Search results

You are looking at 1 - 10 of 46 items for :

  • "Woman in Question" x
  • Refine by access: All content x
Clear All
Abstract only
Author: Tom Ryall

This is a comprehensive critical study of Anthony Asquith. The author sets the director's work in the context of British cinema from the silent period to the 1960s, and examines the artistic and cultural influences within which his films can be understood. Asquith's silent films were compared favourably to those of his eminent contemporary Alfred Hitchcock, but his career faltered during the 1930s. However, the success of Pygmalion (1938) and French Without Tears (1939), based on plays by George Bernard Shaw and Terence Rattigan respectively, together with his significant contributions to wartime British cinema, re-established him as one of Britain's leading film makers. Asquith's post-war career includes several pictures in collaboration with Rattigan, and the definitive adaptation of Oscar Wilde's The Importance of Being Earnest (1951), but his versatility is demonstrated effectively in a number of modest genre films including The Woman in Question (1950), The Young Lovers (1954) and Orders to Kill (1958).

Tom Ryall

unravel in the early postwar period when the company moved to centralise its production operations. However, Rank remained pivotal to British production through the 1950s with its arrangements with the National Film Finance Corporation through the Group Film Scheme, and with other alliances with independent producers. Indeed, two of Asquith’s 1950s titles – The Importance of Being Earnest and The Young Lovers – were made by the Rank/NFFC British Film-makers and Rank’s own Group Film Producers respectively, while others – The Woman in Question and The Browning Version

in Anthony Asquith
Abstract only
American horror comics as Cold War commentary and critique

Printing Terror places horror comics of the mid-twentieth century in dialogue with the anxieties of their age. It rejects the narrative of horror comics as inherently and necessarily subversive and explores, instead, the ways in which these texts manifest white male fears over America’s changing sociological landscape. It examines two eras: the pre-CCA period of the 1940s and 1950s, and the post-CCA era to 1975. The authors examine each of these periods through the lenses of war, gender, and race, demonstrating that horror comics are centred upon white male victimhood and the monstrosity of the gendered and/or racialised other. It is of interest to scholars of horror, comics studies, and American history. It is suitably accessible to be used in undergraduate classes.

Tom Ryall

-class job, We Dive at Dawn has an array of characters drawn from across the class boundaries typical of a wartime film, and the central character of The Woman in Question is a fairground entertainer. A number of Asquith’s films also move away from England and the English entirely. Moscow Nights is set in pre-revolutionary Russia during the First World War, Freedom Radio, in Nazi Germany towards the end of the 1930s, Uncensored is set in German-occupied Belgium, and Two Living, One Dead, in Sweden. The Young Lovers and Orders to Kill, although set entirely or partly in

in Anthony Asquith
Abstract only
Tom Ryall

adaptation. The playwright had envisaged the project as a film script for de Grunwald and Asquith but their initial lukewarm response prompted him to write it as a play. However, they did eventually agree to collaborate with Rattigan and the film adaptation of the play was made for Korda’s revived London Films and British Lion. It was the MUP_Ryall_01_Chap 1 14 7/26/05, 10:04 AM introduction 15 first of three somewhat austere films Asquith was to make which centred on a trial – the others were Carrington VC (1955) and Libel (1959). With The Woman in Question (1950

in Anthony Asquith
The marriage bar in public servants’ private lives until 1946
Helen Glew

how a policy subsequently evolved for the whole Civil Service as further cases were considered. The applications came from around the country and whilst these were sometimes accompanied by a testimonial from GPO staff who had supervised the woman in question, the records are too varied to allow any significant conclusions about consistency, leniency or variation among regions. For the period before mid-1934, when new regulations were introduced for the Civil Service as a whole, twenty-nine cases were discussed between the GPO and the Treasury, which had to give

in Gender, rhetoric and regulation
The status of bodies in the aftermath of the Khmer Rouge genocide
Anne Yvonne Guillou

. These bodies are not ‘earth-bodies’, and thus do not fit into the system of interpretation based on Khmer religious beliefs. Lastly, it is important to point out that these dreams establishing a link between the living and the ‘earth-dead’ of certain mass graves left by the Khmer Rouges occurred more than ten years after the toppling of the Democratic Kampuchea regime. Indeed, in one case the woman in question had no actual personal experience of this period, as she was born in the 1980s. This form of communication, occurring within a framework structured by Khmer

in Human remains and mass violence
Aesthetico-political misprision in Derricke’s A Discoverie of Woodkarne
Thomas Cartelli

“see how trimme their glibbed heades are borne,” the two males “impaled on blood-spattered swords held aloft by a duo of nonchalant soldiers” as a third “soldier, making a moue of distaste, carries [the head of a woman] by the hair [while] blood still spurts from her neck”’. 22 Palmer goes no further toward identifying the woman in question than to follow Ken Nicholls’s suggestion that she may well be ‘Margaret Byrne, wife of Rory O’More’, whose own head speaks in extended ventriloquy towards the end of

in John Derricke’s The Image of Irelande: with a Discoverie of Woodkarne
Abstract only
Angela Stienne

under the Name of Venus Hottentote . 9 The woman in question was Saartjie Baartman, who had died in poverty in her small room in Paris in December 1815, aged only twenty-six. Cuvier had first met Baartman in March 1815, when she was showcased in front of scientists at the Muséum national d’Histoire naturelle at the demand of Saint-Hilaire, at that time the

in Mummified
Christian personal conscience and clerical intervention in the twelfth and thirteenth centuries
Emily Corran

avoid a situation where the clergy publicly endorsed an apparent holy woman, who might later cause scandal. If the woman in question met the clergy’s requirements, the option of taking a solemn vow made it possible for her to stay in the secular world. The public and official nature of the vow of continence would provide authoritative sanction for a status which she had chosen for herself (in preference to entering a convent) and which might not be generally accepted if the matter was left to her own conscience. The

in Rules and ethics