Search results

James Downs

. 40 H. E. Fowler, ‘A guide to the appreciation of the historical photoplay Victoria the Great ’, Photoplay Studies 3:8 ( 1937 ), pp. 8–9. 41 Christopher Robbins, Empress of Ireland. A Memoir of Brian Desmond Hurst (London: Scribner, 2004 ), p. 320

in The British monarchy on screen
Open Access (free)
Sarah Bernhardt, Queen Elizabeth and the development of motion pictures
Victoria Duckett

See Sarah Bernhardt’s comments about this ‘band of students’ called the ‘Saradoteurs’ in Paris in Sarah Bernhardt, Ma Double Vie: Mémoires de Sarah Bernhardt (Paris: Eugène Fasquelle, 1923 ), p. 290. See also Suze Rueff, who relates in her biography of Bernhardt that Bernhardt ‘drew to the Odéon the students, the midinettes and the artisans of the rive gauche ’. Suze Rueff

in The British monarchy on screen
Abstract only
Alan Rosenthal

, Abe had continued his battles for social rights and civil rights, often being pursued by the FBI. Then, at the age of sixty he had returned to Spain (still under Franco), to make a film on the civil war he called Dreams and Nightmares. The film was not just a memoir, but as he told me, was made to protest against US aid to Franco. And so the two men talked, actually way past cocktail time. But who cared. It wasn’t just their stories that captured us, but something about their spirit. Afterwards I tried to analyze what that something was, and then it hit me. It wasn

in The documentary diaries
Abstract only
Thomas Austin

the ‘authentic’ and the ‘inauthentic’, the ‘honest’ and the ‘contrived’, and between ideas of documentary and reality television as good and bad objects respectively. Chapter 3 uses research among audiences for Touching the Void, the highest grossing British documentary in history, adapted from a best-selling climbing memoir. It examines the film’s form (which intercuts interviews and reconstructions), and interrogates a mode 01intro.p65 6 6/28/2007, 10:27 AM 7 Introduction of engagement that treated the film as an ‘inspirational’ story of (male) suffering and

in Watching the world
Abstract only
Keith Beattie

appreciated that openness’.34 Beyond the resonances of Jennings’ work within specific films and other cultural productions, his legacy can also be gauged in terms of the forms he helped establish and popularise, among them the reconstruc­ tive mode of the story-documentary. Caryl Doncaster’s claim, published in 1956, that the ‘dramatised story documentary is one of the few art forms pioneered by television’ overlooked the development of the form during World War II in the work of Harry Watt, Pat Jackson and, in particular, Humphrey Jennings.35 Writing in his memoir

in Humphrey Jennings
Rowland Wymer

any responses other than pity, regret, or horror, even when we know of authentic testimony to the contrary such as that of Henry Williamson, the author of Tarka the Otter and the Chronicle of Ancient Sunlight sequence of novels, or that of the German Ernst Jünger, who wrote the memoir Storm of Steel . Owen himself experienced the exultation of battle (‘I lost all my earthly faculties, and fought like an angel’) 20 and

in Derek Jarman
Abstract only
Matron and mistress of misrule
Andrew Roberts

Movies from Austerity to Affluence , London : Faber & Faber . Farber , Manny ( 1962–63 ), ‘ Elephant Art vs Termite Art ’, Film Culture, 27 , Winter, 9 – 13 . Fowler , Christopher ( 2009 ), Paperboy: A Memoir , London : Doubleday . Geraghty , Christine ( 2000 ), British Cinema in the Fifties: Gender, Genre and the ‘New Look ’ , London : Routledge . Gilliatt , Penelope ( 1973 ), Unholy Fools: Wits, Comics, Disturbers of the Peace: Film & Theatre , London : Secker & Warburg . Goodwin , Cliff

in Idols of the Odeons
Abstract only
Sue Vice

-seat. Soon afterwards, the import of the hallucinations pushes Deric to breaking-point. In Longden’s memoir Diana’s Story the night of his breakdown is related in a mixture of first- and third-person narrative to convey his alienation,49 and the film is able to reproduce this perfectly through a mixture of point-of-view and omniscient shots. As Deric drives to Bradford alone, we see a close-up of his frozen face through the car windscreen, and on the soundtrack hear the choral music that Aileen plays at home while she writes. We then see from Deric’s viewpoint another

in Jack Rosenthal
Isadora (1968) and Sweet Dreams (1985)
Colin Gardner

serious is the writers’ over-dependence upon Isadora’s autobiography and Stokes’s memoir as their main primary sources, rather than the more objective overview of a scholarly biography. Even Margaret Drabble admitted that My Life is extremely unreliable, ‘dictated through emotional and financial stress, doctored, inaccurate, it does her less than justice’. 21 Similarly, Stokes knew Isadora for less than eighteen months, so

in Karel Reisz
Douglas Keesey

’. 45 ‘It was wrong to have an orgasm, it was base, shameful’ … ‘I was sure of one thing, of being a temp. … My love affairs too have just been temporary’ (Lozerec’h 1984: 100, 189). 118 catherine breillat write a memoir (‘Mémoires d’une jeune fille dérangée’46 (Lozerec’h 1995: 181)) and then a novel (which becomes L’Intérimaire itself) in which she moves beyond unconsciously repeating the past by deliberately restaging scenes of shame so that she can now gain some control over and distance from them. Solange’s writing has enabled her to understand that her true

in Catherine Breillat