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University of Huddersfield Repository
University of Huddersfield Repository Billam, Alistair It Always Rains on Sunday: Early Social Realism in Post-War British Cinema Original Citation Billam, Alistair (2018) It Always Rains on Sunday: Early Social Realism in Post-War British Cinema. Masters thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/id/eprint/34583/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ Submission in fulfilment of Masters by Research University of Huddersfield 2016 It Always Rains on Sunday: Early Social Realism in Post-War British Cinema Alistair Billam Contents Introduction ............................................................................................................................................ 3 Chapter 1: Ealing and post-war British cinema. ................................................................................... 12 Chapter 2: The community and social realism in It Always Rains on Sunday ...................................... 25 Chapter 3: Robert Hamer and It Always Rains on Sunday – the wider context. -
HANCOCK's HALF HOUR COLLECTIBLES Notes To
HANCOCK’S HALF HOUR COLLECTIBLES Notes to accompany Volume 2 All photographs copyright (C) BBC The Tony Hancock Appreciation Society is delighted to have given its support to the production of this new and unique series concerning the lost or rare work of, and related to, Tony Hancock, one of our greatest comedians. Tony Hancock,1951 The Tony Hancock Appreciation Society (THAS) Since its inception in 1976, the THAS and its many allies have been at the forefront of efforts to find, preserve and promote the works of Tony Hancock. As detailed in the previous volume of this series, this toil has, over the decades, yielded innumerable discoveries of work by Hancock that was previously believed to have been lost. The result is that the THAS now has the most extensive archive of Hancock’s stage, radio, television, and film work in the world. In addition, we have myriad recorded items related to his career, such as interviews and documentaries featuring Hancock, his colleagues and friends. Each offers valuable insights into his life and work. It is this extensive collection, combined principally with that of Ted Kendall, the noted sound engineer and media researcher, and the contents of the BBC Sound Archives, that have enabled the publication of Hancock’s Half Hour Collectibles. It is natural for modern audiences to question why broadcast material is missing from the period in which Hancock was ascendant from the late 40s until 1968. As many readers may know, this issue has, in fact, affected the legacy of numerous performers, programmes and broadcasts; and this phenomenon is by no means limited to the BBC, the United Kingdom, or indeed, the period during which Hancock was active. -
EALING-EN EPOKE Før Han Dræbtes I Krigen
særpræg, som langsomt skabte begrebet Ealing-film. Balcon kom til Ealing med en ret impo nerende indsats bag sig. Allerede i tyverne havde han givet den unge Hitchcock sine første chancer, og som producer havde han indspillet film som „The lodger“ (1926), „The good companions“ (1932), „Rome Express" (med Conrad Veidt, 1932), Flaher- tys „Man of Aran“ (1933), „Jøden Siiss" (1934) og „D e 39 trin“ (1 9 3 5 ). På Ealing Studios mærkedes hans indflydelse hurtigt. En helt ny og mere realistisk præget perio de i selskabets historie indledtes med bokse filmen „There ain’t no justice" (1938), der handlede om korruptionen i bokseverdenen og udspilledes på en baggrund hentet lige ud af engelsk hverdag. Den var iscenesat af en af britisk films mest talentfulde unge begavelser, Pen Tenny son (et oldebarn af Den afdøde engelske filmtegner og -kritiker den berømte digter), og det var også ham, Richard Winningtons opfattelse af Sidney der det følgende år instruerede „The proud James, Stanley Holloway og Alec Guinness i den typiske Ealingkomedie »Masser af Guld«. valley", som skildrede livet blandt walisiske minearbejdere, og hvori Paul Robeson spil lede en af hovedrollerne. Pen Tennyson nåe de aldrig helt at indfri de løfter, han gav med disse første arbejder. Han fik kun lov til at lave endnu en film, „C onvoy" (1 9 4 0 ), EALING-EN EPOKE før han dræbtes i krigen. M en forstærkninger var allerede under AF MOGENS FØNSS vejs. Fra den engelske stats berømte doku mentargruppe „Crown Film Unit" hentede Fredag den 13. januar blev en sort dag Michael Balcon Cavalcanti og Harry Watt, for engelsk film. -
The Navy Lark: Helen, the New Wren Volume 29 : Four Episodes of the Classic Bbc Radio Comedy Pdf, Epub, Ebook
THE NAVY LARK: HELEN, THE NEW WREN VOLUME 29 : FOUR EPISODES OF THE CLASSIC BBC RADIO COMEDY PDF, EPUB, EBOOK Lawrie Wyman | 1 pages | 19 Feb 2015 | BBC Audio, A Division Of Random House | 9781785290138 | English | London, United Kingdom The Navy Lark: Helen, the New Wren Volume 29 : Four Episodes of the Classic BBC Radio Comedy PDF Book Please enter a number less than or equal to 4. Actress Castle. Trevor Hill producer of The Sooty Show saw them there and gave them their own BBC television series, featuring the pigs in both string and glove puppet form, manipulated by Jan and Vlasta. Welles 1 H. See terms. Will ship within 4 business days of receiving cleared payment. She has been acting since the age of 13, appearing in a number of British television programmes. Elliot dramatization Added:. This item will be shipped through the Global Shipping Program and includes international tracking. Actress Malibu Country. I Quit! Actress We Bought a Zoo. Best known as a swimsuit model for Sports Illustrated Hidden categories: Episode lists with incorrectly formatted alternate air dates Episode lists with non-compliant line colors Articles using Template:Episode table with invalid colour combination Episode lists with unformatted air dates. Visit store. The master recording was apparently wiped, but co-writer Snoad kept a copy which he later returned to the BBC. For seven years, Galton and Simpson wrote every word uttered by Hancock, a difficult and touchy man who embraced the illusion that he could do better than his writers, and parted company with them. While providing musical interludes with his "talking harmonica" during the entire run of the radio comedy Educating Archie , featuring the ventriloquist Peter Brough and his doll, Chesney met Ronald Wolfe, who joined the show as a scriptwriter in The Werewolf phenomenon is as old as the history of mankind. -
For April 2021 – by Eileen Truby You Are Holding a Dinner Party for 5 Gues
U3a Creative Writing Group – “Writing prompt” for April 2021 – by Eileen Truby You are holding a dinner party for 5 guests plus yourself. The guests will be well known people, not necessarily living, but who have contributed to society in some way. Write about why you chose them and describe briefly conversations they would have had with each other and set the menu for the dinner. The guests I would invite are: Ventriloquist Peter Brough and his ventriloquist’s dummy Archie Andrews Ventriloquist Keith Harris and his puppet Orville the Duck Annette Mills and her string puppet Muffin the Mule Harry Corbett (magician and puppeteer) and his glove puppet Sooty the yellow teddy bear. Charlie Drake - Comedian/singer/slapstick artist Host - Eileen Truby The menu would be plain and simple and preferably something that could be eaten one handed as most of my guests would be using one of their hands to manipulate their puppets. I’d choose: Tomato soup with croutons so the guests wouldn’t have to mess about with breaking and buttering rolls. Homemade fish and chips, preferably served in newspaper (easy to pick up with fork or fingers). Finger bowls will be needed for use before dessert. Jelly and custard for dessert (easy to eat with a spoon). Drinks would be beers, wine, soft drinks and tea/coffee. I’ve chosen these guests as they remind me of the innocence and carefree days of my childhood. My children look at me as if I’ve gone mad when I tell them I used to listen to a radio program that starred a ventriloquist dummy called Archie Andrews. -
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University of Warwick institutional repository: http://go.warwick.ac.uk/wrap A Thesis Submitted for the Degree of PhD at the University of Warwick http://go.warwick.ac.uk/wrap/58603 This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. A Special Relationship: The British Empire in British and American Cinema, 1930-1960 Sara Rose Johnstone For Doctorate of Philosophy in Film and Television Studies University of Warwick Film and Television Studies April 2013 ii Contents List of figures iii Acknowledgments iv Declaration v Thesis Abstract vi Introduction: Imperial Film Scholarship: A Critical Review 1 1. The Jewel in the Crown in Cinema of the 1930s 34 2. The Dark Continent: The Screen Representation of Colonial Africa in the 1930s 65 3. Wartime Imperialism, Reinventing the Empire 107 4. Post-Colonial India in the New World Order 151 5. Modern Africa according to Hollywood and British Filmmakers 185 6. Hollywood, Britain and the IRA 218 Conclusion 255 Filmography 261 Bibliography 265 iii Figures 2.1 Wee Willie Winkie and Susannah of the Mounties Press Book Adverts 52 3.1 Argentinian poster, American poster, Hungarian poster and British poster for Sanders of the River 86 3.2 Paul Robeson and Elizabeth Welch arriving in Africa in Song of Freedom 92 3.3 Cedric Hardwicke and un-credited actor in Stanley and Livingstone -
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. -
Films & Major TV Dramas Shot (In Part Or Entirely) in Wales
Films & Major TV Dramas shot (in part or entirely) in Wales Feature films in black text TV Drama in blue text Historical Productions (before the Wales Screen Commission began) Dates refer to when the production was released / broadcast. 1935 The Phantom Light - Ffestiniog Railway and Lleyn Peninsula, Gwynedd; Holyhead, Anglesey; South Stack Gainsborough Pictures Director: Michael Powell Cast: Binnie Hale, Gordon Harker, Donald Calthrop 1938 The Citadel - Abertillery, Blaenau Gwent; Monmouthshire Metro-Goldwyn-Mayer British Studios Director: King Vidor Cast: Robert Donat, Rosalind Russell, Ralph Richardson 1940 The Thief of Bagdad - Freshwater West, Pembrokeshire (Abu & Djinn on the beach) Directors: Ludwig Berger, Michael Powell The Proud Valley – Neath Port Talbot; Rhondda Valley, Rhondda Cynon Taff Director: Pen Tennyson Cast: Paul Robeson, Edward Chapman 1943 Nine Men - Margam Sands, Neath, Neath Port Talbot Ealing Studios Director: Harry Watt Cast: Jack Lambert, Grant Sutherland, Gordon Jackson 1953 The Red Beret – Trawsfynydd, Gwynedd Director: Terence Young Cast: Alan Ladd, Leo Genn, Susan Stephen 1956 Moby Dick - Ceibwr Bay, Fishguard, Pembrokeshire Director: John Huston Cast: Gregory Peck, Richard Basehart 1958 The Inn of the Sixth Happiness – Snowdonia National Park, Portmeirion, Beddgelert, Capel Curig, Cwm Bychan, Lake Ogwen, Llanbedr, Morfa Bychan Cast: Ingrid Bergman, Robert Donat, Curd Jürgens 1959 Tiger Bay - Newport; Cardiff; Tal-y-bont, Cardigan The Rank Organisation / Independent Artists Director: J. Lee Thompson Cast: -
A Biography of Peter Brough
A Biography of Peter Brough Peter Brough was a popular ventriloquist who reached the height of his fame in the 1950s with the famous radio program entitled Educating Archie. Brough (pronounced Bruff) was born in Shepherd’s Bush, London, on February 26, 1916. Both his father and his grandfather moved back and forth between careers in the business of entertainment and in the business of manufacturing. Peter Brough was destined to follow in the family tradition. Arthur Brough, who was the father of Peter Brough, was also a music hall ventriloquist who used a dummy named Tim. Tim was used in the film Dead of Night (1945), where Michael Redgrave plays a vent whose dummy takes possession of him. Brough began performing ventriloquism at an early age. He first appeared in theater in 1938. During World War II, he performed for the military and tried using a variety of dummies. A 1943 British Pathé film entitled Mum’s the Word shows Brough at a young age as an already accomplished entertainer, but in that film he uses a walking stick with a talking head. He calls the stick John. The film ends with a song that has a wartime theme: "You're a Little Chap with Big Ideas". He also experimented with a figure named Jimmy or Lucky Jim (that may have been made by the noted figure-maker Len Insull). However, a dummy with a strong sense of identity and personality was still some time in the offing. But also in 1943, after receiving harsh comments from a critic about his pathetic characters and weak material, Brough began experimenting with voices and eventually decided to use the pitchy voice of a fourteen-year-old that would later be recognized throughout England. -
A History of the Welsh English Dialect in Fiction
_________________________________________________________________________Swansea University E-Theses A History of the Welsh English Dialect in Fiction Jones, Benjamin A. How to cite: _________________________________________________________________________ Jones, Benjamin A. (2018) A History of the Welsh English Dialect in Fiction. Doctoral thesis, Swansea University. http://cronfa.swan.ac.uk/Record/cronfa44723 Use policy: _________________________________________________________________________ This item is brought to you by Swansea University. Any person downloading material is agreeing to abide by the terms of the repository licence: copies of full text items may be used or reproduced in any format or medium, without prior permission for personal research or study, educational or non-commercial purposes only. The copyright for any work remains with the original author unless otherwise specified. The full-text must not be sold in any format or medium without the formal permission of the copyright holder. Permission for multiple reproductions should be obtained from the original author. Authors are personally responsible for adhering to copyright and publisher restrictions when uploading content to the repository. Please link to the metadata record in the Swansea University repository, Cronfa (link given in the citation reference above.) http://www.swansea.ac.uk/library/researchsupport/ris-support/ A history of the Welsh English dialect in fiction Benjamin Alexander Jones Submitted to Swansea University in fulfilment of the requirements -
HANCOCK's HALF HOUR COLLECTIBLES Notes To
HANCOCK’S HALF HOUR COLLECTIBLES Notes to Accompany Volume 1 All photographs copyright (C) BBC The Tony Hancock Appreciation Society is delighted to have given its support to the production of this new and unique series concerning the lost work of Tony Hancock. Tony Hancock,1956. Official BBC publicity picture The Tony Hancock Appreciation Society (THAS) The THAS was first formed in 1976. Since that time, its primary purpose has been always to celebrate and promote the career of one of Britain’s best-loved comedians. However, the ways in which these aims have been applied in 1 practice have changed over the decades. In its early years, when very few episodes from either radio or television had been seen or heard since original broadcast, society newsletters were typically full of pleas to the BBC to schedule repeats of the shows. Similarly, the THAS was keen for the BBC to increase the pace of commercial releases of the series; many fans from the early 1980s can recall living on a diet of one new LP or cassette each year, containing just a couple of shows. Fans were to be frustrated on both fronts for some years despite their persistent efforts. An early newsletter from 1980, for example, details futile exchanges with Equity to find out what the members of the Musicians’ Union wanted to be paid for repeat fees, since these were often cited as a barrier in this matter. In another magazine, it was reported that a THAS letter to David Hatch, then Head of Light Entertainment for BBC Radio, had been met with a dispiriting reply, which was reproduced as follows: ‘Hancock’ has been on the air reasonably recently and I am afraid is not scheduled in the current run of ‘Smash of the Day’. -
An Introductory History of British Broadcasting
An Introductory History of British Broadcasting ‘. a timely and provocative combination of historical narrative and social analysis. Crisell’s book provides an important historical and analytical introduc- tion to a subject which has long needed an overview of this kind.’ Sian Nicholas, Historical Journal of Film, Radio and Television ‘Absolutely excellent for an overview of British broadcasting history: detailed, systematic and written in an engaging style.’ Stephen Gordon, Sandwell College An Introductory History of British Broadcasting is a concise and accessible history of British radio and television. It begins with the birth of radio at the beginning of the twentieth century and discusses key moments in media history, from the first wireless broadcast in 1920 through to recent developments in digital broadcasting and the internet. Distinguishing broadcasting from other kinds of mass media, and evaluating the way in which audiences have experienced the medium, Andrew Crisell considers the nature and evolution of broadcasting, the growth of broadcasting institutions and the relation of broadcasting to a wider political and social context. This fully updated and expanded second edition includes: ■ The latest developments in digital broadcasting and the internet ■ Broadcasting in a multimedia era and its prospects for the future ■ The concept of public service broadcasting and its changing role in an era of interactivity, multiple channels and pay per view ■ An evaluation of recent political pressures on the BBC and ITV duopoly ■ A timeline of key broadcasting events and annotated advice on further reading Andrew Crisell is Professor of Broadcasting Studies at the University of Sunderland. He is the author of Understanding Radio, also published by Routledge.