers his home town, as a young boy when his father came to teach at Scarritt College. He graduated from Hume-Fogg High School and Vanderbilt University, where Dinah Shore and Mann's future wife, Ann Caroline Gillespie, were among his classmates. Also in Nashville he developed a lifelong friendship with Fred Coe through their mutual involvement in the Nashville Community Playhouse. Coe would play a very important role in Mann's life. A few months after his graduation from Vanderbilt in 1941, Mann joined the Eighth Air Force, for which he completed thirty-five missions as a pilot of a B-24 bomber. After the end of the Second World War he attended the Yale Drama School, followed by two years as director of the Town Theatre of Columbia, South Carolina. In 1949, Fred Coe, already a producer at NBC television network, invited Delbert Mann to come to New York to direct live television drama on the "Philco Television Playhouse." Then in its infancy, television offered many fine original plays to its relatively small viewing audience. -
A Short History Of
Formerly the Actors’ Orphanage Fund & the Actors’ Charitable Trust, TACT. A sketch of ACT’s history th to mark our 125 birthday by Robert Ashby, executive director Mrs Kittie Carson, wife of the editor of the Stage newspaper, became increasingly concerned about the welfare of actors and others connected with the theatre, particularly women and children. She felt that provision by other charities and friendly societies was inadequate; she disliked the requirement of several for one to be a member in order to benefit, that many had age restrictions, and that all were run by men. Mrs Carson’s first move in November 1891 was to found the Theatrical Ladies’ Guild (today The Theatrical Guild). Its purpose was quite simply to provide clothing, whether committee members’ cast-offs, donations from supporters, or items sewn and tailored by the Guild’s members themselves. Mrs Carson’s reasoning was that actresses who constantly travelled and who struggled to make ends meet, had no time to sew, and unemployed actresses certainly could not afford new clothes. Her new charity became closely linked with the Ladies’ Needlework Guild, and committee meetings seemed intertwined with ‘sewing bees’. Mrs Carson’s husband, Charles, alerted readers of the Stage to the need for help. The response from readers reinforced Mrs Carson’s sense of urgency in helping the profession’s children. Care of the young “would add solidity and prestige to the drama and its exponents”. Although the Actors’ Benevolent Fund had been asked repeatedly to take on responsibility for the children since 1888, it had been unwilling, already having so many incapacitated adult actors to support. -
Gielgud, Sir John (1904-2000) by Patricia Juliana Smith
Gielgud, Sir John (1904-2000) by Patricia Juliana Smith Encyclopedia Copyright © 2015, glbtq, Inc. Entry Copyright © 2002, glbtq, Inc. Reprinted from http://www.glbtq.com John Gielgud. Sir John Gielgud has long been acknowledged as one of the greatest British actors of the twentieth century. A highly versatile performer, he played leading and character roles on both stage and screen, in every genre from classical tragedy to low comedy. While in many ways reticent about his sexuality, his experiences illustrate the significant changes in public attitude towards homosexuality over the decades. Arthur John Gielgud was born in London on April 14, 1904 to a family with theatrical backgrounds on both sides. His father was the son of a Lithuanian actress, and, through his mother, he was the great-nephew of Dame Ellen Terry, the most renowned British actress of the nineteenth century. Gielgud began acting in his teens, joining the Old Vic theater company in 1921, and making his film debut in the silent picture Who Is That Man? (1923). Soon thereafter, Gielgud became Noël Coward's understudy, eventually taking over the lead roles in Coward's play The Vortex (1924) and Margaret Kennedy's The Constant Nymph (1924). Other successes followed quickly, as Gielgud began to play major Shakespearean roles at the Old Vic, beginning with Romeo, and, before he was thirty, the more mature lead roles in Richard II, The Tempest, Macbeth, Hamlet, and King Lear. During this time, he began his first major relationship. Actor John Perry lived with him until their separation in the early 1940s. -
Talking out of Tune
Talking Out of Tune Remembering British Theatre 1944-56 Kate Lucy Harris Ph.D. School of English Literature, Language and Linguistics University of Sheffield December 2008 1 Summary of Thesis This thesis explores how British Theatre represented and reacted to cultural and social changes between 1944 and 1956. It is closely linked to the oral history strand of the AHRC University of Sheffield British Library Theatre Archive Project <http://www.bl.ukltheatrearchive>. The five chapters focus on distinct subject areas in order to explore the vibrant diversity of the period. However, they are united by an overarching narrative which seeks to consider the relationship between memory and history. The first chapter is based on the oral history strand. It explores the different ways in which the Project's methodology has shaped both the interviewee testimony and my own research. Chapter 2 focuses on the changing historical perceptions of the popular West End plays of the day. Case studies of plays are used to compare the responses of audiences and critics in the 1940s and 50s, with the critical commentaries that surround the plays and playwrights today. The third chapter explores the relationship between BBC television drama and theatre. It assesses the impact that cross fertilisation had on both media by examining plays, productions and policies. Chapters 4 and 5 focus on two of the theatre companies of the period - Theatre Workshop and the Old Vic Theatre Company. Chapter 4 explores the impact that Theatre Workshop's early years as a touring group had on the development of the company. It draws on new oral history testimonies from former company members who joined the group in the 1940s and early 50s. -
Born Into Brothels
Presents FINDING ALTAMIRA A Morena Films, El Maestro De Altamira, and Mare Nostrum Productions Production A Film by Hugh Hudson Theatrical Release Date: September 16, 2016 Running Time: 93 minutes Rating: Not Yet Rated Facebook: www.facebook.com/samuelgoldwynfilms To Download Materials: https://www.dropbox.com/sh/1fu5b947cxip0l1/AAC7ueo44Q7UaJkwpKmsliW2a?dl=0 Publicity/Press Contact: PRODIGY PR 310-857-2020 Alex Klenert, [email protected] Rob Fleming, [email protected] CAST AND CREW Marcelino Sanz de Sautuola ANTONIO BANDERAS Conchita GOLSHIFTEH FARAHANI María ALLEGRA ALLEN Paul Ratier PIERRE NINEY Émile Cartailhac CLÉMENT SIBONY Monseñor RUPERT EVERETT Pasi TÁBATA CEREZO Abbé Breuil TRISTÁN ULLOA María (adult) IRENE ESCOLAR De los Ríos HENRY GOODMAN Vilanova NICHOLAS FARRELL Director HUGH HUDSON Writers OLIVIA HETREED JOSÉ LUIS LÓPEZ LINARES Producers LUCRECIA BOTÍN ALVARO LONGORIA ANDY PATERSON Executive Producers LUCRECIA BOTÍN ANA BOTÍN ANDRÓNICO LUKSIC LAURA BICKFORD JOSÉ LUIS LÓPEZ LINARES PILAR BENITO Co-Producers ALEXANDRA LEBRET AXEL KUSCHEVATZKY Associate Producers GONZALO BOTÍN EMILIO BOTÍN IGNACIO SALAZAR-SIMPSON NICOLÁS LUCA DE TENA SAINZ CRISTÓBAL GARCÍA Music MARK KNOPFLER EVELYN GLENNIE Director of Photography JOSÉ LUIS ALCAINE Editor PIA DI CIAULA Line Producer CRISTINA ZUMÁRRAGA Production Designer BENJAMÍN FERNÁNDEZ Sound DANIEL FONTRODONA GABRIEL GUTIÉRREZ STEFAN HENRIX Costume Designer CONSOLATA BOYLE Make-up and Hair Designer JENNY SHIRCORE “Finding Altamira” press kit, p. 2 of 10 SYNOPSIS In 1879, Spanish archaeologist Marcelino (Antonio Banderas) and his daughter Maria (Allegra Allen) discover seemingly impossible paintings of galloping bison adorning the walls of a hidden cave. The cave of Altamira brings the world together in amazement, drawing people of all types to see the paintings in person. -
PINTER on SCREEN: POWER, SEX & POLITICS (1 July – 31 August) – Curated by Harold Pinter Biographer and Theatre Critic for the Guardian Michael Billington
Tuesday 19 June 2018, London. To mark the 10th anniversary of the death of one of the most important and influential British playwrights of the last century, HAROLD PINTER, BFI Southbank will host a special two month season – PINTER ON SCREEN: POWER, SEX & POLITICS (1 July – 31 August) – curated by Harold Pinter biographer and theatre critic for The Guardian Michael Billington. Best-known for his work as a playwright, PINTER ON SCREEN will celebrate his contribution to film and television, which was extremely significant, not only writing pioneering plays for television, but also for working on scripts for a varied range of landmark films like Joseph Losey’s The Servant (1963), The French Lieutenant’s Woman (Karel Reisz, 1981) starring Meryl Streep and Jeremy Irons, The Comfort of Strangers (Paul Schrader, 1990) and the 1990 adaptation of Margaret Atwood’s still all-too-relevant The Handmaid’s Tale (Volker Schlöndorff). “‘Truth in drama, is forever elusive. You never quite find it, but the search for it is compulsive.’ – Harold Pinter on receiving the Nobel Prize for Literature in 2005. On this statement, and on Pinter, season curator Michael Billington says: “That applies as much to his work for the screen as it does to the stage with which it shares many qualities: a fascination with the private roots of power, an abiding preoccupation with memory and the deceptiveness of language, a belief in the agency of women. Pinter, from his teenage years when he explored the work of Luis Buñuel, Marcel Carné and Jean Vigo, was always passionately in love with cinema and was proud that the majority of his screenplays were filmed. -
Vivien Leigh, Actress and Icon: Introduction Kate Dorney and Maggie B
1 Vivien Leigh, actress and icon: introduction Kate Dorney and Maggie B. Gale This volume of essays has been generated as a response to the Victoria and Albert Museum ’ s 2013 acquisition of twentieth-century actress Vivien Leigh ’ s personal archive made up of, amongst other things: letters, scripts, photographs, personal documents, bills, speeches, appointment diaries, lists of luggage contents for tours and even lists of domestic items for repair. Among the tasks this introductory chapter undertakes is to outline the ways in which the archive has been con- structed – which elements were put together by Leigh ’ s mother and daughter, how the archive was and has since been arranged – and what the constructed nature of this evidence might tell us about the curation of Leigh ’ s life and legacy. 1 Many of the essays in this volume have made use of materials from the archive, as well as drawing on other related collections such as the Laurence Olivier archive at the British Library and the Jack Merivale papers at the British Film Institute. These mate- rials have been used in combination with contemporary approaches to theatre historiography, feminist biography and screen and celebrity studies with the specifi c aim of providing new readings of Leigh as an actress and public fi gure. Vivien Leigh: Actress and Icon explores the frameworks within which Leigh ’ s work has been analysed to date. We are interested in how she, and others, shaped and projected her public persona, and construc- tions of her personal and domestic life, as well as looking at the ways in which she approached the craft of acting for stage and screen.