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‘We Want “U” In’

This short essay draws on research undertaken by the curator of the Scottish Screen Archive on the few surviving films credited to Greens Film Service of Glasgow in the teens and twenties. The research revealed a dynamic family business, born out of the travelling cinematograph shows of the late nineteenth century, growing to assume a dominant role in the Scottish cinema trade in the silent era, across exhibition, distribution and production. One small part of a lost film history waiting for rediscovery – early cinema in Scotland.

Film Studies
Toward a musical poetics of The Smiths

responsibility in deriving possible musical meaning than that of the seemingly ineffable and cognitively intensive poetics of the aforementioned musicaltextual play. What follows in this essay is an attempt to locate that poetics through a combined musical and textual analysis of three of The Smiths’ songs: ‘Shoplifters Of The World Unite’, ‘I Want The One I Can’t Have’, and ‘Stretch Out And Wait’. To aid these analyses, track timings are used wherever possible to serve as points of reference. Generally speaking, a very basic understanding of musical terminology should suffice

in Why pamper life's complexities?
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The unrealised projects of Jack Clayton

different.’ Despite his love of Horace McCoy’s novel, he turned down the opportunity to direct They Shoot Horses, Don’t They? , because he felt he could not take over a colleague’s preparation but would wish to prepare the project from scratch, which the studio, with the film already cast and ready to go, was not prepared to allow. 6 Also there were properties that he desperately wanted to do but had to wait years for the rights to fall

in Jack Clayton
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The Secret Memoirs

us have the capacity to be an Eichmann. At the time I was not able to accept her arguments. I had Adolf Eichmann: The Secret Memoirs to wait nearly forty years before the answers became clear to me as I worked on the film Adolf Eichmann: The Secret Memoirs. While awaiting the verdict of his trial, Eichmann wrote a self-serving memoir that he entitled Graven Images. He had hoped it would favorably sway the judges’ opinions. The papers failed to help him and the authorities, fearing the papers might provide encouragement for Neo-Nazis, locked them away for forty

in The documentary diaries
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William Klein and Alain Tanner

As a conclusion to this survey of the traces of 1968 on the French cinema of the following decade, it seems appropriate to consider two film-makers whose work encapsulates many of the currents and issues which have previously been discussed, and who may be said to be exemplary in terms of their responses to the demands of the time. In August 1968, the Avignon festival, whose special statute permitted films to be shown there without the visa de censure , presented the avant-première of a film still waiting for the

in French cinema in the 1970s
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‘You’ve gotta laugh’

returns to the theatre, the medium in which he began his career. He is not, therefore, an obscure talent who has been waiting to be discovered: on the contrary, his worldview has permeated our national consciousness to the extent that there was even at one time said to be a brand of cheese named after Abigail’s Party – a 1970s cocktail-party-style blend with pieces of pineapple in it.2 Yet Leigh remains something of an outsider. Even now, with his big-screen career secure, more awards have come his way abroad than at home and much of the critical response to his work in

in Mike Leigh
The TV films

as well as waiting to be fully ‘born’ as a film-maker. For all that, the cinema was still where his sights were set, with the opportunity to have his work seen more than just once or twice (and even at the time of writing, in 2006, only three of his TV features are available on video or DVD in Britain), in more places across the world, and, of course, on the big screen. Yet his TV films see him doing considerably more than marking time; all of them make entertaining, often compulsive viewing, several are classics of the medium, and the signs of his developing

in Mike Leigh
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from a devilish male trio: Alphonse Tram (Depardieu), I’inspecteur Morvandieu (Bernard Blier) and M’assassin’ Oean Carmet) surrounded by the forces of law and order in Buffet froid 5 Waiting for ‘l’homme en bleu’: re-enacting Beckett in Buffet froid . From left to right: Tram (Depardieu), I’inspecteur (Bernard Blier) and ‘l

in Bertrand Blier
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rather than cutting it up and reconstructing it, and, two, to find the rhythm of things. In the first episode in Sicily, between Joe and Carmela in the lookout tower, or in the Rome episode between Fred and Francesca in the hotel room, or in the Florentine episode between Massimo and Harriet, in each episode the search for someone or something that had been lost, Rossellini builds up a sense of waiting and expectation, dilating and stretching time, not by slowing it down but by drawing it out simply by having nothing happen as if the sequence never quite ‘arrives’ or

in Film modernism
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into one another during one summer’s hazy plans. It offers a meditation on holidaying, on the way relaxation sometimes requires a willing commitment to the act (such as is expressed in everyday remarks like, ‘I can’t wait for my vacation. I’m planning on doing absolutely nothing’). Throughout, the film explores Delphine’s uncertain attempts at ‘being on holiday’. Over the months of July and August, she is constantly in

in Colour