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Melanie Williams

straightforward statement of social protest on the part of its makers, which is partly due to the casting of Diana Dors, a notorious and flamboyant British film personality of the 1950s, in the role of Mary Hilton. Hailed as the only sex symbol Britain has produced since Lady Godiva, Diana Dors was a precocious teenager who had made her first film appearance at the age of 15 as a spiv’s mistress in The Shop at

in British cinema of the 1950s
Open Access (free)
Kerry Kidd

which leaves them with nowhere else to go. On the other hand, in both form and theme the film is consciously melodramatic, casting Helen Allistair as the villain of the piece whose abuse and exploitation are eventually appropriately punished. As a consequence the film clearly and honestly depicts contemporary abuses, but seems unsure whether to blame respectable social prejudice, more simplistic

in British cinema of the 1950s
Nicholas Johnson

adaptable to conditions beyond its native theatrical environment. From analogue to digital: actors and rehearsals After the preparatory work involved in dramaturgy and casting, a director's task is to plan and facilitate rehearsals, such that the performance will be fully ready on time (and ideally under budget). How actors and directors arrive at the appropriate form of rehearsal for a given work is dependent on a large number of variables external to the text: interpersonal relationships, regional theatre cultures and funding

in Beckett and media
Open Access (free)
The early British films of Joseph Losey
Neil Sinyard

, either on script, casting, cutting, music or on anything else. The result, whether the film succeeds or not, whether one likes the film or not, at least it’s something I can defend as being mine. It is all of one piece.’ As a film-struck teenager, I saw The Servant when it was first released and can recall being utterly bowled over by it. At that time, infected by a fashionable disdain towards British

in British cinema of the 1950s
Open Access (free)
Quentin Crisp as Orlando’s Elizabeth I
Glyn Davis

with people with HIV/AIDS, the Queen Mum for her alleged reputation as a fan of a party and a tipple. For Sally Potter, however, Crisp’s persona squared neatly with the role of Elizabeth I. In an interview with Penny Florence, she discussed her casting decisions: [W] ith Quentin, there are so many ways in which he’s right for the part

in The British monarchy on screen
Open Access (free)
Baker and Berman, and Tempean Films
Brian Mcfarlane

audiences typically expected a ‘double bill’, with a main feature and a supporting film, which might be designated either a co-feature or a second feature according to the lavishness of its casting and budget. If a major film ran to over two hours, say, it was likely to be supported by ‘shorts’ (often designated ‘selected featurettes’) rather than by another feature film of the kind made by Tempean. In any

in British cinema of the 1950s
Open Access (free)
Pat Jackson’s White Corridors
Charles Barr

casting in Fires were Started launched a long career as a character actor, Hills had nothing more to do with films until Jackson summoned him again to play the hospital porter; the film opens with his walk through the dawn streets to begin his stint at the reception desk. Like another non-professional cast as a Scottish ward sister, Grace Gavin, he blends in seamlessly. A third

in British cinema of the 1950s
Mandy Merck

documentary footage of the dead Princess is watched by the film’s characters, played by actors filmed in the higher resolution, deeper hues and synchronised sound of the feature film. Thus we are given two realities in two different registrations – that of the fictional world of melodrama and that of the actual world of documentary. But here, enhanced by cinema’s larger gauge, lighting, set design, casting

in The British monarchy on screen
Open Access (free)
The Admirable Crichton and Look Back in Anger
Stephen Lacey

’nor’, almost marries Lord Loam’s eldest daughter. However, the social order is rapidly restored when, as the wedding service is about to take place, they are predictably rescued. Crichton becomes the butler once more, leaving the family to assume the glory for ensuring their communal survival. In what ways, then, might The Admirable Crichton be considered theatrical? The casting provides some evidence

in British cinema of the 1950s
Open Access (free)
Mandy Merck

describes the painstaking production and ecstatic reception of this ‘great patriotic film’. Casting three actresses to represent the Queen from youth to old age, Sixty Years a Queen employed the infrastructure and techniques of theatrical history dramas as well as their tableau style. Events as varied as the monarch’s proposal to Albert, the annexation of British Columbia, the Indian Mutiny and a visit of ‘Victoria the Good’ to

in The British monarchy on screen