At the outbreak of the WWII, all cinemas in Britain were closed. Ten days later, they were opened again as a way of boosting morale. Over the next six years, some 300 feature films and thousands of short films were produced in what is seen as British cinema's 'finest hour'. This work charts this period through the eyes of thirteen key films.
The book charts the evolving relationship between cinema and radio during the heyday of the two media and compares and contrasts their development in Britain and America -- .
Develops and broadens our understanding of Ford's film-making oeuvre by studying his non-Western films through the lens of Ford's life and abiding preoccupations. Ford's other cinematic worlds included Ireland, the Family, Catholicism, War and the Sea, which share with his westerns the recurrent themes of memory and loss, the plight of outsiders and the tragedy of family breakup
Of all the theatrical genres most prized by the Victorians, pantomime is the only one to have survived continuously into the twenty-first century. It remains as true today as it was in the 1830s, that a visit to the pantomime constitutes the first theatrical experience of most children and now, as then, a successful pantomime season is the key to the financial health of most theatres. Many Victorian luminaries were devotees of the pantomime, notably among them John Ruskin, Charles Dickens, Lewis Carroll and W.E. Gladstone. In this vivid and evocative account of the Victorian pantomime, Jeffrey Richards examines the potent combination of slapstick, spectacle and subversion that ensured the enduring popularity of the form
New York City, 1968: The customers at Café Marie don’t come just for the excellent coffee and pastries. They come for the sophisticated ambiance, and the illusion of being somewhere other than a bustling, exhausting city. Headwaiter Charles Ward helps create that illusion through impeccable service—unobtrusive, nearly invisible, yet always watchful. It’s a skill Charles honed as a young Jewish boy in war-torn Europe, when avoiding attention might mean the difference between life and death. But even then, one man saw him all too clearly—a Nazi officer who was both his savior and tormentor. At seventeen, Charles was deported to Auschwitz with his family. There he was singled out by Obersturmführer Berthold Werden, who hid him in his home. Their entanglement produced a tortured affection mixed with hatred that flares to life again, decades later, when Berthold walks into Café Marie. Drawn back into Berthold’s orbit, Charles is forced to revisit the pain and the brief, undeniable pleasures of the life he once knew. And if he acts on his growing hunger for revenge, will he lose his only tether to the past—the only other witness to who he was and everything he endured—or find peace at last?