Ulla bergryd biography of barack
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Programme Index
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A series touch on films depict issues, institutions and community. Sun Power
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Film cameraman NIGEL WALTERS Single sound DAVE JEWITT
Film editor JANE VAL BAKER
Executive farmer ROGER Grind Producer ANN PAUL
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“Carefully Posed Thighs”: The Garden of Eden in 1966
WP 4: Arousal
Michael Lawrence
Notes
Michael Lawrence is Senior Lecturer in Film Studies at the University of the West of England.
Richard Dyer, “Don’t Look Now: The Male Pin-Up,” in Sexuality: A Screen Reader (London and New York: Routledge, 1992), 274.
Bosley Crowther, “The Bible: In the Beginning …,” New York Times (29 September 1966), 15.
I would like to thank my colleague Greg Tuck for inspiring these particular observations.
Bruce Babington and Peter William Evans, Biblical Epics: Sacred Narrative in the Hollywood Cinema (Manchester and New York: Manchester University Press, 1993), 7.
Foster Hirsch, The Hollywood Epic (London: Tantivy Press, 1978), 13.
Charles Loring, “Photographing The Bible in Dimension-150,” American Cinematographer (February 1965), 104.
Only one other film was produced in Dimension-150, Franklinn Schaffner’s war movie Hutton (1970).
Penelope Houston and John Gillet, “The Theory and Practice of Blockbusting,” Sight and Sound 32, no. 2 (spring 1963), 72.
The Bible: In the Beginning … Production Information Manual, 2-3.
Film Daily (28 September 1966), 1.
John Huston quoted in Sheldon Hall, “Selling Religio
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I. The Girl in the Mirror
There was a shrine in my mother’s bedroom when I was growing up. The built-in wardrobe had a mirror on the interior of both doors and a bureau inside, higher than I was, with an array of perfume bottles and small objects on the surface and a wall of burlap stretched above it. Pinned to the burlap was a collage of things she’d collected: pictures she’d torn out of magazines, poems, pomander balls, a fox’s tail tied with a red ribbon, a brooch I’d bought her from Woolworth’s that spelled “Mother” in malachite, a photograph of Siobhán McKenna as St. Joan. Standing between the doors, I loved to look at her possessions, the mirrors reflecting me into infinity.
I was a lonely child. My brother Tony and I were never very close, neither as children nor as adults, but I was tightly bound to him. We were forced to be together because we were really quite alone. We were in the middle of the Irish countryside, in County Galway, in the West of Ireland, and we didn’t see many other kids. We were tutored. Our father was mostly away.
I spent quite a lot of time in front of the bathroom mirror. Nearby there was a stack of books. My favorites were The Death of Manolete and the cartoons of Charles Addams. I would pretend to be Morticia Addams. I was drawn to her.