Features some dramatic reconstruction. Niamh Barrett, administrative a.: Liam McGrath, lighting a.: Garry Keane, film ed: Linda Nartey, online ed.: Pat Hayes, sound studios: Ardmore Studios, Beacon Studios, rostrum: Alan Lambert, production back-up: The film explores both the positive and negative results of the arrival of a full scale well financed film crew to a relatively isolated rural area where several locals spoke only Irish. Adare Productions do TnaG, d: Ken O'Mahony, Paul Warde, fuaim: Dave Gibson, tape operator: Tony Brady, online ed.: Colm O'Brien, title sequences: Paddy Gibbons, archive research: Liam Wylie, Super 8mm ph.: Cecelia Nordlung, Krister Jonsson, s.
Niels Pagh Anderen, col grading: Birger Henningsson, Eva Frenning, tech support: Ulf Sodergren, thanks to: Dave Duce, Vince Pujo, s: Gentry Smyth, Scott Bardolf, graphics: Eddie Sheanon, VO rec: James Daly, online ed: Bernard Clarke, assembly ed: Brian Mulvany, Genevive McAuliffe, research: Robyn, a paedriatric physician, and Frank, a social worker, are seen going through a long and painful healing process involving Maeve's imaginary Planet Creature where cats reigned supreme and every creature had wings. Erin McBean, session musicians: Emma Nixon, Tony Cavel, anim: Jane Scragg, online ed: Michelle Ikiua, Jata Haan, post.
Hynes Lawyers, Kate Hynes. The club was the haunt of teenagers from to when a fire destroyed the building and the club was relocated at St Paul's School in Raheny. Tom Comerford, John Dunne, addt. Daniel O'Hara, Carol Tormey, s: Sinead Kitching, opening sequence: Shane Woods, Zoe Ellis, colourist: Dave Hughes, online ed: Mark Henry, prod team: Paili Meek, Eric lacey, Sarah Neville, a. Joe McElwaine, thanks to: The programme features dramatic reenactments of some of the key skirmishes.
The film strongly emphasises the links between political groups then which have now become distant and violently opposed to one another and attempts to debunk popular historical myths". Keywords Rebellion Irish History Production credits ceamara: Without electricity or running water, let alone proper training facilities, Francis reached the highest accolade in amateur sport and fulfilled a lifelong dream by qualifying for the Olympic games in Atlanta He was the first traveller ever to represent Ireland, he carried the Irish flag in the opening ceremony and won his first fight by a record score.
From nowhere he became a national hero. It was his first break from his close friend and mentor Chick Gillen. Unable to return to live in Ireland until his family find a permanent site in Galway, Frank continues his boxing career in London and attempts the double of Ireland and English titles, a feat that hasn't been achieved in 43 years.
Film Ireland, Jan Press release detailing success of Paddy Breathnach and Robert Walpole's careers. Uncut, April , review Simon Lewis. In Production, October Volume 6 Number 5: Hillside Productions production for Treasure Films Irish,p: Robert Walpole, Paddy Breathnach, d: The Olympic Footage was reproduced with the consent of the international Olympic Committee. Brendan Deasy, Greg Bailey, focus puller: Donal Gilligan, Simon Walsh, online ed.: Jim Gillespie, production a. Niamh Barrett, Rachel O'Flanagan, telecine: Cecily Loughman, title dsgn.: John Power, newspaper archive: Dublin Corporation Public Libraries: Dublin and irish Collections, a.
Rod Stoneman, series ed. Filmed on location in Ireland. Downtown Pictures, col, 76 mins, The film adds some interview material with contemporary historians and commentators, but is primarily focused on visualising the familiar details of her life. John Wall, Professor P. And thanks to those who contributed to the film in the form of interviews, time or spirt. In memory of James 'Ship' Evans. The film also charts the changing face of the North Wall and Sheriff Street. Shotlist Black and white footage of North wall docks and men working there.
Footage of Sheriff Street. Archive photographs of ship yards and footage from various stages during the first half of the centuary. Footage of North Wall. Register showing how community went from full employment to total unemployment. Footage of area from the s. Gerry Fay with photographs from the launch of the urban renewal act. Fay with photographs and footage from protest. Footage of anti-drug vigils. Super imposition of planned Spencer Dock devopments. No high rise campaign Protests around the area.
Illustrations of plans and news paper headlines. Fay in shop putting up campaign posters. Mark Candon, principle and shots of school. North Wall Women's Centre. Margaret Hennesy at work in the I. Shots of children in area. Shots of Sheriff street. End of the World Productions, Y. Michael Doyle, Joe Egan, voiceover: Jonathan Ryder, Bernice Donaghue, p. Bailey Marks, research a.: Gareth Wynne, Jessica Gillingham, rostrum: And thanks to those who contributed to the film in the form of interviews, time or spirit.
Copyright End of the World Productions Ltd. Col, 50 mins approx, , Copy: Six part series documenting both Irish history and contemporary attitudes to the questions as raised then and as confronted now by the Irish people. Features interviews with several prominent historians.
Patrick Gibbons, online ed: Mark Nolan, tape operator: Glenn Kyte, Gerry Hoban, a.: Sarah Tanham, title graphics: In the world of mass commercial culture have we the resources of mind to tackle our social and economic problems? They talk frankly about subjects such as parenting, jealousy, trust, religion, and long-term commitment. Four different Irish weddings viewed from preparation to conclusion in one case, to cancellation. Each episode took a very different couple, drawing comparisons between life styles, social classes and attitudes to morality, religion and sexuality.
Enda Bonner, Telegael, titles: Guy Montgomery Anner facilities , m: They talk frankly about subjects such as parenting, jealousy, trust, religion, and long-term commitment: Brian Fitzgerald and Margaret Maloney. Michael Cronin and Lynn Brangan. Gerard Mullins and Helen Kelly. Whether it's in the headlines or not, life continues days a year Note Shown at the Celtic Film Festival. We acknowledge the co-operation of the Prison Service in facilitating this film.
Laura Brooks, video grading: Veronica Jane O'Mara, c: Second part focuses on the impact of drugs on everyday life in the prison. Third part focuses on the women's prison. Patrick's Institution, the borstal for young male offenders. A high percentage of these women are heroine addicts compared to prisoners in the main part of Mountjoy". Final part shows the relationship between prison officers and prisoners and brings the story up to date.
Series chronicling the lives of prisoners and warders at Dublin's Mountjoy Prison men's and women's facilities through a series of interviews where they explain themselves and their environment. Interviews and archive footage combine to tell the tale of Ireland's political and social life looked at from a woman's point-of-view". Public Communication Centre, title anim.: Barry Dignam, research team: Bow Lane Studios, p.
Phillipe Faujas, David Harris, s. Catherine Creed, series cnslt: Her burnt body was discovered by RIC constables in a shallow grave and investigations revealed that she had been killed by her husband who was convinced that she had been "taken away by Faeries". Peter Conway, Margaret Moggan, p.
Mary Brooke-Tyrell, standby props: Nuala McKernan, prop transport: Declan King, Andrew O'Reilly, a. Brian Moore, Sam Horgan, make-up: Ken Galvin, online ed: Damien McDonald, online ed: When Britain's hold on Irish became untenable, and the Black and Tans feeling vulnerable in the wake of the Kilmichael Ambush, an incident involving two petrol bombs, caused them to systematically set fire to the inner city and murdering brothers Con and Jerry Delaney in their homes.
Donncha Crowley, Liam Heffernan, c: Paddy Gibbons, online ed: The programme looks at the work of field recordist and collector Tom Munnelly and the preservation of many rare songs by the singer John Reilly who passed away in his early forties. The programme is centred around extensive use of archive film of the travelling community.
This episode looks at the lives and careers of musical families the Keenans and the Fureys. Lucie Wright, Laura Haykel, runner: Colin Campbell, Sarah Cruise, title dsgn: Warren Dowling, online ed: Anna Kierns, dub ed: Keywords Irish-Americans Migration Production credits p. Self-made millionaire and motivational speaker Brian Buffini looks back on his journey from Windy Arbour, Dublin, to San Diego, to set up a business with his brother.
Paula Rouse, Tanya Gillen, sc: Daire O'Brien, DV d: Cecily Loughman, online asst: Bestick Williams, film sound: Pat Kavanagh, film dubbing: Fintan Ryan, outside broadcast cameras: Aidan Maguire, outside broadcast sound: Pierce Ivory, sound effects: Bill Fogarty, senior cameraman: Tony Barry, film ed: Bob Hill, Michael Stoffer, video tape ed: Ted Crowley, stills ph: Eddie McEvoy, unit organiser: Noeline Coffey, Janet Wynne, floor manager: Mike Purcell, technical operators manager: Charles Roberts, historical advisor: Maureen O'Farrell, Brendan Cahir, cost.
Potter, film sequences d: Alpho O'Reilly, producer, d: Tom St John Barry. Contemporary Films, 16mm, Several phrases in English. Shotlist Montage of people mounting horses. The Ballinasloe Horse Fair; and buying and selling horses. Jockies and show jumping. Various groups of people involved in the horse business. American tourists outside Kate Kearney's Cottage, Killarney. Cross-country trials; European championships. Jockeys; flags; starting post. A montage of horses: A montage of people dismounting.
An RDS parade of horses in the ring: The box with seated dignitaries and judges. A montage of show horses jumping against the clock. Applause from the crowd. Montage of horses jumping fences; making various errors; reaction shots of spectators. The end of the race: Grooming before the event: A montage of groups of horses. A hunt meeting; showjumping; cross-country: Horses faltering at fences and hedges. Horses knocking fences and gates. Phoenix Park Race Meeting: Horses and jockeys gathering at the start. The starting post; the beginning of the race.
Reaction shots of crowd watching the race through binoculars. A montage of CU shots of jockeys during the race. Happy and sad faces. Bookies paying out to punters. Tristan Orphen-Lynch, Dominic Wright, exec. Stephen Daly, art d.: Deirdre Doorley, Carol Moorhead, 2nd unit. Ken Byrne, 1st a. Simon Dalton, Mike Flood, a. Ray Cross, John Fitzgerald, Foley: Caoimhe Doyle, boom op: Maurice Foley, Team FX, stunts: Maureen awakes in O Farrell's mansion. Decky has been arrested but Tessa is scared to identify him.
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Oldest son Frank is concerned that his father George is in debt to loan shark Simon while his younger brother, lethargic teenager Joe, befriends Damien. Meanwhile, sister Carmel is dating philosophy lecturer Ray, who also sleeps with a student, Deborah. At a teen disco Joe meets Tara, but accompanying them home, Damien rapes her while she is drunk and unconscious. On their return, Joe is interviewed by the police about Tara's rape, and Damien is incriminated.
Frank decides to go away, while Joe goes to Tara's school to meet her. Conor Mullen reads for the role of Ray. Screened at the 12th Galway Film Fleadh, July Dominic Dromgoole, Jan Roldanus, cast: Kathy Strachan, original m.: The Plague Monkeys, ed: Oliver Curtis BSC, exec. Thompson, Rod Stoneman, Clare Duignan, p: Seamus Mc Inerney, p. Tyrone Monaghan, assistant to the p: Emma Richardson, executive for Treasure Films: Orla O'Leary, 1st a. Peter Agnew, 2nd a. Charlotte Somers, 3rd a.
Dermot Whelan, trainee a. Susan Drennan, Ray Kenny, extras co-ord.: Ingrid Goodwin, focus puller: Ciaran Kavanagh, Steadicam op.: Howard Smith, clapper loader: Robert Seely, Anthony Meade, c. Luke Quigley, trainee grip: Luke Quigley Junior, camera dept. Emma Kate Murphy, s: Jim Corcoran, boom op.: Jonathan Doyle, art d.: Gary Mc Ginty, stand-by art d.: Cliona Harkin, props buyer: Jerry Organ, props master, Michael Flood, stand-by prop: Triona Coen, trainee dressing prop: Keith Grogan, storyboard artist: Rory Bresnihan, 2nd unit d: Paddy Breathnach, 2nd unit lighting: Cian De Buitlear, c.
Donal Gilligan, focus puller: Adrienne Dollard, 2nd unit sound: Sheila Morley Fahey, ward. Louise Keating, make-up artist: Denise Watson, trainee make-up: James Mc Guire, best boy: Kevin Killeen, standby rigger: James Merrigan, standby carpenter: Paschal Farrell, master painter: Edward Richardson, standby painter: Bobby Richardson, chargehand carpenter: Thomas Barry Cunningham, carpenter: Ray Mc Cann, unit publicist: Ginger Corbett, stills ph: Jonathan Hession, unit nurse: Trudi Mc Hugh, caterers: Team Work Catering, transport co-ord.: Eamon Murphy, artiste driver: Michael Phelan, unit drivers: Reggie Blain, 1st a.
Jim Dalton, trainee a. Ciaran Donnelly, line p: Kate Hughes, 1st a. Ian Jenkins, 3rd a. Jane Jackson, focus puller: John Cridlin, clapper loader: Robert Flanagan, boom op.: Kieran Baine, video assist: Panavision Ireland, film stock: Technicolour London, travel agents: Flair Travel, Club Travel, s. Screen Scene, Foley recording: Lime Street Studios, laboratory liaison: Kieth Bryant, negative cutters: PNC, Heavyworks supplied by: Kevin Hughes, re-recorded at Ardmore Sound, titles: Cine Image, Film scanning and recording: Brian Gascoigne; 'The Lass of Aughrim' vocals: Susan Lynch, Ewan McGregor, guitar: Ewan McGregor, Ignazio Oliva, piano: Soon after, the two become lovers.
Nora, a hotel maid, is sexually confident and Joyce fears she has been with other men, including his rival Cosgrave. Joyce falls in love with her. He is a writer still struggling to get his first book published, and when he explains how he finds Ireland stifling, he asks her to accompany him to Trieste, where Joyce teaches English and writes. Their relationship is stormy, with Nora, pregnant and homesick, disapproving of Joyce's heavy drinking. They have a boy, Giorgio, and Joyce's younger brother, the supportive Stanislas, comes to stay.
Joyce returns to Dublin, including when in he establishes Ireland's first full-time cinema, and continues to seek a publisher for his short-story collection Dubliners. Joyce's jealousy at Nora's possible sexual encounter with Cosgrave resurfaces, but Oliver St John Gogarty reassures him that the rumour is not true. Joyce and Nora have a second child, Lucia, and they write sexually explicit letters to each other.
Joyce returns to Trieste and tries to push Nora into an affair with local newspaper editor Roberto Prezioso. Nora returns to Ireland with the children. Joyce follows her and, after following his repeated failure to publish Dubliners, announces he will never return to Ireland again. Reconciled, the family returns to Trieste.
The film ends in as Ulysses, the landmark modernist novel that is set on the day in when he first 'walked out' with Nora, is begun. The Volta Magazine, vol 2, issue 2, She talks about career and her latest film Nora which took ten years to complete Joanne Hayden. In Dublin, Vol 25 No 8: She talks about her script for Nora. A comparison is made between Nora and her other films Anne Devlin and Maeve. She talks about the potential audience for Nora.
She talks about her next two projects Katie Moylan. FW, Issue 40, In Production, October Vol 6 No. Murphy, Gerard Stembridge based on the biography by Brenda Maddox, cost: Pia De Ciaula, dop: Rod Stoneman, Natural Nylon Entertainment: Gabrielle Niemeyer, Daniele Pfennigs, London: Katie Judge, Irish, p.
Beatrice Arweiler, Maurizio Pigna, post-p. Tommy Gormley, Sarah Purser, Irish: Jill Dempsey, Lisa Kelly, Italy: Bojana Sutic, Gilles Canatella, Germany: Laerke Sigfred Pedersen, cast: Ciaran Barry, Steadicam ops: Roger Tooley, Vince McGahon, special visual effs: Mill Film, London, sp. Corridori Giovanni, graphic artist, Irish: Terry Pritchard, art d: Stefano Maria Ortolani, Germany: Alessandra Querzola, portrait artist: Thomasina Smith, draughtsmen, Irish: Rhona McGuirke, key costume makers: Keith Watson, chief make-up artist: Richard Todman, recording engnr: Adrian Rhodes, Stuart Hilliker, super.
Hugo Adams, Foley art.: Note US Release 12th June The March of Time newsreel series ran from to Besides this one, March of Time made two other editions in Ireland: For a discussion of this film, and in particular the Irish political and military roles, through G2 Intelligence, in the surveillance of the making of this film, see Dermot O'Donovan, Sacred Egoism: See also O'Drisceoil The film follows the Abbey Theatre's production from rehearsals to the opening night on Broadway.
First programme looks at early cinema - how the cinema evolved out of Victorian optical toys such as the Magic Lantern through to the arrival of US film production in Ireland with the Kalem Film Company. From Lantern Slide to Movie. Niall Tobin sits in a cinema and introduces topic.
Jim Horgan, a grandson with photographs of the mother of the Horgan Brothers and the slides they projected. Photographs and narration of Edison. Photograph of and narration on Dan Lowry. Photograph of 'The Volta' cinema. Liam O'Leary, film maker and historian, with photographs of early cameras. Footage of Saint Stephen's Green in Photograph, Horgan Brothers with projector. Jim Horgan with footage of paddle steam boat, Corpus Christi procession, documentation of license for and shots of cinema in Cork. Mitchell's South African footage.
Photograph and narration of Cecil Hepworth. Footage of whaling boat and whalers at play. Production stills from Rory O'More with clip. Voice over interview and photograph of Robert Vignola. End of Part 1. Niall Tobin on Establishment views to cinema. Photograph and narration on Norman Whitten. Footage of Redmond rally in Phoenix Park. Footage of release of Sinn Fein prisoners. Photographs and narration of John Gordon Lewis. Sean Tracey is shot on Talbot street. Michael Collins speech and British army road blockade and prisoners.
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Stills from 'In the Days of Saint Patrick'. Scenes from Knock Na Gow, Poster of, and scenes from, 'Willy Reilly and his Colleen Bawn'.
Michael Collins making a collection. Poster and scenes from 'Irish Destiny'. Scene from 'Paying the Rent'. Scene from 'By Accident'. Scene from 'Screening in the Rain'. Danny Sheridan, film and stills research: Robert Monks, RTE programme archive: Barbara Durack, Pauline Goodwin, graphic dsgn.: Hillard Hayden, rostrum c.: Nico Vermuelen, video archive: Paddy Kelly, telecine transfers: Jerry Scanlon, Susan Sheridan, stills ph.: Mary Bracken, Denis O'Farrell, a. Eddie Bolger, Jim Butler, s: Bob Bell, post production sound: Carmel Duignan, video ed.: Shotlist We see Naill Tobin talk to camera, He goes on to narrate the piece.
A still of Denis Johnston accompanied by scenes from his film 'Guests of the Nation', An interview with Mary Manning, Collegue and friend of Johnston. A still of Frank Aitken. Footage of Barry Fitzgerald taken from 'Guests of the Nation'. Interview with Pronsias O'Comhain, Broadcaster. Footage of 'The Dawn' by Thomas G. Interview with Michelle Cooper, Grand daughter of Thomas.
Still of Eddie Toner Co. Founder of the Irish Film Society , followed by interview. S showed their films before moving to the occasional screenings in the Classic Cinema Harolds Cross and the Oak room, Mansion house Dublin. Footage of 'The Battleship Potemkin' Still of the Oak room in the Mansion House.
Still of May Clarey, the lady who ran box office for the I. Interview with Colm O'Laoghaire followed by a still of the Classic Cinema, both interior and exterior. A still followed by interview with Brendan Stafford. Still of Patrick Carey followed by footage of 'Fool's Mate'. A shot of the required reading list for potential Irish Film Society members. Interview with Charles Whelan of the I. An interview with Rena Dardis. Third programme looks at filming in Ireland during the Second World War, the foundation of the National Film Institute, and the first party political film.
Fourth programme looks at setting up of Comhar Cino; Peter Hunt's arrival in Ireland, and the involvement of the National Film Institute in filmmaking. Britain's Trail of Disaster. A week-end of appalling disaster began with the sinking of the ferry boat Princess Victoria off the Irish coast, only 44 survived out of passengers and crew. Some of the people fortunate enough to have been picked up, tell the story of the tragedy.
Britain was shocked by the news which was soon followed by the calamity of Britain's East Coast. A story of great loss of life and fearful destruction unfolded itself - the greatest disaster of its kind that the country had ever known. Aerial shots show the extent of the havoc caused, closer examination reveals the misery and bravery of the victims.
Canvey Island suffered worst of all. When the protecting wall was breached, the water came swirling through in a tremendous torrent, smashing homes and sweeping all before it. Most of the damage was done and the lives lost over a hundred, it is feared in this first rush of the flood. Cut story - KS. Aerial of flooded countryside. Night shots of Donaghadee harbour - lifeboat returned in half light, dead bodies on deck, survivors coming ashore. Interiors - two men seated in front of fire. Exterior - two survivors give their accnt. MS Harbour - lifeboat crew pose before camera.
Coxswain Hugh Nelson gives his accnt. Aerial of sea over seawall. Mablethorpe, piled up wreckage, cars almost covered by sand. Sand several feet high around houses. Troops arrive in DUKW. Troops placing sandbags in position. CU types - Salvation Army etc. Aerials of Great Yarmouth shows station. Ground shots of flooded streets of Whitstable, wrecked public house, and general damage along the front. Margate - Pier badly damaged, also harbour with lighthouse completely destroyed. Aerials of Sheerness Dockyard showing frigate on its side, and general damage.
Aerial of fun-fair at Southend completely flooded. Aerials of Foulness Island almost completely flooded. Aerial of village church. Aerials of cattle huddled together surrounded by water. Aerials of Canvey Island showing the immense flooding. Rescue workers - Mr Geoffrey Prout giving his accnt. Various other shots of flooded areas. Various shots of rescue workers.
Shots of dead bodies covered with sacking. A string of 'chasers out for exercise, in Ireland. MS string of horses exercising. MS horse led from stable. SS Canberra Takes Shape. On the stocks at Harland and Wolff's Belfast yard is the P and O's new 45, ton liner, the biggest liner to be built in a British yard since the Queens. Canberra is due to be launched next March and to make her maiden voyage a year later. This great ship is destined for the UK - Australia run and the Pacific. BS part of deck on crane. GV shipbuilders at work.
Christmas Lights - in Colour. Movietone goes around the World, our colour cameras recording the Christmas lights and decorations of nine countries. CU pull focus on Regent Street lights. MS Danny Kaye with kids. GV AV Sovereign light tower. Low angle shot helicopter. MS helicopter approaching landing platform. CU Trinity House plaque.
MS crew leave 'copter. View of ship from light tower. MS man looks with binoculars. LS ship in Channel. Low angle shot light tower. GV children look at lights. Tracking shot Argyll Street, Glasgow. Pan lights to cinema. GV lights in Glasgow. GV lights in George's Square, zoom out ditto. CU children look at lights. Pan lights to mosque. Zoom out mosque to decorated shop window. Window of book shop. CU sign Hong Kong. CU traditional type Chinese lanterns. Pan lights in Hong Kong.
MS Hong Kong Christmas tree lights. MS kids and Santa. Pan Santa to Xmas tree. Pan lights to Empire State Building. GV lights in Helsinki Finland. MCU people look in windows. Puppets in shop window. GV lights in Helsinki. CU lights on tree. GV Champs Elysee France. CU lights in Paris. MS banners in street. Pan Queen to kid in bed. GV Xmas tree in Trafalgar Square.
Zoom in Regent Street lights 1st day of Xmas, 2nd, 3rd through to 10th. Pan toys in shop window. MS Xmas card opened. CU seasons greeting in 6 languages. GV Regent Street lights. Pull focus Regent Street lights. At this Yuletide Season, thoughts have to turn to Christmas shopping. Big city store or village market, it's all better down under, where you can shop in brilliant sunshine and then relax on the beach. The Christmas tree gifts from Scandinavia, are only the gilt on the gingerbread for the children whose main delight is Father Christmas and the gift he brings with tidings of joy.
Movietone wishes everyone the best of Seasons Greetings and good Cinema viewing throughout the world. SV interior track along brackets of parcels. GV TS through letter sorting department. SV mound of parcels to be sorted. GV ditto pan to women sorting. SV women sorting pan as they throw parcels into various baskets. SV woman throws parcel into basket marked Middx.
SV man putting partially unwrapped parcel into heart break corner. SVU various unwrapped parcels. CU doll with wrapping paper torn off. SV sorter placing damaged parcels on shelf. SV Alice model in Selfridges window. CU pan two figures in window. SCU children looking at Alice figures. CU zoom back caterpillar. GV Berwick Street Market. SV tilt round fruit on stall. GV pan Carnaby Street. SCU pan decorated shop window. CU zoom back and pan boutique window decorated with artificial Christmas trees.
SV pan another decorated shop. SV tilt round another boutique. AS lights in Christmas tree shape on building. SCU pan to Father Christmas on store front SV interior decorations in Sydney store. SV ditto shot coming down escalator. SLV people sunbathing on beach. SLV people on beach. SV girl in bikini sunbathing. GV lights in Sauchiehall Street, Glasgow. GV queue outside Regal Cinema. SV La Scala Cinema. TS along Ranfield Street. SV pan reindeer in George Square. GV lights in George Square. SV small boy looking up at lights.
SV merry go round in new Sauchiehall Street. CU zoom back and angle up lights ditto. GV zoom back lights. SV pan turkeys on Irish farm. SV ditto as they crowd through door into barn. GV lights in Henry Street daylight Dublin. GV night lights and Xmas tree in street.
SLV group pan up lit-up Xmas tree. SLV Mayor of Westminster making speech. SV Norwegian ambassador making speech. CU button for Xmas tree lights, Ambassador about to press it. LV Ambassador presses button, lights go on pan up tree. SCU Mayor and Ambassador. SV pan police band. AS top of Xmas tree with star. CU girl in crowd Norwegian. SCU same girl and another.
GV Trafalgar Square and Xmas tree. SV Father Christmas shaking hands with 2 children. CU interior ditto talking to 2 young children, he kisses little girl. SV Father Christmas giving balloons to kids. CU Father Christmas talking to little girl on his knee. Cork Film International - in Colour. GV pan River Lee flowing through Cork. GV exterior Savoy Cinema. SV interior theatre with curtain raising for award ceremony. CU large sign on stage Cork Film International. LV as unknown man receives an award. SV Lord Mayor holding another award.
SV Philbin handing over another award to Lord Mayor. CU exterior bus flashes past revealing signs outside cinema of the film. AS banners outside cinema. GV exterior of cinema. GV zoom main street in Cork, Patrick's Hill. Building in Fair City Colour. Movietone's Cameras take a birds eye view of Dublin Fair City. Many Georgian style houses are being preserved, but throughout the City, glass and concrete office blocks are spreading like a space-age plague.
Angle shot tall Liberty Building. LV traffic in O'Connell Street. Old Georgian houses in Merrion Square. CU plaque on wall, 'Bernard Shaw, author of many plays was born in this house 26th July '. GAV continuation flying down river past many buildings. GV pan from American Embassy in district of Ballsbridge to Hume House and new office block, in fore ground a group of old Georgian houses. SV new Hume House with Georgian houses in fore ground. SV 2 Georgian doorways. GV street with Georgian houses. GV Landowne House large new office block Ballsbridge.
SV giant office block being built in Dame Street. SV construction in progress. LV pan up construction to crane at top. Angle pan showing overlapping roof under construction. SV Glanwilliam Court under construction. SV seagulls flying over Grand Canal. GV Portobello Harbour pub alongside with TV engineer at top of mast fixing aerial for colour television.
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SV TV engineer fixing aerial. GAV flying down river past bridge and buildings. Irish Cinema Ball Colour. SV three flags flying above hotel. SV ditto, showing name 'Jury's Hotel'. SV interior large posters. SV posters pan to Gala Films Ltd. GV view from Grand Parade along the river 2 shots. LV pan from St. GV Capitol Cinema 3 shots.
LV horse carriage arriving at Capitol Cinema. SV movie girls alighting from carriage pan into cinema. SV actors walking in grounds. AS low Blarney Castle. SV actors walk along castle ramparts. SCU woman kissing Blarney Stone 2 shots. Group of stars walking in castle grounds. Review of the Year - Mix to flags and banners etc. Fade to broken sea wall, sea rushing in.
Aerials of flooded areas. Smashed pier and lighthouse. CU Stalin on balcony - mix to people filing in to pay last respects to Stalin. Fade to 'Still' of Stalin in his coffin. Shot of Red Square. Kalinin's funeral, Malenkov, Molotov, Bira etc. Wipe to GV of Blackfriars bridge London. Police launches up river. Tito alights from launch and welcomed by the Duke of Edinburgh, Eden. Tito inspects Naval Guard of Honour accompanied by the Duke.
Fade to funeral of Queen Mary - various shots. Crowds waiting for the Coronation SCU. Queen and Duke leaving Palace and getting into coach v. Queen rounding Queen Victoria Memorial in coach. Wipe to interior of Abbey. Various scenes of the Coronation including the actual crowning, marchpast of Commonwealth troops. CU rain beating on the ground. Crowds outside the Palace taken from roof. Royalty on balcony waving to the crowds.
Elevated view of Epsom Downs. LS of the Derby being run. Queen getting excited and talking to Princess Margaret. Gordon Richards passes the post first. Richards with Royal family in box. SCU White Ensign flying with background of clouds. CU looking down the muzzle of gun. Aerials of the fleet at anchor. CU of various shots including foreign contingents. Various shots of Queen and Duke waving to ships Company.
Rating cheering as Royal Yacht passes. Ensign flying from mast. Interior of St Giles' Cathedral. Ancient flags hanging from ceiling. CU Scottish crown on cushion. Crown presented to Queen.
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Queen and Duke out onto balcony. CU girl in Welsh national costume. Queen takes salute at marchpast. Aerials of Mount Everest. Crowds at the match - last ball.
Crowds rush onto pitch. Troops arrive home from Korea. Neville Duke in cockpit. Men using various instruments follow path of plane over desert. Elevated view of Georgetown. Troops embarking on ship. Night shot outside Buckingham Palace. Queen and Duke walk to plane. CU 'Canopus' Mr Churchill mounts steps. Turns and waves to crowds. Churchill, Ike and Laniel in Bermuda for conference. Cameramen in full force.
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Irish potato workers trapped by flames as they slept. This was as much as Irish would take of a film which attacked its Clergy, educational system, censorship and patriotic sportsmen. It has never been shown on Irish television despite having been selected for the Cannes Film Festival of Repulsed by Irish, after Cannes and throughout the 70s it went on to critical acclaim in France, Belgium, Spain, Scandinavia and in American universities".
Lennon recalls how the film arose from his dissatisfactions with Irish society, his experience of the Nouvelle Vague film movement in Paris, his employment of the French cinematographer, Raoul Coutard, the presence in the film of Fr Michael Cleary and the film director John Huston, shooting the film's crowded pub scenes, the selection of the film for the Cannes and Cork Film Festivals and concomitant controversy , its seven-week screening at the International Film Centre in Dublin and the film's critical reaction in Paris during the May revolution, and the restoration of the film in Michael O'Donovan, Mary Farbrother, light: Coutard and crew at work by Peter Lennon.
Various horse and carts, trams pulled by horses, people on bikes, pass both ways over Queen's Bridge. In addition to annual reports, the British government received detailed representations in , , , and The statements made by British officials during their debates with Dublin in cannot be separated from the specific political context of the Irish convicts crisis. Governor Milbanke consulted the justices of the peace and the merchants, who had formed a committee, before issuing instructions and continued to solicit their cooperation until his departure in October.
With neither an elected assembly nor an independent press to monitor or question decisions, governors were relatively free to act as they saw fit. They had no vested economic or political interests to protect locally, aside from their naval squadron, and they were comparatively free of the parochial politics that eclipsed many colonial governments. Since their appointments were usually for three years — prior to , they resided at St.
Accountability to London tempered this political autonomy: Pragmatism guided the implementation of imperial policy to a greater degree than statutory law or mercantile tenets. When the next large-scale crisis hit Newfoundland in , magistrates, merchants and the governor again managed the local response. In the face of disastrous fires, waves of bankruptcies and outbreaks of civil unrest, merchants in St. These efforts were remarkably similar to the actions taken a generation earlier. The success in coping with the influx of Irish convicts illustrated the ability of local government to protect propertied interests.
From the s to the s the governor, magistrates and merchants constituted a de facto legislature and executive to approve and enforce local policies. This arrangement was limited to specific projects, such as the building of court houses and other public works, or defraying the cost of criminal trials. Merchants did not become significantly involved in local government unless they perceived their interests to be directly threatened, as they did in , and Rather, it followed the path of least resistance until forced in to legislate the minimum changes required for a functional judiciary.
An act passed in conferred limited property rights; the Judicature Act bestowed piecemeal reforms; and the Royal Charter awarded official colonial status but did not provide for representative institutions beyond a town corporation. A generation ago Ralph Lounsbury suggested that the island endured a limited political and legal system because it had a primitive society in which there existed neither need nor demand for representative government.
More specifically, to conflate the growth of civil society with the operation of an effective colonial state obscures the function of customary institutions. In colonial America and the early Republic, state authority was generally weak and institutional coercion relatively limited compared to Great Britain. Local law-enforcement and penal practices varied markedly from region to region; in Upper Canada too the central government had difficulty enforcing its authority in rural townships.
To view government from the altitude of imperial policy overlooks much of what was happening on the ground. Given the range of available resources and the nature of local conditions, the seasonal judiciary of the naval governor and his junior officers provided a remarkably effective administrative regime. The involvement of merchants and magistrates in local government — particularly their use of ad hoc committees — formed a substitute for the formal institutions granted to most colonies in British North America.
The malleability of the common law tradition had allowed 18th-century Newfoundland to develop a legal system that met the needs of those in power. Irish Convicts in Newfoundland, Part I", Newfoundland Studies, 13, 1 Spring , pp. A Study of Retarded Colonisation London, , p. Merchant-Settler Relations in Newfoundland, Toronto, , esp. Newfoundland, ", Journal of Canadian Studies, 23, 3 Fall , pp.
VII Toronto, , pp. The Legal Development of Newfoundland, ", in L. Essays in Modern Legal History Toronto, , pp. Beginnings to Confederation Toronto, , esp. Beattie, Crime and the Courts in England, Princeton, , pp. Ekirch, Bound for America: Policy and Trade, ", Ph. America and West Indies London, , vol. Alan Perry for his help with the West Country archival materials. America and West Indies, vol. I thank Patti Ryan for her help with the archival materials. The account is cited as an "extract of a letter from Portsmouth, November 14 []".
I thank Jim Phillips for this reference. Reily, Assizes, CO , Vol. Essays in Historical Geography St. Essays in Honour of J. Beattie Toronto, , pp. Judge Prowse, who was no flatterer of the early magistrates, referred to Coke as "a man of considerable ability, and firm, determined character", and to Ogden as "a man of sound judgment".
Newfoundland, Wilmington, , p. The signatories to the petition were: William Gaden commissioner of oyer and terminer ; Adam McGlashan grand juror in ; Alexander Stuart grand juror ; Richard Reed grand juror ; Henry Phillips high sheriff ; Nathan Phillips agent to a merchant house; grand juror in ; James Stokes English merchant; grand juror in ; William B. For the grand jury lists, see CO , vol. A standard account appears in H. Dickinson, Liberty and Property: The term "local merchants" is in a strict sense a misnomer because relatively few of them had settled in Newfoundland.
Northeast-Coast Newfoundland, ", in Daniel Samson, ed. On jail fever, see Beattie, Crime and the Courts in England, pp. Spelling and punctuation have been modernized. On attitudes toward women and the administration of justice, see Sean Cadigan, "Whipping them into Shape: Women in Newfoundland and Labrador: The three subsequent statutes relating to the Newfoundland fishery — 26 Geo. Grant Head, Eighteenth Century Newfoundland: Gordon Handcock, Soe longe as there comes noe women: Origins of English Settlement in Newfoundland St.
The relative absence of women in pre Newfoundland society was due far more to the structure of the migratory fishery than any legal restrictions. Farley had been a grand juror in , while Henley and Harvey served on the grand jury. The administrative initiatives of the early governors and the opposition they encountered from merchants and fishing admirals are discussed at length in Jerry Bannister, "Law and Custom Reconsidered: Burlington, , pp. Osborne will be very well justified in pursuing it as it seems to be the only method whereby the design and intention of H.
For other instances of local taxation in Placentia, see the court minutes for 2 October , 6 September , 25 September , 1 September , 11 July , and 18 September They both ascribe to the Newfoundland governor responsibilities and concerns far exceeding anything Milbanke was likely to have either considered or attempted. See Martin, "Convict Transportation to Newfoundland", p. Rodger, The Wooden World: An Anatomy of the Georgian Navy Glasgow, , p. Fortescue Preserved at Dropmore London, , vol. I thank Simon Devereaux for generously sharing his research materials and expertise.
The impact of the landing of the Irish convicts on British penal policy is reappraised in Devereaux, "Irish Convict Transportation and the Reach of the State", passim. The statute in question was 26 Geo. For examples of how historians have misinterpreted this statement, see W. MacNutt, The Atlantic Provinces: The Emergence of Colonial Society, Toronto, , p. A History Fredericton, , p. In the wake of the Stamp Act crisis, Newfoundland once again fell off the political map. See Matthews, Lectures on Newfoundland, p. Bayly observes, "the formal statements of constitutions or colonial minutes are a poor guide to real social and political change; there are distinct limitations to history based on what men tell their lawyers they are doing".
The British Empire and the World, London, , pp. Reeves submitted this paper to the Secretary of State, Henry Dundas, and sent a second report to the Committee for Trade on 16 December The changes in the naval surrogate system are discussed at length in Bannister, "Law and Criminal Justice in Eighteenth-Century Newfoundland", ch. A Newfoundland Watershed, ", in P.