New program about the film’s groundbreaking visuals, featuring focus puller Douglas Milsome and gaffer Lou Bogue as well as excerpts from a 1980 interview with cinematographer John Alcott of the writing in this book is dedicated to describing the story of each of his films scene-by-scene. I’m not sure who this is for as the only two categories of people who could possibly be reading this book have A) already seen the films or B) not seen the films. The traces in the Archive reveal interesting things about the Tania-who-might have-been. According to notes in the Archive, many actresses were considered, some more and some less associated with Hollywood. They included: Julia Roberts, Mia Farrow, Donna Dixon, Rebecca De Mornay, Ellen Greene, Andie McDowell, Ellen Barkin, Cherie Lunghi, Winona Ryder, Kim Basinger, Nicole Kidman, Sharon Stone, Demi Moore, Michelle Pfeiffer, Isabella Rossellini, Renee Soutendijk, Juliette Binoche, Meryl Streep, Kate Capshaw, Meg Tilly, and Elizabeth McGovern. 53 The role eventually went to the delicate Dutch actress Johanna Ter Steege. SK/18/2/1/6 Annotated ‘Draft’ Treatment with Archive Newsreel use noted -– 12 Jun 1992, pp. 33-34. ↩

There is a library full of research for a film about Napoleon that he never made. True to his reputation for meticulous preparation, he had several hundred books on the subject shipped from France in the Sixties. With a team of assistants, he spent several years filling 25,000 library cards with information about Napoleon's life.

Visiting

The ASCC is open to members of Higher Education institutions and the general public. We can arrange tours of the Centre for student groups and course directors to support teaching and learning. If you’re looking for some real insight into the making of these films there are documentaries on the blu rays for them that are barely even 10 minutes long which go into far more depth than this book does.

In conversation with Chelsea College of Arts, MA Curating and Collections 2020 graduate and ‘In Transit’ founder Celina Loh The family lives in the town of T. Tania and Maciek are particularly close to Maciek’s grandparents, and particularly to Maciek’s grandfather (Tania’s father). As the war closes in, Maciek’s father is evacuated to Russia in the face of encroaching German forces, and the family does not hear from him again until after the war. Maciek, Tania, and the grandparents are first moved out of their comfortable apartment into uncomfortable and potentially treacherous cohabitation with another family, the Kramers. With neighbourhood boys, Maciek sings songs about rape and the rejection of female abjection, and Maciek’s games with Irena Kramer feature sex and torture fantasies. Tania begins an affair with a German officer, Reinhard, which she exploits to secure food and safety from the liquidation of Jews in T. The family reluctantly decides to split up. Tania, Maciek, and Grandmother stay with Reinhard while Grandfather goes to Warsaw. Eventually, for safety, Tania and Maciek leave Reinhard and Grandmother and go to live in Lwow using Aryan papers Grandfather has secured. While they are there, Reinhard is betrayed by the partisans. Rather than be taken prisoner, he shoots grandmother and turns the gun on himself. Tania secures different papers, and she and Maciek begin living under assumed names. They flee to Warsaw, where they see Grandfather again. Their existence is one long series of lies and impostures as they seek to conceal their Jewish identity from informers. Maciek is instructed as a Roman Catholic and prepared for his first communion. He develops a guilt complex about lying. A resistance organisation known as the Armia Krajowa mobilises a coup to overthrow the German occupying force, but retreats, leaving the population at the mercy of the Germans and the Ukrainians, who force-march the population – raping, torturing, and murdering on the way – to the main train station. Tania and Maciek escape the train to Auschwitz thanks to Tania’s bravado and resourcefulness.

“Paddy Wagon” (1949)

A Space Odyssey Apes on a desert-like Earth discover a strange monolith. Millenniums later, the monolith crops up on the Moon and astronauts travel to its point of origin to find the alien intelligence controlling the evolution of man. This is first mentioned in SK/18/2/1/5 Synopsis and then seen in SK/18/2/1/6 Annotated ‘Draft’ Treatment with Archive Newsreel use noted. ↩

UAL Enterprising Alumni Network Event: Purpose-driven and social enterprise from UAL Alumni - Meet the SpeakersInterview with Jan Harlan by Filippo Ulivieri and Peter Krämer, September 16th, 2016, in Ulivieri, p. 110. ↩ New program featuring historian Christopher Frayling on Academy Award–winning production designer Ken Adam In the novel, the story is told entirely from the boy’s point of view: we learn only what he sees directly, or is told. This is an effective stylistic device, and in this account of the story we have retained it. But there are some very powerful scenes the boy story-teller is not witness to, and he has to relate them second-hand. These scenes will be dramatize[d] and seen first-hand in the film. / There are also sexual matters that are only suggested in the novel, whose significance the boy does not appreciate or understand. These too will be developed in the screenplay.” 41 Manne outlines the gendered dimension of care and giving in relation to children. Kate Manne, Down Girl: The Logic of Misogyny (New York: Oxford University Press, 2018), p. 130. ↩ In January 1942 Hitler decided to exterminate the ten million or so European Jews within his grasp. He called this “the final solution.” But there were many practical and logistical problems to be overcome to fulfil this task, and the ingenuity and resourcefulness of German bureaucracy was called upon. They experienced and employed a variety of means, finally designing factory-efficient death camps where a trainload of thousands of Jews could arrive at 7 am […] and be gassed and cremated by 9 a.m., their clothes and belongings inventoried, their hair shorn, their gold teeth pulled out, and the killing areas cleaned to lull the next arrivals. By the end of war in 1945, seven million Jews had been killed. / The world did astonishingly little about this, even failing to bomb the relatively few train lines the Germans depended on to maintain the flow of victims in the camps. / Thus it was left to every Jew to survive as best they could.” 27

In Taschen’s book, Lee Unkrich and Jonathan Rinzler set out to tell the definitive story of the making of the film, while Craig Oldham’s artefact with the subtitle “A Visual and Cultural Haunting” bills itself as an “immersive, multi-dimensional examination”. Between them, these publications are certainly comprehensive, the product of near-exhaustive research.We can also providea limited number of copies of archive material. There are charges for copying in line with prices charged across Library Services. Artists, especially those who deal in something other than words, tend not to be articulate about their own work. They don't know why they do things, or when they do, their reasons come off more as justifications after the fact than, well, reasons. None of this makes them any less the artist; it just highlights the difference between creating art and thinking critically about it. The only think that would have been "more" would have been the inclusion of a DVD with any behind-the-scenes footage; i.e. all the footage from "The Making of the Shining" and there was some footage I saw during the production of 2001 at the beginning of an Oscar broadcast in the mid90s, which I've never seen anywhere else. Happily, the edition I bought is part of that early print run that has 12 70mm frames from 2001. Stunning. You'll Be Like Alex in ACO, wanting to keep your eyes open for far longer than you'll be able to in any four or five sittings. She is morally in the wrong, as measured by the wrong moral standards – namely, his. […] They […] protect him from the ignominy of shame and the corrosive effects of guilt […]. They enable him to form views […] with the default presumption that he is good, right, or correct. 26