MOM= 11111 Water

Total Page:16

File Type:pdf, Size:1020Kb

MOM= 11111 Water eedart AirgulIrrZn ay, August 25th, 1954. THE TRESDALE 14EROURT. NARD CASTLE FOOTBALL ENTERTAINMENT - AUCTION MART EVEN GOLF CLUB Forthcoming Shows Burns Auckland and Dlstriot League, ALAN LADD IN " DESERT' Division 11. LEGIO N." LEYBURN The 1954 show season haa so far txrpularity and a. number of new Need not be A WHIST DRArE 39. 12111eY Dui?, 38 Hole BARNARD CASTLE CELTIC had a watery baptism and up to the classes are fcran.d in the distinct FRIDAY. Firm tnade for dairy soggy Competition On Monday and Tuesday, August cattle. Newly calven cows awl will be held in V. SUTTERKNOWLE preeat few of Tthese events in the classes for Swaledale Sheep In the 30th and zi1st, AlanLadd end great heifere, attested: J. R Pratt, 287, DALTON MEMORIA.L North—together • with a open section the championship Mier Arlene Dahl co-star in Desert £79. £68; WEDNESDAY. Sitlln'T August. 1954_ 1, J. C- Celtic started the seneon with a number in the boulhein part ot the Prize is donated by tho _Swaledale Piy House Ltd-, 286; P. e nit 1 down: 2, J. Hillary, A Legion," at the Cosy Cinema, H. Bowes, £81: J. A.. Harker, iSal commenting 7-30 pen' home game against Butterknowm, country-1i a v e been fortunate Sheep Breeder& Assooiation. There The burn is one of the commonest litiddietondinTeesdate. This advent- H. Horne, 280; Omission 2/6, includin , r3, J. W. Garbutt, 3 down; enough to escape the freakishness are three classes for pigs and a A. Appleton. £82: g r 'D. Ascough, 4 winners of the Anderson Oup last of all lemon injuries. About 60 ure yarn, in Techniodor, concerns J Horner, £78. £78; Mrs 1). seaeon, in an Auckland League of Ile weather. championship challenge cal) given per cent. of in Britaiu the exploits of a Foreign Legion . 6 down.' by Lady Gray is to be competed, for, all accidents Robinson, 270: W. Percival. £77; URNE METHODIST ent game The visitors enjoyed a 2-goal On Saturday. three shows, which take plane in the home, and most captain who discovers a secret city F. R. Sidge, £72: W. Thistlethwaite. lead after 45 naimetes, but in she can almest he oleased as local, ail New classes include those for seed you put MIDDLETON-LN-TEDA TM Jackson Trophy. of these are burns. The caiet in the desert, fails in love With the 270; W. B. Graham, £70; R. W. second half the lsorae -team scored suffered from the existing ehaolec and old land hay. The usual sections victims are very young children ruler's daughter. and overthrows a Fester, 282; .1 O. Holdsworte. twice through K Outer and so conditions. Events at Haughton-le- -for horticulture nroduce and handi- aind the very old. would.be tyrant. 255: I. Armstrong, £62; G. P. A GRAND CONC tagast. 1954. 1, Mrs li. ehrired the point. Skerne and Shildon were poirepoued crafts are retuned aa well as those reed J. C. Walker, 4 down; Amongst children, the commoneEt " My Favourite Blonde," at the Walker, £70; G. P. Wallace. £70: TURDAY, AUGUtill 28%, Next week, Celtic are visitors to alter hurried meetings of their for cage birds endemouItry. mid-week, with Bob Hope and at ne M. Rutherford and W. respective emergency committees, The sporting aide of the proceed- sufferers are little girls whose Furnish, £77; J. B. Guy. £70; 145 p.m. 6 down; 3, Mrs L. Downs Coundon to play the strong St. " nightles " or party frocks trait Madeleine Carroll, is a gay and IV- A. Dinsdele..C74: G. Bereetord, ILDON MALE VOICE C Joseph's eleven for league points. anu attendances itt both places was ings will again occupy a most fr Gourtley, 7 down; 4. Mrs into unguaeded fires. Burns are also irresponsible was-time romantic £73, £64 ; J. G. Tiplady, 273. 246; (40 Voices) • While Middreton Wanderers ere greatly affected. At Westgatenn- important position and the events comedy., with the stars in top nn and J. Hillaen, El down; have been. compiled to assure an quite common among workers who A. l'Anson, 270; S. T. Thwaite: 31usical Director: n Storey and R. Ewbanke, to play in the final of the League Weardale, strenuous aorta by form. Supported by " Moms £60; J. Tiplady, £.65; E. Pratt, MR 11, HENDERSON, Cup, the first round of this years workers made the show ground free interesting and veried programme. are exposed to inflammable fluids, migh teneperatures, and inflammable People Next Door," a highly £54; J. A. Teem', £6; M. Hodg- eompanist: MR A. Glen competition will be played on 4th from water, but again nix attenu- These sporting evente which have amusing comedy starring Jaen son, 259; 3. Frankland, £66. 25a, Tickets September, when Celtic are away ance fell fan below empeetatious. On become widely known in. thq North chemicals. 1/6 each. wide Scientists classify burns ss tirei. Warner, this is a programme M. E. Porter, 2138; G. Harker, 258, me and hear thin Alurrien to "A" Division team, Newton Sunday, the two programmes uy and receive cm/petite:ire front' a, whroh lould not fail to please. F. Burnett., 264; W. Hall, £85; new:ends for Chapel and Ayeriffe. Fodens Motor Works Band were radius are expected to again cater second, or third degree. first- ALE AND DISTRICT degree burn is not serious unlees On Friday and Saturday, " W. Itybris, 268: H. Harrison. 262. Funds. .played in a. large marquee and the for a large number of runners. Come the Non-atteeted newly ,calved cows ycmil be glad evening performance attracted a The judging list is as follows: it covers a large. area of the body, the Girls " is a comedy 11111ARD LEAGUE list is as follows: Dr becomes infeeted; but it can be starring Bob Hope who is seen as and heifers: E. HAIL £61; F. Dins- Darlington and District League, eood crowd. Time judging ce hopeless stage performer who is dale. 250 10s; Mrs Quirke, £53; 0th EGGLESTON 811 Woodlana Enterpr Ise. Shorthorn Cattle: J. R. Niecon ;ere/ painful. Mest fatalities are Division "A" kidded to appear as a star in a J Fawcett and Son, 288; R. on the camel Meeting of the Tees- On Saturday, Woodland Agriculte (13rompton), J. Capetick (Raeen- due to the second-degree burn you bought a or District Billiard League stoneclate). Friesian Cattle: E. which causes blistering on the skin, show, not knowing he is the bail 3fetealfe, 282. 1131:GEIS, EGGLESTON NORTHALLERTON TOWN V. ural Show will be held and will for a notorious Miler. With Arlene Craves to £3 12s 6d; store n held in the Rending Room, BARNARD CASTLE AMATEURS berald the more local series of shows Johnsem. (Bedale). Teeewater Sheep: Or the third-degree burn, winch no. on Monday, August Dahl as his leading lady and Tony bullocks to 130. ewes to LB 5s Maly loaned by the Pr - which will continue until October E. Wilson (Cerinin-Oartmell), P. (hater the flesh. Attested calves. 28 103 to 47 5s. Sir William Gray, e 7-15 p.m. There ere one Barnard Castle -Amateurs visited 23rd when the Grains4-Beek Sherwin (13edale). Swaledale She Until 1940. most adults with burns Mai:fill and Rosemary Clooney nraew teams already applying -their annual ere' Sheepdogs: S. F. Clarkson onetime more than 50 per cent. at providing tile songs, this film has TURDAY, 18 Nurthallerton Town in their Prst Sodiety will hold 02 SEPTEN berslop and any other club league game on Seturday lest. The event. (Muker), NV. Boutfield (Winton), the body surface were sure to die. excellent entertainment values. MOM= 1954. BARNARD Sistriet should apply to the game was played in lovely sunshine The Woodland Society have been Horses: T. Dengue (Dutton), Re To-dart however. adults with up to CASTLE MINOR • OXFORD • SIX Clasees for ry (Mr .T. B. Peacock, 4, before about MO people. singulardy unfortunate since tneu Metcalfe (Hearaugh). Pigs: S. V. 70 per cent. of the body area View. Mickleton) on or ALAN BRIDGE CLUB. RSES, CATME. SHEEP, p The Amateurs were captained by formation and a. number of occasions Tinsley (Sedgefield). Referee: T. burned mustily survive if treated iu LADD AND LEO CERN IN ULTRY. DOGS, RAD The above date, or send a Donny Carter. and were the first their choice of data hies coincided 31. Metcalfe (Darliagton). Poultry: time. EXCITING DRAMA FROM tation o tbe annual meet_ COLUMBIA Noah/South: GE BIRDS. tiORTICUL to attack end after five minutes with weather more Su keeping with Mr Nicfnolsom. (Cocskfield). Cage This striking change has bten 1, Mr and Mrs Richardson. at JAM, HONEY, PROD Wileanimcored. Northallentori started November than August. 'their event Birds: W. Gran (Staithope)- „Cats: brought about by advances in. burn 2, Mr and Mrs Sandgrass. INDUSTRIAL CLASS_al, an attack but could not pales the on Saturdar, again under the presi- Mrs Pease (Streatiene).. H6rtqcul- treatment, -including use of the A gripping chronicle of Britain's , East/West: PHOTOGRAPHY, Barney defence. Then did, however, dency of Mr J. E. Brawn-Humes taro: G. W. Brodie (Durham). antibiotic drug, administration of Airborne Forces. Oolturibia Pictures' 1, Mr Christie and Mr Wigmore. Louis Smith and equalise after 20 minutes play when presents a comprehensive pia- Field Produce: W. Mitoliell (New- plasma and whole blood, narcotics war- drama " The Red Beret," a 2, Mr and Mrs Heading, LL SPORTING PROGRAM their outside left, Fawcett, scored aramme. 'There are the usual classes castle). Honey: O. Dunne (Even- to relieve severe pain, improved Warwick Films Production in colour AND CO a somewhat easy goal. The -for horses, Dairy Shorthorn and wood). Ball-kits? Cr.
Recommended publications
  • The Wrecking Crew’
    © Copyright 2012 Walt Missingham ‘THE WRECKING CREW’ The Forgotten Bruce Lee Movie Written by Walt Missingham The Wrecking Crew, released in 1969 and starring Dean Martin, Elke Sommer, Nancy Kwan and Sharon Tate is the fourth and final film in a series of American comedy-spy-fi theatrical releases featuring Martin as secret agent Matt Helm. As with the previous three Helm spy movies (The Silencers, Murderers' Row, and The Ambushers), it is based only loosely upon Donald Hamilton's 1960 novel of the same title and takes great liberties with the plot and characters, being developed as a spoof of the James Bond films. The Wrecking Crew was the second Helm novel published and the earliest of the books to be adapted. This was the last film of Tate's to be released before her murder at the hands of Charles Manson's followers on August 9, 1969. © Copyright 2012 Walt Missingham Bruce Lee coaching Nancy Kwan and Sharon Tate Not known by many is that the film featured a virtual who’s who of American martial arts royalty with Chuck Norris, Joe Lewis, Ed Parker and Bruce Lee all appearing in the film. Bruce Lee was engaged as the martial arts choreographer for the film and insisted on bringing in as many top martial arts exponents as he could. © Copyright 2012 Walt Missingham Joe Lewis squares off against Dean Martin As the film progressed it became obvious to Dean Martin as well as Producer Irving Allen and Director Phil Karlson that Lee’s skills and the martial arts in general should and would be an integral part of the next Mat Helm movie ‘The Ravagers’ Chuck Norris with Elke Summers and Dean Martin © Copyright 2012 Walt Missingham Bruce Lee was choreographer for the fight scenes but also doubled for Dean Martin in all the fights.
    [Show full text]
  • Inmedia, 3 | 2013, « Cinema and Marketing » [Online], Online Since 22 April 2013, Connection on 22 September 2020
    InMedia The French Journal of Media Studies 3 | 2013 Cinema and Marketing Electronic version URL: http://journals.openedition.org/inmedia/524 DOI: 10.4000/inmedia.524 ISSN: 2259-4728 Publisher Center for Research on the English-Speaking World (CREW) Electronic reference InMedia, 3 | 2013, « Cinema and Marketing » [Online], Online since 22 April 2013, connection on 22 September 2020. URL : http://journals.openedition.org/inmedia/524 ; DOI : https://doi.org/10.4000/ inmedia.524 This text was automatically generated on 22 September 2020. © InMedia 1 TABLE OF CONTENTS Cinema and Marketing When Cultural Demands Meet Industrial Practices Cinema and Marketing: When Cultural Demands Meet Industrial Practices Nathalie Dupont and Joël Augros Jerry Pickman: “The Picture Worked.” Reminiscences of a Hollywood publicist Sheldon Hall “To prevent the present heat from dissipating”: Stanley Kubrick and the Marketing of Dr. Strangelove (1964) Peter Krämer Targeting American Women: Movie Marketing, Genre History, and the Hollywood Women- in-Danger Film Richard Nowell Marketing Films to the American Conservative Christians: The Case of The Chronicles of Narnia Nathalie Dupont “Paris . As You’ve Never Seen It Before!!!”: The Promotion of Hollywood Foreign Productions in the Postwar Era Daniel Steinhart The Multiple Facets of Enter the Dragon (Robert Clouse, 1973) Pierre-François Peirano Woody Allen’s French Marketing: Everyone Says Je l’aime, Or Do They? Frédérique Brisset Varia Images of the Protestants in Northern Ireland: A Cinematic Deficit or an Exclusive
    [Show full text]
  • Eamjma Serving Storrs Since 1896
    dntmwttntt lattg (Eamjma Serving Storrs Since 1896 VOL. LXX. NO. 100 S»lnrrii. (Cnnnrrtirul FRIDAY, MARCH 25. 1968 New Faculty Promotions UConn Hosts 3 Day Conference For Announced By Babbidge Things are looking up! At least Political Science; Charles Fritz, for many of the UConn faculty. Professor, Philosophy; Lowell L. Herald Tribune World Youth Forum president Homer D. Babbidge, Getz, Assoc Professor, Zoology; by John Nirenberg perience for the hundreds of del- quaint foreign youth with Jr. announced yesterday a list Herbert Goldstone, Assoc. Pro- Students from 31 countries par- egates participating and the thou- American people and institutions. of the tenure and promotion which fessor, English; Robert Har- ticipating in the Herald Tribune sands of people involved. In the five months (Dec - April) were acted upon by the Board rison, Ass't. Professor, Socio- World Youtli Forum will be guests The delegates, each high school they visit much of the Atlantic of Trustees at its regular March logy & Anthropology; John B. of the University March 27-29. seniors in their respective coun- Seaboard from the nation's cap- meeting. Hawkes, ASSOC Professor, Phy- Upon arrival at UConn Sunday tries, were chosen by their Min- itol to the New England towns. Promotions take effect October sics; Frances Hunter (Hftd. they will be met by as many istries of Education on the basis In an effort to expand their 1, 1966. Tenure awards are Branch), Assoc Professor, Eng- student hosts. The delegates of exceptional educational ach- horizons they change Hosts three effective September 1, 1966. lish; Roger E. Kasperson, Ass't.
    [Show full text]
  • Das Es Sich Bei Die Another Day Um Einen James Bond-Film Handelt, Erkennt Man Schon Am Titel
    Ein Bond ist nicht genug Zum 20. mal kehrte James Bond mit Die Another Day im November in die Kinos zurück. Seinen ersten Leinwand-Auftritt hatte der britische Nobelagent vor 40 Jahren. Anlass genug, um auf die Ursprünge des erfolgreichsten Filmfranchises der Kinogeschichte zurückzublicken. ROBERT BLANCHET Dass es sich bei Die Another Day um den neuesten James-Bond-Film handelt, erkennt man schon am Titel: Leben und Tod, Luxus, Eros und Unendlichkeit - mindestens eines dieser Elemente kommt in fast allen Bondfilmtiteln vor. Gut gewählt ist er aber auch deshalb, weil er perfekt zum Jubiläum passt, das das älteste Filmfranchise des Gegenwartskinos vor kurzem feierte: Seit 40 Jahren steht 007 im Geheimdienst Ihrer Majestät; 50 Jahre wenn man die Bücher mit dazurechnet – und tatsächlich ist die Zeit für den Agenten mit der Lizenz zum Töten wohl noch lange nicht gekommen. Seit Pierce Brosnan 1995 die Walther PPK von Timothy Dalton übernommen hat, spielen Bondsequels wieder fast doppelt so viel ein wie in den für das Spion-Genre eher mageren Achtzigerjahren. Mit Blockbusterserien wie Mission: Impossible (Paramount), XXX (Columbia TriStar), und Austin Powers (Warner Bros./New Line) hat mittlerweile fast jedes der Hollywoodstudios sein eigenes Bondderivat im Programm. Und wenn Madonna nach Austin Powers dieses Jahr endlich auch den echten Bond mit einem Titelsong beehrt, ist dies nur konsequent, wenn man bedenkt, wie viel die zeitgenössische Popkultur dem Retrochic der 20 offiziellen Bondfilme und ihren Soundtracks schuldet. Begonnen hat alles 1952 in Goldeneye, dem jamaikanischen Winterrefugium von Ian Flemming. Umgeben von Palmen, illustren Gästen und dem zunehmend frostigeren politischen Klima des Kalten Krieges schuf der Journalist und Bonvivant hier eine Romanfigur, die wohl vieles von dem verkörperte, was er sich für sein eigenes Leben erträumte.
    [Show full text]
  • Historical Backgrounder
    HISTORICAL BACKGROUNDER Nestled in the canyons of Los Angeles, Hotel Bel-Air has been a hideaway for world travelers for well over half a century. A visionary significant in the development of the area, Alphonso E. Bell created Bel-Air Estates in 1922. Bell acquired over 600 acres west of the city of Los Angeles, naming his new purchase “Bel-Air.” Determined that the estates would become an exclusive and upscale neighborhood, he enhanced the surrounding area with new roads, utilities, a country club and lush, exotic vegetation. What is now Hotel Bel-Air’s main mission-style building was originally built as Bell’s estate planning and sales offices. These offices were located next to the Bel-Air Stables where residents could board their horses and enjoy the miles of equestrian trails winding throughout the canyons. For the next few decades Bell’s dream flourished. In 1946 Joseph Drown, a hotel entrepreneur from Texas, purchased 18 acres, and the land offices, and began plans to create an elegant pastoral hotel hideaway encompassing most of the land. Drown immediately hired architect Burton Schutt to convert the buildings and construct the 62 rooms of what was to become Hotel Bel-Air. Drown transformed the grounds into lush, beautiful gardens, adding Swan Lake to the picturesque front lawn. He had a vision of creating a natural California oasis, planting palms, ficus trees and perennial blooms. Drown also closed the Stone Canyon stables and built the sparkling oval-shaped pool at the site of the original riding ring. The hotel opened on August 24, 1946.
    [Show full text]
  • Fifty Years of Bond, James Bond: the Greatest Film Franchise’S Biggest Birthday | Vanity Fair
    6/4/2017 Fifty Years of Bond, James Bond: The Greatest Film Franchise’s Biggest Birthday | Vanity Fair The Birth of Bond Fifty years ago, at the dawn of the commercial-jet age, James Bond strode into movie history, to show audiences how stylish and thrilling life could be. But creating the cinematic Bond was fraught with peril, as best-selling author Ian Fleming discovered when he first tried to take his hero to the screen. David Kamp recalls the unlikely team—two small-time producers, a journeyman director, and a “rough diamond” of a star—behind 007’s film debut, Dr. No, the beginning of a $5 billion franchise. BY DAVID KAMP | OCTOBER 2012 BOND. JAMES BOND. Right, Sean Connery on the set of Dr. No, 1962. Left, in the Alps during the filming of Goldfinger, 1964., left, from photofest, digital colorization by lorna clark; right, © 1962 Danjaq, L.L.C., and the United Artists Corporation, all rights reserved. nter Sean Connery, dark hair slicked with pomade, eyes locking hungrily upon a beautiful green­eyed girl. Her return glance leaves no doubt—the feeling is mutual. His slouch and casual banter exude languor and nonchalance, but there’s an undercurrent of coiled menace to this man, as though E he might, at any moment, spring into table­overturning, crockery­shattering action. Except nothing of the sort happens. Instead, the other fellow in the scene cuts the tension by taking out his fiddle and favoring the room with a jaunty tune learned, he says in a stagy brogue, “in the old ruins on the top of Knocknasheega!” http://www.vanityfair.com/culture/2012/10/fifty­years­of­james­bond 1/14 6/4/2017 Fifty Years of Bond, James Bond: The Greatest Film Franchise’s Biggest Birthday | Vanity Fair This isn’t a James Bond picture.
    [Show full text]
  • Mapping the British Biopic: Evolution, Conventions, Reception and Masculinities
    Mapping the British Biopic: Evolution, Conventions, Reception and Masculinities Matthew Robinson A thesis submitted in partial fulfilment of the requirements of the University of the West of England, Bristol for the degree of Doctor of Philosophy Faculty of Arts, Creative Industries and Education, University of the West of England, Bristol June 2016 90,792 words Contents Abstract 2 Chapter One: Introduction 3 Chapter Two: Critical Review 24 Chapter Three: Producing the British Biopic 1900-2014 63 Chapter Four: The Reception of the British Biopic 121 Chapter Five: Conventions and Themes of the British 154 Biopic Chapter Six: This is His Story: ‘Wounded’ Men and 200 Homosocial Bonds Chapter Seven: The Contemporary British Biopic 1: 219 Wounded Men Chapter Eight: The Contemporary British Biopic 2: 263 Homosocial Recoveries Chapter Nine: Conclusion 310 Bibliography 323 General Filmography 355 Appendix One: Timeline of the British Biopic 1900-2014 360 Appendix Two: Distribution of Gender and Professional 390 Field in the British Biopic 1900-2014 Appendix Three: Column and Pie Charts of Gender and 391 Profession Distribution in British Biopics Appendix Four: Biopic Production as Proportion of Total 394 UK Film Production Previously Published Material 395 1 Abstract This thesis offers a revaluation of the British biopic, which has often been subsumed into the broader ‘historical film’ category, identifying a critical neglect despite its successful presence throughout the history of the British film industry. It argues that the biopic is a necessary category because producers, reviewers and cinemagoers have significant investments in biographical subjects, and because biopics construct a ‘public history’ for a broad audience.
    [Show full text]
  • Crime Wave for Clara CRIME WAVE
    Crime Wave For Clara CRIME WAVE The Filmgoers’ Guide to the Great Crime Movies HOWARD HUGHES Disclaimer: Some images in the original version of this book are not available for inclusion in the eBook. Published in 2006 by I.B.Tauris & Co Ltd 6 Salem Road, London W2 4BU 175 Fifth Avenue, New York NY 10010 www.ibtauris.com In the United States and Canada distributed by Palgrave Macmillan, a division of St. Martin’s Press, 175 Fifth Avenue, New York NY 10010 Copyright © Howard Hughes, 2006 The right of Howard Hughes to be identified as the author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988. All rights reserved. Except for brief quotations in a review, this book, or any part thereof, may not be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of the publisher. The TCM logo and trademark and all related elements are trademarks of and © Turner Entertainment Networks International Limited. A Time Warner Company. All rights reserved. © and TM 2006 Turner Entertainment Networks International Limited. ISBN 10: 1 84511 219 9 EAN 13: 978 1 84511 219 6 A full CIP record for this book is available from the British Library A full CIP record for this book is available from the Library of Congress Library of Congress catalog card: available Typeset in Ehrhardt by Dexter Haven Associates Ltd, London Printed and bound in Great Britain by TJ International,
    [Show full text]
  • Columbia Pictures: Portrait of a Studio
    University of Kentucky UKnowledge Film and Media Studies Arts and Humanities 1992 Columbia Pictures: Portrait of a Studio Bernard F. Dick Click here to let us know how access to this document benefits ou.y Thanks to the University of Kentucky Libraries and the University Press of Kentucky, this book is freely available to current faculty, students, and staff at the University of Kentucky. Find other University of Kentucky Books at uknowledge.uky.edu/upk. For more information, please contact UKnowledge at [email protected]. Recommended Citation Dick, Bernard F., "Columbia Pictures: Portrait of a Studio" (1992). Film and Media Studies. 8. https://uknowledge.uky.edu/upk_film_and_media_studies/8 COLUMBIA PICTURES This page intentionally left blank COLUMBIA PICTURES Portrait of a Studio BERNARD F. DICK Editor THE UNIVERSITY PRESS OF KENTUCKY Copyright © 1992 by The University Press of Kentucky Paperback edition 2010 Scholarly publisher for the Commonwealth, serving Bellarmine University, Berea College, Centre College of Kentucky, Eastern Kentucky University, The Filson Historical Society, Georgetown College, Kentucky Historical Society, Kentucky State University, Morehead State University, Murray State University, Northern Kentucky University, Transylvania University, University of Kentucky, University of Louisville, and Western Kentucky University. All rights reserved. Editorial and Sales Offices: The University Press of Kentucky 663 South Limestone Street, Lexington, Kentucky 40508-4008 www.kentuckypress.com Cataloging-in-Publication Data for the hardcover edition is available from the Library of Congress ISBN 978-0-8131-3019-4 (pbk: alk. paper) This book is printed on acid-free recycled paper meeting the requirements of the American National Standard for Permanence in Paper for Printed Library Materials.
    [Show full text]
  • Film and Tv Technician
    Scanned from the collection of The Museum of Modern Art Library Coordinated by the Media History Digital Library www.mediahistoryproject.org Funded by a donation from University of St Andrews Library & Centre for Film Studies Digitized by the Internet Archive in 2013 http://archive.org/details/filmtvtech23asso LM AND TV TECHNICIAN Association of Cinematograph, Television and allied Technicians PRICE 6d. FILM & TV TECHNICIAN January 1957 • NO NEED TO LOOK TWICE . ... once is sufficient to see the noticeable improvement in all films when masked printed by Colour Film Services Limited—Britain's biggest 16 mm Kodachrome laboratory. 22-25 PORTMAN CLOSE • BAKER STREET LONDON • W.l. Telephone: Hunter 0408-9 GDQGQG5QQGGQQQQGGQGGQQGQGCGQG!jGGQGQGGQGQGOGGGQQQGQQQDGDDQGGGQDDGQG!jDOOGC 41BIARY. January 1957 FILM & TV TECHNICIAN In view of the film legislation now before Parliament we print in plB*©^ of our usual editorial an article which has special bearing on the steps needed to protect British Films WHY WE NEED A QUOTA ACT THIS month and next will see However, the Quota Quickie was That is why the film legislation both Houses of Parliament once largely eliminated ten years later now before Parliament is so vital again discussing the film industry, when Parliament passed an amen- to every one of us who wants to and in particular the renewal for ded Act which imposed a minimum see an expanding film industry. ten of what is called another years It looks as if the Government is the Quota Act. By trying to rush its legislation Why do we need a Quota Act to through Parliament without ade- protect British Films? quate opportunity for amendment, Ralph Bond and many amendments are Surely, you may say, we have urgently needed to ensure that the been making films long enough in better for British films Britain not to need Parliamentary Act works during the next ten years.
    [Show full text]
  • Robert Hartford-Davis and British Exploitation Cinema of the 1960S
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of East Anglia digital repository Corrupted, Tormented and Damned: Reframing British Exploitation Cinema and The films of Robert Hartford-Davis This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that use of any information derived there from must be in accordance with current UK Copyright Law. In addition, any quotation or extract must include full attribution. Michael Ahmed, M.A., B.A. PhD University of East Anglia Faculty of Film and Television Studies January 2013 Abstract The American exploitation film functioned as an alternative to mainstream Hollywood cinema, and served as a way of introducing to audiences shocking, controversial themes, as well as narratives that major American studios were reluctant to explore. Whereas American exploitation cinema developed in parallel to mainstream Hollywood, exploitation cinema in Britain has no such historical equivalent. Furthermore, the definition of exploitation, in terms of the British industry, is currently used to describe (according to the Encyclopedia of British Film) either poor quality sex comedies from the 1970s, a handful of horror films, or as a loosely fixed generic description dependent upon prevailing critical or academic orthodoxies. However, exploitation was a term used by the British industry in the 1960s to describe a wide-ranging and eclectic variety of films – these films included, ―kitchen-sink dramas‖, comedies, musicals, westerns, as well as many films from Continental Europe and Scandinavia. Therefore, the current description of an exploitation film in Britain has changed a great deal from its original meaning.
    [Show full text]
  • 'A Thoroughly English Movie Franchise' Spectre, the James Bond Films, And
    ‘A thoroughly English movie franchise’ Spectre, the James Bond films, and Genre JAMES CHAPMAN The James Bond films are genre films par excellence: they demonstrate both the industrial processes of popular film-making and the narrative patterns of repeti- tion and variation that underpin the idea of genre in popular cinema. Indeed the Bond films are such a uni ue and distinctive brand in their o!n right that the term "Bondian# has been coined to describe both the professional discourses of the film-makers on the one hand and the style and content of the films on the other. $s Janet %oolacott noted after observing the making of The Spy Who Loved Me '()**+ for an ,pen -niversity case study of media production: ".Bondian/ !as the phrase used by 01ubby2 Broccoli and other members of the production team to mean .in the spirit of James Bond/...To a certain extent the term .Bondian’ !as used to describe the Bond films, !hich !ere seen as a distinctive formula, a spe- cific genre of film# '()45, 6(7+. The emergence of ne! approaches to genre studies !hich extend beyond the reductive structuralism of the ()*7s and !hich understand film genres and cycles in relation to their !ider industrial and cultural contexts has seen the Bond films find their place on the agenda of academic film studies. This is amply demonstrated over the last decade or so by the gro!th of Bond scholarship that has seen the films analysed from a range of critical and theoretical perspectives, James Chapman is Professor of Film Studies at the Uni- versity of Leicester.
    [Show full text]