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Widescreen Weekend 2007 Brochure
The Widescreen Weekend welcomes all those fans of large format and widescreen films – CinemaScope, VistaVision, 70mm, Cinerama and Imax – and presents an array of past classics from the vaults of the National Media Museum. A weekend to wallow in the best of cinema. HOW THE WEST WAS WON NEW TODD-AO PRINT MAYERLING (70mm) BLACK TIGHTS (70mm) Saturday 17 March THOSE MAGNIFICENT MEN IN THEIR Monday 19 March Sunday 18 March Pictureville Cinema Pictureville Cinema FLYING MACHINES Pictureville Cinema Dir. Terence Young France 1960 130 mins (PG) Dirs. Henry Hathaway, John Ford, George Marshall USA 1962 Dir. Terence Young France/GB 1968 140 mins (PG) Zizi Jeanmaire, Cyd Charisse, Roland Petit, Moira Shearer, 162 mins (U) or How I Flew from London to Paris in 25 hours 11 minutes Omar Sharif, Catherine Deneuve, James Mason, Ava Gardner, Maurice Chevalier Debbie Reynolds, Henry Fonda, James Stewart, Gregory Peck, (70mm) James Robertson Justice, Geneviève Page Carroll Baker, John Wayne, Richard Widmark, George Peppard Sunday 18 March A very rare screening of this 70mm title from 1960. Before Pictureville Cinema It is the last days of the Austro-Hungarian Empire. The world is going on to direct Bond films (see our UK premiere of the There are westerns and then there are WESTERNS. How the Dir. Ken Annakin GB 1965 133 mins (U) changing, and Archduke Rudolph (Sharif), the young son of new digital print of From Russia with Love), Terence Young West was Won is something very special on the deep curved Stuart Whitman, Sarah Miles, James Fox, Alberto Sordi, Robert Emperor Franz-Josef (Mason) finds himself desperately looking delivered this French ballet film. -
The Goon Show: Forog
THE GOON SHOW: FOROG First broadcast on December 21, 1954. Script by Eric Sykes and Spike Milligan. Produced by Peter Eton. Announced by Wallace Greenslade. Orchestra conducted by Wally Stott. Transcribed by Mark Wallace, corrections by Peter Olausson. Greenslade: This is the BBC. Secombe: The wretched man was about to refer to the highly ignored Goon Show. FX: [Huge cheers and whistles] Secombe: Stop! [stops] Greenslade? Greenslade: Sir? Secombe: Leave your toys for a moment, and lets have some words. Greenslade: Yes big brother. Ladies and gentlepong this week the Goons present a science-fiction fantasy play in a cunning attempt to take the place of the horror comics. This masterpiece of mediocrity is entitled... Orchestra: [Horror and suspense chord] Secombe: Forog! [Inane laughter] Orchestra: [Clarinet playing a very low sinister piece] Peter: [Low, sinister voice] It was one of those days that follow the night. London was blanketed by a thick swirling pea-soup fog. All was still as Ned Seagoon put on his hat and coat. Seagoon: Yes, I decided to go out for a breath of fresh air. Milligan: Let him go! Seagoon: I hadn't realised it was so foggy, but indeed it was so thick that I had to walk in front of myself with a blazing torch. Eccles: You're not the only one! Seagoon: As I walked long a stream of buses and cars followed in my wake. Strange how men recognise a leader. I hurried them along when suddenly... 1 Minnie Bannister: Ooooooh no, please! ...Oooooh no, oooh! Seagoon: ...I bumped into someone. -
1 BBC Four Biopics
BBC Four biopics: Lessons in Trashy Respectability The broadcast of Burton and Taylor in July 2013 marked the end of a decade- long cycle of feature-length biographical dramas transmitted on BBC Four, the niche arts and culture digital channel of the public service broadcaster. The subjects treated in these biopics were various: political figures, famous cooks, authors of popular literature, comedians and singers. The dramas focused largely on the unhappy or complex personal lives of well-loved figures of British popular culture. From the lens of the 21st century, these dramas offered an opportunity for audiences to reflect on the culture and society of the 20th century, changing television’s famous function of ‘witness’ to one of ‘having witnessed’ and/or ‘remembering’ (Ellis, 2000). The programmes function as nostalgia pieces, revisiting personalities familiar to the anticipated older audience of BBC Four, working in concert with much of the archive and factual content on the digital broadcaster’s schedules. However, by revealing apparent ‘truths’ that reconfigure the public images of the figures they narrate, these programmes also undermine nostalgic impulses, presenting conflicting interpretations of the recent past. They might equally be seen as impudent incursions onto the memory of the public figures, unnecessarily exposing the real-life subjects to censure, ridicule or ex post facto critical judgement. Made thriftily on small budgets, the films were modest and spare in visual style but were generally well received critically, usually thanks to writerly screenplays and strong central performances. The dramas became an irregular but important staple of the BBC Four schedule, furnishing the channel with some of their highest ratings in a history chequered by low audience numbers. -
HATTIE JACQUES Born Josephine Edwina Jacques on February 7" 1922 She Went on to Become a Nationally Recognised Figure in the British Cinema of the 1950S and 60S
Hattie Jacaues Born 127 High St 1922 Chapter Twelve HATTIE JACQUES Born Josephine Edwina Jacques on February 7" 1922 she went on to become a nationally recognised figure in the British cinema of the 1950s and 60s. Her father, Robin Jacques was in the army and stationed at Shorncliffe Camp at the time of her birth. The Register of Electors shows the Jacques family residing at a house called Channel View in Sunnyside Road. (The register shows the name spelled as JAQUES, without the C. Whether Hattie changed the spelling or whether it was an error on the part of those who printed the register I don’t know) Hattie, as she was known, made her entrance into the world in the pleasant seaside village of Sandgate, mid way between Folkestone to the east and Hythe to the west. Initially Hattie trained as a hairdresser but as with many people of her generation the war caused her life to take a different course. Mandatory work saw Hattie first undertaking nursing duties and then working in North London as a welder Even in her twenties she was of a generous size and maybe as defence she honed her sense of humour after finding she had a talent for making people laugh. She first became involved in show business through her brother who had a job as the lift operator at the premises of the Little Theatre located then on the top floor of 43 Kings Street in Covent Garden. At end of the war the Little Theatre found itself in new premises under the railway arches below Charing Cross Station. -
The Nation's Matron: Hattie Jacques and British Post-War Popular Culture
The Nation’s Matron: Hattie Jacques and British post-war popular culture Estella Tincknell Abstract: Hattie Jacques was a key figure in British post-war popular cinema and culture, condensing a range of contradictions around power, desire, femininity and class through her performances as a comedienne, primarily in the Carry On series of films between 1958 and 1973. Her recurrent casting as ‘Matron’ in five of the hospital-set films in the series has fixed Jacques within the British popular imagination as an archetypal figure. The contested discourses around nursing and the centrality of the NHS to British post-war politics, culture and identity, are explored here in relation to Jacques’s complex star meanings as a ‘fat woman’, ‘spinster’ and authority figure within British popular comedy broadly and the Carry On films specifically. The article argues that Jacques’s star meanings have contributed to nostalgia for a supposedly more equitable society symbolised by socialised medicine and the feminine authority of the matron. Keywords: Hattie Jacques; Matron; Carry On films; ITMA; Hancock’s Half Hour; Sykes; star persona; post-war British cinema; British popular culture; transgression; carnivalesque; comedy; femininity; nursing; class; spinster. 1 Hattie Jacques (1922 – 1980) was a gifted comedienne and actor who is now largely remembered for her roles as an overweight, strict and often lovelorn ‘battle-axe’ in the British Carry On series of low- budget comedy films between 1958 and 1973. A key figure in British post-war popular cinema and culture, Hattie Jacques’s star meanings are condensed around the contradictions she articulated between power, desire, femininity and class. -
Sci-Fi Sisters with Attitude Television September 2013 1 LOVE TV? SO DO WE!
April 2021 Sky’s Intergalactic: Sci-fi sisters with attitude Television www.rts.org.uk September 2013 1 LOVE TV? SO DO WE! R o y a l T e l e v i s i o n S o c i e t y b u r s a r i e s o f f e r f i n a n c i a l s u p p o r t a n d m e n t o r i n g t o p e o p l e s t u d y i n g : TTEELLEEVVIISSIIOONN PPRROODDUUCCTTIIOONN JJOOUURRNNAALLIISSMM EENNGGIINNEEEERRIINNGG CCOOMMPPUUTTEERR SSCCIIEENNCCEE PPHHYYSSIICCSS MMAATTHHSS F i r s t y e a r a n d s o o n - t o - b e s t u d e n t s s t u d y i n g r e l e v a n t u n d e r g r a d u a t e a n d H N D c o u r s e s a t L e v e l 5 o r 6 a r e e n c o u r a g e d t o a p p l y . F i n d o u t m o r e a t r t s . o r g . u k / b u r s a r i e s # R T S B u r s a r i e s Journal of The Royal Television Society April 2021 l Volume 58/4 From the CEO It’s been all systems winners were “an incredibly diverse” Finally, I am delighted to announce go this past month selection. -
Anti -Apartheid News' Anti
ANTI -APARTHEID NEWS' ANTI -APARTHEID NEWS' The newspaper of the Anti-Apartheid Movement Support M ajority~10 - - .- , In this issue: rule in Zimbabwe Rhodesia'swite rule ~n Z~mbaikeminority- up S THE Sth~l regime has once more refused to accept majority ruleandi negotiations Afican ioal Council delegainld yJsu Nkomo I vso~taotaprofound crssfr thwitbe myiawity., aeffeeie respose is requiredinl <ein and inn~aiontally from Foallosuort of malornt rule Already sympthisers with the white I mipritY hvspare no efforts in hatt toevokeracial nsentlref to seure British intervefiton on the side of theSmith I,111D S latecrsis for the white mino. rity in Rhodesia is more profound than anything it has previously experienced. On all fronts it faces isolation and a new determination by the Zimbabwean people to assume power and start the difficulit tatk of building a non-racial and democratic Zimbabwe. The closure of the border with Morambique must inevitably inten sify the economic problems which have ben particularly sharp since the border closure with Zambia in January 1973. Now, with the failure of the negotiations between Ian Smith and an African National Council delegation led by Joshua Nkomso. the liberation struggle will also intensify. The people of Africa are united behindIhe liberation movement and recent reports reaching London indicate that a new basis for unity is developing within the guerrilla camp. Recent statements by prominent Western spokesmen including Kissinger and Callaghan also indicate that Smith has little chanceo ningopen aid *vr, there are powerful interests Britain and in other Western countries who are attempt, sstoevoke racial wntiments in their attempts to secure f reegn int rvention on the side of the hite minority. -
'Twenty-Five' Churches of the Southwark Diocese
THE ‘TWENTY-FIVE’ CHURCHES OF THE SOUTHWARK DIOCESE THE ‘TWENTY-FIVE’ CHURCHES OF THE SOUTHWARK DIOCESE An inter-war campaign of church-building Kenneth Richardson with original illustrations by John Bray The Ecclesiological Society • 2002 ©KennethRichardson,2002.Allrightsreserved. First published 2002 The Ecclesiological Society c/o The Society of Antiquaries of London Burlington House Piccadilly London W1V 0HS www.ecclsoc.org PrintedinGreatBritainbytheAldenPress,OsneyMead,Oxford,UK ISBN 0946823154 CONTENTS Author’s Preface, vii Acknowledgements, ix Map of Southwark Diocese, x INTRODUCTION AND SURVEY, 1 GAZETTEER BELLINGHAM, St Dunstan, 15 CARSHALTON BEECHES, The Good Shepherd, 21 CASTELNAU (Barnes), Estate Church Hall, 26 CHEAM, St Alban the Martyr, 28 St Oswald, 33 COULSDON, St Francis of Assisi, 34 DOWNHAM, St Barnabas, Hall and Church, 36 St Luke, 41 EAST SHEEN, All Saints, 43 EAST WICKHAM, St Michael, 49 ELTHAM, St Barnabas, 53 St Saviour, Mission Hall, 58 and Church, 60 ELTHAM PARK, St Luke, 66 FURZEDOWN (Streatham), St Paul, 72 HACKBRIDGE & NORTH BEDDINGTON, All Saints, 74 MALDEN, St James, 79 MERTON, St James the Apostle, 84 MITCHAM, St Olave, Hall and Church, 86 MORDEN, St George 97 MOTSPUR PARK, Holy Cross, 99 NEW ELTHAM, All Saints, 100 Contents NORTH SHEEN (Kew), St Philip the Apostle & All Saints, 104 OLD MALDEN, proposed new Church, 109 PURLEY, St Swithun, 110 PUTNEY, St Margaret, 112 RIDDLESDOWN, St James, 120 ST HELIER, Church Hall, 125 Bishop Andrewes’s Church, 128 St Peter, 133 SANDERSTEAD, St Mary the Virgin, 140 SOUTH -
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. -
View the Awards Programme
#wggbawards THE WRITERS’ GUILD AWARDS PROGRAMME THE ROYAL COLLEGE OF PHYSICIANS 11 St Andrews Place, Regent’s Park, London NW1 4LE MONDAY 15 JANUARY 2018 The Writers’ Guild of Great Britain is a trade union registered at 134 Tooley Street, London SE1 2TU @TheWritersGuild www.writersguild.org.uk PRESIDENT’S WELCOME THE WRITERS’ GUILD AWARDS Welcome to the Writers’ Guild Awards 2018. Photo: Robert Taylor Photography Isn’t it great to be in a roomful of achievement to be on the shortlist, let alone your peers? To a man and woman, to win. Congratulations to you and thanks to professional liars. And in a post-truth all our juries who have laboured mightily to world, is it any surprise that we are pick the best of the best. in a golden age of writing? The more Making this evening possible is a group of life outside is disappointing, the more spectacular organisations and companies who beautiful and necessary the cabaret work with writers year round but have given becomes. This year we have games that us their support tonight to honour you, the model mental illness, radio plays that give writers. Huge thanks to our lead sponsor LEAD SPONSOR voice to the voiceless, television shows ALCS, to major sponsors ITV, BBC Drama and that examine painfully buried secrets BBC Worldwide, to Company Pictures, Silver and offer surprising new visions of the Reel, Nick Hern Books and Lionsgate. If you past. We have a revived Best First Novel meet a sponsor tonight please praise them, Award and an entirely new category, Best love them – in a non-threatening, appropriate Online Comedy, a welcome recognition manner – appreciate them as best you can. -
Representations of Blackface and Minstrelsy in Twenty- First Century Popular Culture
Representations of Blackface and Minstrelsy in Twenty- First Century Popular Culture Jack HARBORD School of Arts and Media University of Salford, Salford, UK Submitted in Partial Fulfilment of the Requirements of the Degree of Doctor of Philosophy, June 2015 Table of Contents List of Figures iii Acknowledgements vii Abstract viii Introduction 1 1. Literature Review of Minstrelsy Studies 7 2. Terminology and Key Concepts 20 3. Source Materials 27 4. Methodology 39 5. Showing Blackface 5.1. Introduction 58 5. 2. Change the Joke: Blackface in Satire, Parody, and Irony 59 5. 3. Killing Blackface: Violence, Death, and Injury 95 5. 4. Showing Process: Burnt Cork Ritual, Application, and Removal 106 5. 5. Framing Blackface: Mise-en-Abyme and Critical Distance 134 5. 6. When Private goes Public: Blackface in Social Contexts 144 6. Talking Blackface 6. 1. Introduction 158 6. 2. The Discourse of Blackface Equivalency 161 6. 3. A Case Study in Blackface Equivalency: Iggy Azalea 187 6. 4. Blackface Equivalency in Non-African American Cultural Contexts 194 6. 5. Minstrel Show Rap: Three Case Studies 207 i Conclusions: Findings in Contemporary Context 230 References 242 ii List of Figures Figure 1 – Downey Jr. playing Lazarus playing Osiris 30 Figure 2 – Blackface characters in Mantan: The New Millennium Minstrel Show 64 Figure 3 – Mantan: Cotton plantation/watermelon patch 64 Figure 4 – Mantan: chicken coup 64 Figure 5 – Pierre Delacroix surrounded by African American caricature memorabilia 65 Figure 6 – Silverman and Eugene on return to café in ‘Face -
01 July 2021
The Chapels Royal of St Peter ad Vincula and St John the Evangelist HM Tower of London Dear Friends, Greetings from the Chapel Royal. ‘Be Bold, be Bold, but Not Too Bold’, says Edmund Spenser in the Faerie Queene. This epic poem resonates deeply with the Chapel Royal here at the Tower of London, as it’s steeped in the imagery of Foxe’s Book of Martyrs and is a true Reformation text. The godly English knights are triumphant against their superstitious continental foes – but please do not for one moment take this as a commentary on the Association Football competition that is currently being played out on the nation’s television screens. (That will more probably end with the catchphrase ‘Woe, Woe and Thrice Woe!’ as uttered by Senna the Soothsayer in the BBC sit-com Up Pompeii, warning Frankie Howerd’s character Lurcio of some imminent disaster.) Instead, I am reflecting on Spenser because we face a moment in the coronavirus story where we are being bold in emerging into a more normal life, but all the while with, for many people, a deep sense of anxiety. The next few weeks may see our lives returning to a near normal, but uncertainty will remain. So, we are positive, but also realistic about the prospects of what life will look life in mid-summer. The Chapel Royal has, of course, seen it all come and go in the past, and the current troubles are a but a small bump in a long story. The Faerie Queene is a deeply theological poem, and at its heart is the virtue of constancy.