African adventures : Film Finances Ltd and actor-producers on safari

The recent opening up to scholars of the archives of Film Finances, a British-based company that has been providing completion guarantees for films since 1950, has provided a rare opportunity to inspect confidential documents pertaining to the financing and production of a large number of films made between 1950 and 1979. This article is based on material located in the companys files relating to two films made on location in Africa by actors turned producers: Zulu (1964), starring and produced by Stanley Baker, in collaboration with the director/co-writer/co-producer Cy Endfield; and The Naked Prey (1965), starring, directed and produced by Cornel Wilde. In both cases, supervisors appointed by Film Finances clashed with the film-makers over what were seen as their unreasonable attempts to indulge their artistic impulses as the expense of fiscal responsibility and logistical practicality. The article looks at the ways in which Film Finances and its representatives attempted to exert a measure of control over the productions (not always successfully) in order to limit financial risk and ensure delivery of the films within budget and schedule. It also explores the degree to which the film-makers creative decision-making was influenced, constrained or enabled by the financial and practical constraints within which they were obliged to work

Mustang Daily, October 15, 2002

Student newspaper of California Polytechnic State University, San Luis Obispo, CA.https://digitalcommons.calpoly.edu/studentnewspaper/6918/thumbnail.jp

The BG News October 13, 1970

The BGSU campus student newspaper October 13, 1970. Volume 55 - Issue 16https://scholarworks.bgsu.edu/bg-news/3501/thumbnail.jp

The BG News October 24, 2005

The BGSU campus student newspaper October 24, 2005. Volume 96 - Issue 44https://scholarworks.bgsu.edu/bg-news/8501/thumbnail.jp

The Public’s Reaction, Over Time, to the Findings of the Warren Report

Abstract From the moment President Kennedy was shot, the public had difficulty accepting Lee Harvey Oswald as the lone assassin, and spoke in terms of conspiracy. Polling data indicated that while Oswald may have participated in the plot, the majority believed others were also involved. Examining the public’s response to the vocal critics of the Warren Commission, the findings of both the Church Committee and the House Select Committee on Assassinations (HSCA), and the release of pertinent documents as a result of the Kennedy Assassination Records Collection Act, an image of an unconvinced public is seen. Evidence of this can be seen not only in the number of cultural and literary endeavors dedicated to the topic, but also by the public’s insatiable appetite for said material. By examining literature both critical of and in support of the Warren Report, documents collected by the Assassination Records Review Board (ARRB), and the public’s response expressed through the arts, indicates an ongoing culture of disbelief in the findings of the Warren Report. Polling data suggests that the Warren Report was not only ill received, but as additional information became public, the work of the Commission also became less reliable according to public opinion. This occurred despite of the efforts of traditional media outlets to not only marginalize critics, but also to weaponize the term “conspiracy theorist” as a pejorative. In the eyes of the public, a congressional committee reaching this conclusion not only acerbated their disbelief in the Warren Report, but also indicated that federal agencies had practiced an ongoing campaign of deception. As an expression of the Warren Report’s lack of credence is its ongoing debate through art. Manifesting itself in the form of literature, plays, film, television, song; the Warren Report’s selective use of testimony, missing evidence, and its rush to assure the public that Oswald was the lone-gunman had failed

The Trail, 2008-04-11

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