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The Boys from the Bridge
In 1976, twenty-one-year-old Sebastian Abineri was cast in Richard Attenborough’s epic war film, A Bridge Too Far. He joined "Attenborough’s Private Army" (APA), a group of fifty young British actors, who were brought together to train under the eagle eye of a former director of The SAS to represent the heroic band of Paratroopers who held Arnhem Bridge against insurmountable odds in 1944. The APA worked for six months alongside major stars such as Anthony Hopkins, Sean Connery, Michael Caine and Sir Laurence Oliver. It was one of the hottest summers on record; so hot that the APA drank the local bars dry! The Boys from the Bridge recounts their extraordinary story.
Be Seeing You--
Drawing together aspects of media studies, cultural studies, film studies, structuralism, mythology, literary criticism, feminism, and social commentary, this book examines the position of ""The Prisoner as a television classic. Gregory argues that its allegorical depiction of a totalitarian world where technology enables the powers-that-be to control every aspect of its citizens, lives becomes more and more relevant as the years go by. Decodings of all of the series' episodes are detailed, explaining how the series broke with the usual conventions of a TV series.
Making A Bridge Too Far
A Bridge Too Far, released in 1977, proved to be the last epic WWII movie made in the Hollywood studio system. Its ambitious goal: to recreate the doomed Allied plan called Operation Market-Garden in September 1944. Market-Garden' s goal was to surprise the Germans with a mammoth parachute drop behind their lines and bring a quick end to the war, but the plan became a disaster for the Allies, with the battle for the Arnhem bridge vicious as the “ Red Devils” of British First Airborne held out against overwhelming odds. Producer Joseph E. Levine packed his cast with the top stars of the 1970s, including Anthony Hopkins, Robert Redford, Sean Connery, James Caan, Michael Caine, Elliott Goul...
Science Fiction Television Series
Whether rocketing to other worlds or galloping through time, science fiction television has often featured the best of the medium. The genre's broad appeal allows youngsters to enjoy fantastic premises and far out stories, while offering adults a sublime way to view the human experience in a dramatic perspective. From Alien Nation to World of Giants, this reference work provides comprehensive episode guides and cast and production credits for 62 science fiction series that were aired from 1959 through 1989. For each episode, a brief synopsis is given, along with the writer and director of the show and the guest cast. Using extensive research and interviews with writers, directors, actors, stuntmen and many of the show's creators, an essay about each of the shows is also provided, covering such issues as its genesis and its network and syndication histories.
Something Completely Different
Between Emma Peel and tire Ministry of Silly Walks British television had a significant impact on American popular culture in the 1960s and 1970s. In Something Completely Different, Jeffrey Miller offers the first comprehensive study of British programming on American television, discussing why the American networks imported such series as The Avengers and Monty Python's Flying Circus; how American audiences received these uniquely British shows; and how the shows' success reshaped American television. Miller's lively analysis covers three genres: spy shows, costume dramas, and sketch comedies. In addition to his close readings of the series themselves, Miller considers the networks' packaging of the programs for American viewers and the influences that led to their acceptance, including the American television industry's search for new advertising revenue and the creation of PBS.
Restoration and History
Papers from a meeting of an interdisciplinary group of ecologists, geographers, anthropologists, sociologists, historians, and philosophers held July 2006 in Zurich, Switzerland.
Not A Number
When Patrick McGoohan first starred in “Danger Man” in 1960 and as ‘Number 6’ in cult show “The Prisoner”, industry insiders hailed the arrival of an enigmatic genius and Hollywood beckoned. But who was this man who worked as a chicken farmer and bank clerk before becoming a hugely successful actor simply by chance? In this up-to-date biography Rupert Booth reveals the true character of a man whose off-screen behaviour matched his fiery on-screen persona. Why was he so puritanical, refusing even to kiss a woman for any part he played? Why was he so controlling over his work in “The Prisoner” and other productions? A timely exploration of the man whose declaration ‘I will not be pushed, filed, stamped, indexed, briefed, de-briefed or numbered!’ continues to resonate with audiences decades after it was first uttered with such conviction.
Indigenous Rights in the Age of the UN Declaration
Elvira Pulitano examines the relevance of international law in advancing indigenous peoples' struggles for self-determination and cultural flourishing.
Robin Hood
From Errol Flynn to Kevin Costner to Daffy Duck, the bandit of Sherwood Forest has gone through a variety of incarnations on the way to becoming a cinematic staple. The historic Robin Hood--actually an amalgam of several outlaws of medieval England--was eventually transformed into the romantic and deadly archer-swordsman who "robbed from the rich to give to the poor." This image was reinforced by popular literature, song--and film. This volume provides in-depth information on each film based on the immortal hero. In addition, other historical figures such as Scottish rebel-outlaws Rob Roy MacGregor and William Wallace are examined. Nollen also explores nontraditional representations of the legend, such as Frank Sinatra's Robin and the Seven Hoods and Westerns featuring the Robin Hood motif. A filmography is provided, including production information. The text is highlighted by rare photographs, advertisements, and illustrations.
Space 1999 and Critical Theory
The television series SPACE: 1999 was in its first series shaped by the late sixties and early seventies counterculture movements, making SPACE: 1999 into an example of how certain SF scholars see a natural alignment between science fiction and critical theory. However, due to changes in the political climate, SPACE: 1999 went through an ideological reversal in its second series. As a result, the schizophrenic nature of the series has ever since caused debate. This book is written on an idealistic basis. It is sold at the lowest price the publisher was willing to accept. A free e-book version can be downloaded at www.lulu.com.
