Stages of Struggle and Celebration: A Production History of Black Theatre in Texas by Sandra M. Mayo, Elvin Holt

CLA Journal ◽  
2018 ◽  
Vol 61 (3) ◽  
pp. 241-244
Author(s):  
Elizabeth Brown-Guillory
Keyword(s):  
Black Theatre ◽  
Production History ◽  
History Of

Early Cinema in Scotland

2018 ◽  
Keyword(s):  
Social History ◽  
Small Towns ◽  
Early Cinema ◽  
Popular Song ◽  
Feature Film ◽  
Local Newspapers ◽  
The Social ◽  
Production History ◽  
History Of ◽  
International Audience

This collection of essays, drawn from a three-year AHRC research project, provides a detailed context for the history of early cinema in Scotland from its inception in 1896 till the arrival of sound in the early 1930s. It details the movement from travelling fairground shows to the establishment of permanent cinemas, and from variety and live entertainment to the dominance of the feature film. It addresses the promotion of cinema as a socially ‘useful’ entertainment, and, distinctively, it considers the early development of cinema in small towns as well as in larger cities. Using local newspapers and other archive sources, it details the evolution and the diversity of the social experience of cinema, both for picture goers and for cinema staff. In production, it examines the early attempts to establish a feature film production sector, with a detailed production history of Rob Roy (United Films, 1911), and it records the importance, both for exhibition and for social history, of ‘local topicals’. It considers the popularity of Scotland as an imaginary location for European and American films, drawing their popularity from the international audience for writers such as Walter Scott and J.M. Barrie and the ubiquity of Scottish popular song. The book concludes with a consideration of the arrival of sound in Scittish cinemas. As an afterpiece, it offers an annotated filmography of Scottish-themed feature films from 1896 to 1927, drawing evidence from synopses and reviews in contemporary trade journals.

Hard Objects in George Oppen's Discrete Series

2018 ◽  
Vol 13 (4) ◽  
pp. 496-517
Author(s):  
Ned Hercock
Keyword(s):  
Twentieth Century ◽  
Ludwig Wittgenstein ◽  
Discrete Series ◽  
Human Experience ◽  
John Ruskin ◽  
Gerard Manley Hopkins ◽  
Marcel Duchamp ◽  
The World ◽  
Production History ◽  
History Of

This essay examines the objects in George Oppen's Discrete Series (1934). It considers their primary property to be their hardness – many of them have distinctively uniform and impenetrable surfaces. This hardness and uniformity is contrasted with 19th century organicism (Gerard Manley Hopkins and John Ruskin). Taking my cue from Kirsten Blythe Painter I show how in their work with hard objects these poems participate within a wider cultural and philosophical turn towards hardness in the early twentieth century (Marcel Duchamp, Adolf Loos, Ludwig Wittgenstein and others). I describe the thinking these poems do with regard to industrialization and to human experience of a resolutely object world – I argue that the presentation of these objects bears witness to the production history of the type of objects which in this era are becoming preponderant in parts of the world. Finally, I suggest that the objects’ impenetrability offers a kind of anti-aesthetic relief: perception without conception. If ‘philosophy recognizes the Concept in everything’ it is still possible, these poems show, to experience resistance to this imperious process of conceptualization. Within thinking objects (poems) these are objects which do not think.

scholarly journals Verity Lambert's Thorn-EMI Films

2021 ◽  
Vol 18 (1) ◽  
pp. 96-120
Author(s):  
Paul Moody
Keyword(s):  
Textual Analysis ◽  
Outer Space ◽  
Critical Engagement ◽  
Archival Documents ◽  
Production History ◽  
History Of

Verity Lambert's brief period as Director of Production at Thorn-EMI Screen Entertainment (TESE) was responsible for the in-house development of five films: Morons from Outer Space (1985), Restless Natives (1985), Dreamchild (1985), Link (1986) and Clockwise (1986), although she had left the company before the last three were released. There has been limited critical engagement with these productions and Lambert's tenure in general, with the existing literature on this material tending to emphasise the eclectic nature of what were to be TESE's last releases before the company's sale to Cannon ( Hill 1999 ; Moody 2018 ; Park 1990 ; Walker 1985 ; Walker 2004 ; Wickham and Mettler 2005 ). Drawing on a series of detailed interviews with former TESE Production Executive, Graham Easton, along with previously unreleased archival documents from the Film Finances archive, this article develops a more detailed textual analysis and production history of these releases, in order more clearly to map TESE's complexities during this period. By engaging more coherently with the themes and aesthetics of TESE's output, the article argues that there is a consistency to Lambert's productions which can be seen at both a thematic and a stylistic level, centred on notions of constraint and obstacles to communication, and that this was nurtured by the environment created by Lambert and the Film Finances completion bond for each film.

scholarly journals About this title - United Kingdom Oil and Gas Fields: 50th Anniversary Commemorative Volume

10.1144/m52 ◽  
2020 ◽  
Vol 52 (1) ◽  
pp. NP.1-NP
Keyword(s):  
Oil And Gas ◽  
50Th Anniversary ◽  
Reference Source ◽  
Geological Society ◽  
Oil And Gas Fields ◽  
Production History ◽  
Exploration And Production ◽  
History Of ◽  
The Uk ◽  
Gas Fields

Geological Society Memoir 52 records the extraordinary journey of more than 50 years that has led to the development of some 458 oil and gas fields on the UK Continental Shelf (UKCS). It contains papers on almost 150 onshore and offshore fields in all of the UK's main petroliferous basins. These papers range from look-backs on some of the first-developed gas fields in the Southern North Sea, to papers on fields that have only just been brought into production or may still remain undeveloped, and includes two candidate CO2 sequestration projects.These papers are intended to provide a consistent summary of the exploration, appraisal, development and production history of each field, leading to the current subsurface understanding which is described in greater detail. As such, the Memoir will be an enduring reference source for those exploring for, developing, producing hydrocarbons and sequestering CO2 on the UKCS in the coming decades. It encapsulates the petroleum industry's deep subsurface knowledge accrued over more than 50 years of exploration and production.

scholarly journals Ancient fingerprints from Beit Nattif: studying Late Roman clay impressions on oil lamps and figurines

Antiquity ◽  
2018 ◽  
Vol 92 (361) ◽  
Author(s):  
Achim Lichtenberger ◽  
Kimberlee S. Moran
Keyword(s):  
Ceramic Surfaces ◽  
Production History ◽  
History Of ◽  
Insight Into ◽  
Late Roman

Analysis of oil lamps and clay figurines recovered from a Late Roman ceramics workshop at Beit Nattif in Israel has revealed numerous fragments with evidence of the manufacturer's fingerprints preserved on some of the ceramic surfaces. Further study of these fingerprints has provided a unique insight into the production history of the workshop, even showing how particular innovations in technique may be associated with particular individuals.

Our Daily Bread: ‘Cooperation’, ‘Independence’ and Politics in Mid-1930s Cinema

2016 ◽  
Author(s):  
Brian Neve
Keyword(s):  
United States ◽  
Great Depression ◽  
The United States ◽  
The State ◽  
The Great Depression ◽  
Box Office ◽  
Production History ◽  
History Of ◽  
Cooperative Activity ◽  
The Relationship

This chapter revisits and explores the production history of director King Vidor’s independently made movie, Our Daily Bread (1934), its ideological and aesthetic motifs, and its exhibition and reception in the United States and beyond, not least its apparent failure at the box office. It further considers the relationship between the film and contemporary advocacy of cooperative activity as a response to the Great Depression, notably by the California Cooperative League, Franklin D. Roosevelt’s New Deal, and Upton Sinclair’s End Poverty in California campaign for the state governorship. It also assesses the movie in relation to Vidor’s own cooperative vision through its emphasis on individuals and community as a solution to the Great Depression and the significant absence of the state in this agency.

Rob Roy: Britain’s First Feature Film

2018 ◽  
Author(s):  
Caroline Merz
Keyword(s):  
Language Production ◽  
English Language ◽  
Film Production ◽  
Feature Film ◽  
Study Approach ◽  
Feature Films ◽  
Production History ◽  
History Of ◽  
Film Making

What was the potential for the development of a Scottish film industry? Current histories largely ignore the contribution of Scotland to British film production, focusing on a few amateur attempts at narrative film-making. In this chapter, Caroline Merz offers a richer and more complex view of Scotland’s incursion into film production,. Using a case-study approach, it details a production history of Rob Roy, produced by a Scottish company, United Films, in 1911, indicating the experience on which it drew, placing it in the context of other successful British feature films such as Beerbohm’s Henry VIII, and noting both its success in Australia and New Zealand and its relative failure on the home market faced with competition from other English-language production companies.

Introduction: Reimagining a New Spartacus

2016 ◽  
Author(s):  
Antony Augoustakis ◽  
Monica S. Cyrino
Keyword(s):  
Political Movements ◽  
Television Series ◽  
Cable Network ◽  
Production History ◽  
History Of

This introductory chapter discusses the highly successful television series Spartacus, which aired on the premium cable network STARZ from 2010 to 2013. The story of Spartacus, the historical Thracian gladiator who led a slave uprising against the Roman Republican army from 73 to 71 BC, has inspired numerous receptions over the centuries in a variety of different media, while the figure of the rebel slave leader has often served as an icon of resistance against oppression in modern political movements and popular ideologies. Here, the chapter looks into the production history of the STARZ series and how the series itself treads familiar ground at the same time as it explores new territory.

Erotic Spectacle

2015 ◽  
pp. 107-126
Author(s):  
Omar Ahmed
Keyword(s):  
Indian Cinema ◽  
Film Maker ◽  
Production History ◽  
Long Time ◽  
History Of ◽  
Critical Perspectives ◽  
The Erotic

This chapter focuses on the courtesan film in Indian cinema. The courtesan film has been popular with audiences for a long time but today it is rare to see a mainstream Indian film choosing to use the figure of the courtesan to address the concerns of women in society. An extension of the Muslim Social, the courtesan film reached its creative epoch in the 1970s, exhausting genre possibilities with the erotic spectacle Pakeezah (Pure of Heart, 1972). A complicated production, film-maker Kamal Amrohi took fourteen years to complete Pakeezah. Unfortunately for Indian cinema's tragedy queen, Meena Kumari, who starred in the film, alcoholism cut short her life, and she never got to see what many consider to be her most accomplished work. The chapter analyses Pakeezah from a range of critical perspectives, including the conventions, origins, and history of the courtesan film; the production history and struggle to finish the film; representations of the courtesan related to sexuality and eroticism; an analysis of the song and dance sequences and their relationship to ideology; and the demise of the courtesan film in the contemporary era.

The Industrial Context of Inception: From Production to Premiere

Inception ◽  
2019 ◽  
pp. 31-32
Author(s):  
David Carter
Keyword(s):  
Los Angeles ◽  
Science Fiction ◽  
Large Scale ◽  
Production History ◽  
History Of ◽  
The Uk ◽  
Industrial Context

This chapter traces the production history of Christopher Nolan's Inception (2010). Nolan first tried out his treatment for Inception with Warner Bros. after making Memento (2000), but then realised the scope that would be required for the film and decided to gain more experience making large-scale films. After completing The Dark Knight (2008), Nolan finally decided to make Inception and spent the next six months completing the script. The filming took place in six different countries and on four separate continents, the main locations being in the UK, Morocco, Canada, Tokyo, Paris, and Los Angeles. Nolan has stressed that they deliberately filmed in six different countries, building enormous sets because he was interested in 'pushing the boundaries of what could be achieved practically, as opposed to computer effects'. Concerns for realism also governed Nolan's choice of cameras and film. Inception was released on July 10, 2010, and its opening weekend gross takings made it the second-highest grossing debut for a science-fiction film that was not a sequel or remake.

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