Download Free Went The Day Well Book in PDF and EPUB Free Download. You can read online Went The Day Well and write the review.

Went the Day Well? is one of the most unusual pictures Ealing Studios produced, a distinctly unsentimental war film made in the darkest days of World War II, and nothing like the loveable comedies that later became the Ealing trademark. Its clear-eyed view of the potential for violence lurking just below the surface in a quiet English village possibly owes something to the Graham Greene story on which it is based, though, as Penelope Houston shows, there remains a mystery about the extent to which Greene was actually involved in the scripting. Or perhaps the direction by the Brazilian born Cavalcanti, a maverick within the Ealing coterie, is the chief reason why Went the Day Well? avoids the cosy feel of later, more familiar, Ealing films. In his foreword to this special edition, published to celebrate the 20th anniversary of the BFI Film Classics series, Geoff Brown pays homage to Penelope Houston's astute study, and places the book in the context of Went the Day Well?'s changing critical reception. Brown discusses the non-English qualities of the film's narrative, and the extent to which Cavalcanti brought a foreign sensibility to its very English setting.
In these pages, acclaimed historian David Crane gives us an astonishing, intimate snapshot of the people and places surrounding the battle that changed the course of world history. Switching perspectives between Britain and Belgium, prison and palace, poet and pauper, husband and wife, Went the Day Well? offers a highly original view of Waterloo, showing how the battle was not only a military landmark, but also a cultural watershed that drew the line between the rural, reactionary age of the past and the urban, innovative era to come. Lyrically rendered in Crane’s signature prose style, this essential account freeze-frames the ordinary men and women of 1815 who went about their business, attended lectures, worked in fields and factories—all on the cusp of a new, unforeseeable age.
You've just boarded a plane. You've loaded your phone with your favorite podcasts, but before you can pop in your earbuds, disaster strikes: The guy in the next seat starts telling you all about something crazy that happened to him--in great detail. This is the unwelcome storyteller, trying to convince a reluctant audience to care about his story. We all hate that guy, right? But when you tell a story (any kind of story: a novel, a memoir, a screenplay, a stage play, a comic, or even a cover letter), you become the unwelcome storyteller. So how can you write a story that audiences will embrace? The answer is simple: Remember what it feels like to be that jaded audience. Tell the story that would win you over, even if you didn't want to hear it. The Secrets of Story provides comprehensive, audience-focused strategies for becoming a master storyteller. Armed with the Ultimate Story Checklist, you can improve every aspect of your fiction writing with incisive questions like these: • Concept: Is the one-sentence description of your story uniquely appealing? • Character: Can your audience identify with your hero? • Structure and Plot: Is your story ruled by human nature? • Scene Work: Does each scene advance the plot and reveal character through emotional reactions? • Dialogue: Is your characters' dialogue infused with distinct personality traits and speech patterns based on their lives and backgrounds? • Tone: Are you subtly setting, resetting, and upsetting expectations? • Theme: Are you using multiple ironies throughout the story to create meaning? To succeed in the world of fiction and film, you have to work on every aspect of your craft and satisfy your audience. Do both--and so much more--with The Secrets of Story.
Third, that the condition of total war in which Britain found itself a short time after the commencement of hostilities would mean that films, and indeed, all mass/popular culture, would respond to the urgency of the situation by taking a special interest in representations of British society. And fourth, following on from this, that British films of the Second World War would, one way or another, be agents of propaganda. From these propositions, the book examines just what these films had to say about social class in the images of Britain they were promulgating, with the corollaries of just how were they saying it, and why were they saying it. Alongside this is a concern with what propaganda purposes were being met by these films."--Jacket.
Meet Terrell Dougan's sister, Irene: a woman in her sixties who still believes in Santa Claus and the Easter Bunny--but who also enjoys playing those characters for the children at the local hospital; whose favorite outfit, which she'll sneak into whenever Terrell's back is turned, consists of Mickey Mouse kneesocks and shorts; who wins over the neighborhood kids by hosting two fire trucks at her lemonade stand; whose fridge bears a magnet: NORMAL PEOPLE WORRY ME. When Irene was born, her parents were advised to institutionalize her. They refused and instead became trailblazers in advocating for the rights of people with mental disabilities. The entire family benefited, with a life rich in stress, sorrows, hilarity, joy, and overwhelming kindness from strangers. Terrell has found that the only way to get through the difficult moments is to laugh--even in the most trying of times. In her moving, funny, and unforgettable memoir about life with Irene, Terrell Dougan shows that love, humor, and compassion are enough to heal us, every single day.
Recounts the events of a day when everything goes wrong for Alexander. Suggested level: junior, primary.
Humphrey Jennings has been described as the only real poet that British cinema has produced. His documentary films are remarkable records of Britain at peace and war, and his range of representational approaches transcended accepted notions of wartime propaganda and revised the strict codes of British documentary film of the 1930s and 1940s. Poet, propagandist, surrealist and documentary filmmaker – Jennings' work embodies an outstanding mix of startling apprehension, personal expression and representational innovation. This book carefully examines and expertly explains the central components of Jennings' most significant films, and considers the relevance of his filmmaking to British cinema and contemporary experience. Films analysed include Spare Time, Words for Battle, Listen to Britain, Fires Were Started, The Silent Village, A Diary for Timothy and Family Portrait.
This book investigates the portrayal of nationalities and sexualities in British post-Second World War crime film and melodrama. By focussing on these genres, and looking at the concept of melodrama as an analytical tool apt for the analysis of both sexuality and nation, the book offers insight into the desires, fears, and anxieties of post-war culture. The problem of returning to ‘normalcy’ after the war is one of the recurring themes discussed; alienation from society, family, and the self were central issues for both women and men in the post-war years, and the book examines the anxieties surrounding these social changes in the films of the period. In particular, it explores heterosexuality and nationality as some of the most prominent frameworks for the construction of identities in our time, structures that, for all their centrality, are made invisible in our culture.
Recent years have witnessed an explosion of interest in the 'spatialities of cinema' across the social sciences and humanities, yet to date critical inquiry has tended to explore this issue as a question of the 'city' and the 'urban'. For the first time, leading scholars in geography, film and cultural studies have been drawn together to explore the multiple ways in ideas of cinema and countryside are co-produced: how 'film makes rural' and 'rural makes film'. From the expanse of the American great west to the mountainous landscapes of North Korea, Cinematic Countrysides draws on a range of popular and alternative film genres to demonstrate how film texts come to prefigure expectations of rural social space, and how these representations come to shape, and be shaped by, the material and embodied circumstances of 'lived' rural experience. At the heart of this volume's varied apprehensions of the 'cinematic countryside' is a concern to argue that ideas of rurality in film are central to wider questions of 'modernity' and 'tradition', 'self' and 'other', 'nationhood' and 'globalisation', and crucially, ones that are central to an account of the 'cinematic city'.