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                <text>This is a black and white photo of the Irish film director and documentary maker Louis Marcus sitting with an unidentified companion. Marcus on the left, with his distinctive glasses and beard, is turned slightly towards his companion, engaged in conversation. They are seated amongst a convivial crowd, drinking and smoking, at tables made from empty beer kegs with umbrellas used for cover. &lt;br /&gt;&lt;br /&gt;Louis Marcus was born in Cork City to an Irish Jewish family. His grandfather Louis Roseberg came to Cork in 1882, from Akmian, North of Lithuania, fleeing persecution from the Russian Empire. Cork Jews were often referred to as Akmajianites. Marcus began his career in Dublin as assistant director on &lt;em&gt;Mise Éire&lt;/em&gt; (George Morrison, 1959) and &lt;em&gt;Saoirse? &lt;/em&gt;(George Morrison, 1965) and would continue to work on Gael-Linn documentaries until 1973. He was nominated for the Academy Award for Best Documentary in 1974 for &lt;em&gt;Children at Work&lt;/em&gt; (Páisti ag Obair), and in 1976 he was nominated for Best Live Action Short Film at the 48th Academy Awards for &lt;em&gt;Conquest of Light&lt;/em&gt; (1976) which detailed how Waterford Glass is made with an emphasis on the aesthetic nature of the process. &lt;br /&gt;&lt;br /&gt;Marcus is a member of &lt;em&gt;Aosdána&lt;/em&gt; (the Irish Association of Artists limited to 250 individuals, founded in 1981 by Charles Haughey) and an honorary member of the Royal Hibernian Academy. In 2011 he was awarded a special prize for his outstanding work in the Irish language at the Screen Directors Guild of Ireland (SDGI) Annual Meeting of Directors including Oliver Hirschbeigel, Dearbhla Walsh, Lenny Abrahamson and Ciaran Donnelly. His first documentary film &lt;a href="https://ifiplayer.ie/the-silent-art/"&gt;&lt;em&gt;The Silent Art&lt;/em&gt;&lt;/a&gt; (1958), on his friend the Cork-born sculptor Séamus Murphy (1907-1975), is of particular interest to us as Murphy designed the bronze St Finbarr statuette that was presented to prizewinners at the Cork Film Festival for some years. &lt;em&gt;The Silent Art&lt;/em&gt; (18 mins.) was shown at the festival in 1959, with music by Bernard Geary and Declan Townsend, and commentary by festival stalwart Dan Donovan.</text>
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                <text>&lt;p&gt;©Donal Sheehan. All rights reserved. Please credit &lt;a href="https://corkfilmfest.org/"&gt;Cork International Film Festival&lt;/a&gt; &amp;amp; provide a link back to this site.&lt;/p&gt;</text>
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              <text>  254 x 200mm</text>
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                <text>A cinema audience including Justin Keating</text>
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                <text>Cork Film Festival, Justin Keating, Gus Healy</text>
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&#13;
Justin Keating (1930-2009) was an Irish Labour party politician who would serve in Dáil Éireann under Liam Cosgrave as Minister for Industry and Commerce from 1973 to 1977. He was a key figure in the creation of the Labour party created by Brendan Corish in the 1960s and ushered in a new era of politics at the time. He also worked as a veterinary surgeon, and lectured at UCD, and was a journalist for RTÉ during its early days. Keating also represented Ireland at the European level serving twice as an MEP. He was the President of the Humanist Association of Ireland (HAI)  whose tribute to him on his death notes that he was passionate about Ireland and the role of Europe in the world.</text>
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                <text>University College Cork, Cork Film Festival</text>
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            <description>The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant</description>
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            <description>Information about rights held in and over the resource</description>
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              <elementText elementTextId="12995">
                <text>&lt;p&gt;This item is licenced with a Creative Commons Attribution NonCommercial-NoDerivatives 4.0 International (&lt;a href="https://creativecommons.org/licenses/by-nc-nd/4.0/"&gt;CC BY-NC-ND 4.0&lt;/a&gt;) licence. All rights reserved. Please credit &lt;a href="https://corkfilmfest.org/"&gt;Cork International Film Festival&lt;/a&gt; &amp;amp; provide a link back to this site.&lt;/p&gt;</text>
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              <name>Title</name>
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              <description>Information about rights held in and over the resource</description>
              <elementTextContainer>
                <elementText elementTextId="8637">
                  <text>Please see individual items for licencing information. ©Reproduction rights CIFF</text>
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            <description>A name given to the resource</description>
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                <text>Roy Disney at a press conference</text>
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                <text>Donal Sheehan</text>
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            <description>The file format, physical medium, or dimensions of the resource</description>
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                <text>Photo&#13;
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            <name>Coverage</name>
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                <text>1960&#13;
Cork, Ireland</text>
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                <text>This is a black and white photo of a man identified provisionally as Roy Disney at a press briefing. He is shown, elbows resting on the table holding up a cigar in his left hand, listening to someone out of sight.&amp;nbsp;&lt;br /&gt;&lt;br /&gt;The date of the photo is '1960s' which would make Roy Edward Disney, born in 1930, and whom this photo closely resembles, approximately 40 years which makes us suspect either the date or subject of the photo. Another similar image in the archive, dated '1970s' might be more accurate. Roy Disney, who had a home in West Cork, was the nephew of the late Walt Disney and a formidable longtime senior executive of the Walt Disney Company. Born in California, he worked all his life for Walt Disney Productions and made a significant impact on its direction, striving to keep it from being split up by fellow Disney executives in particular Ron Miller in 1984, and Michael Eisner in 2005. &lt;br /&gt;&lt;br /&gt;Roy Disney became an adopted native of Cork when he purchased Coolmain Castle near Kilbrittain, County Cork, in the early 1990s and, being a keen sailor, was a regular visitor to Cork race week. He died from stomach cancer in 2009, age 79.</text>
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                <text>University College Cork, Cork Film Festival, Donal Sheehan </text>
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            <description>A related resource from which the described resource is derived</description>
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                <text>Cork Film Festival Collection</text>
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                <text>University College Cork</text>
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            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="12747">
                <text>&lt;p&gt;©Donal Sheehan. All rights reserved. Please credit &lt;a href="https://corkfilmfest.org/"&gt;Cork International Film Festival&lt;/a&gt; &amp;amp; provide a link back to this site.&lt;/p&gt;</text>
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                <text>English, eng</text>
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        <name>Roy Disney</name>
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              <name>Rights</name>
              <description>Information about rights held in and over the resource</description>
              <elementTextContainer>
                <elementText elementTextId="8637">
                  <text>Please see individual items for licencing information. ©Reproduction rights CIFF</text>
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              <text>  237 x 168mm</text>
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                <text>Group at the Festival Club </text>
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                <text>Cork Film Festival, Harp, Festival Club, Guinness, Player and Wills</text>
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                <text>Finbarr O'Connell</text>
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                <text>1960&#13;
Cork, Ireland</text>
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                <text>University College Cork, Cork Film Festival, Finbarr O'Connell </text>
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                <text>This is a black and white photo of a group attending the Harp Lager-sponsored festival club, some of whom are identified at the back of the photo as the head of Guinness sales, Bobby Hoick, and Alan Buttanshaw, managing director from Player and Wills tobacco. The three men and two women are standing in a huddle, facing each other oblivious to the camera, laughing and talking. In the background we can just about identify the distinctive lattice fencing of the festival club together with the partially distinct signage for Harp Lager which was then owned by the Guinness company (now Diageo).  This photo is dated '1960s' but might be 1967 as Player and Wills (Ireland) Ltd. gave a development grant to the Cork Film Festival that year.</text>
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          </element>
          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="14054">
                <text>&lt;p&gt;©Finbarr O’Connell. All rights reserved. Please credit &lt;a href="https://corkfilmfest.org/"&gt;Cork International Film Festival&lt;/a&gt; &amp;amp; provide a link back to this site.&lt;/p&gt;</text>
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        <name>Festival Club</name>
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        <name>Harp</name>
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                <text>&lt;p&gt;©Donal Sheehan. All rights reserved. Please credit &lt;a href="https://corkfilmfest.org/"&gt;Cork International Film Festival&lt;/a&gt; &amp;amp; provide a link back to this site.&lt;/p&gt;</text>
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                <text>Festival staff on the roof of the Cork Opera House in 1996 </text>
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                <text>1996&#13;
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                <text>This is a black and white photo of festival staff, dressed in film festival promotional sweatshirts, on the roof of the Cork Opera House. They are posing amidst the roof-top detritus of abandoned steel poles and advertising hoarding while below them the hustle and bustle of city life continues. One of the girls sits on the wall parapet while the other leans insouciantly against a hoarding pole; they seem to be on the roof of the 60-foot fly-tower of the Opera House. They are both wearing dark-coloured tops, with the festival logo for the 41st Cork International Film Festival which took place in October 1996, which helps us date this photo. &lt;br /&gt;&lt;br /&gt;The Cork Opera House was conceived in 1852, following the Cork Exhibition, and opened in 1855. The building was originally called the ‘Athenaeum’ and eventually renamed Cork Opera House in 1877. It burnt down in 1955 and was reopened by President Éamon de Valera in October 1965. In this reconstruction, it retained a somewhat bleak wall of brick, with the equally bleak fly-tower used to accommodate scene changes. In 2003 renovation works on the façade of the building, and the surrounding Emmet Place, was completed but did not impact upon the fly-tower. The fly-tower infamously provided the backdrop to the iconic Toyota roof sign which occupied 3 sides of the tower on the north, east, and west. In 2019 the Toyota sign was replaced by UCC signage in a new collaboration with UCC, and the old Toyota letters, at 1.5 metres tall, were recommissioned by the Greek artist &lt;a href="https://www.billbalaskas.com/"&gt;Bill Balaskas&lt;/a&gt;. Balaskas transformed the six Toyota letters into a public art installation called 'Red Air'. &lt;br /&gt;&lt;br /&gt;The panoramic view from the fly-tower here looks out towards Emmet Place below, which has since been redeveloped into a plaza-like square, and along Lavitts Quay. Traffic lines up across the River Lee at Camden Place, from the direction of the three-span St. Patrick’s Bridge beyond.</text>
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                <text>&lt;span&gt;This item is licensed under a &lt;/span&gt;Creative Commons Attribution NonCommercial-NoDerivatives 4.0 International (CC BY-NC-ND 4.0) licence&lt;span&gt;.&amp;nbsp;Please credit the&amp;nbsp;&lt;/span&gt;Cork International Film Festival Archive&lt;span&gt; and provide a link back to the site.&lt;/span&gt;</text>
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                  <text>Please see individual items for licencing information. ©Reproduction rights CIFF</text>
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                <text>&lt;p&gt;©Bord Fáilte Éireann (Irish Tourist Board). All rights reserved. Please credit &lt;a href="https://corkfilmfest.org/"&gt;Cork International Film Festival&lt;/a&gt; &amp;amp; provide a link back to this site.&lt;/p&gt;</text>
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                <text>This is a black and white photo of the English-born actor Carol Cleveland possibly taken at the festival club in 1972. She is sitting on a low-sized metal chair, posing for the camera, wearing a dark-patterned dress that drapes around her long legs. Her brown hair falls in curls around her shoulders as she smiles up at the camera, resting her chin on her left hand. Behind her the lattice-work on the walls, similar to other images in the archive, indicate that this is possibly the Cork film festival club. &lt;br /&gt;&lt;br /&gt;Carol Cleveland was born in London in 1942 and lived in America for some years before returning to London to attend the Royal Academy of Dramatic Art (RADA) in 1960. She worked in television and film in the late 1960s and early 1970s, including work with Spike Milligan and the Two Ronnies, before regular work on the Monty Python’s Flying Circus series earned her the sobriquet ‘the seventh Python’. Cleveland was the only woman associated with the show and would appear in thirty of the forty-five Monty Python episodes as well as the Monty Python films &lt;em&gt;Monty Python and the Holy Grail&lt;/em&gt; (Terry Gilliam, Terry Jones 1975), &lt;em&gt;Monty Python's Life of Brian&lt;/em&gt; (Terry Jones, 1979) and &lt;em&gt;Monty Python's The Meaning of Life&lt;/em&gt; (Terry Jones, 1983).&amp;nbsp;</text>
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                <text>Lynda Bellingham taking a bath</text>
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                <text>Donal Sheehan</text>
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                <text>1976&#13;
Cork, Ireland</text>
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                <text>Cork Film Festival, Lynda Bellingham, Norman Cohen</text>
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                <text>University College Cork, Cork Film Festival, Donal Sheehan </text>
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                <text>This is a black and white photo of the English actor Lynda Bellingham taking a bath. She has a mischievous grin on her face and little else except bath bubbles to dress her. The location of the bath is not identified but as the photo is credited to the Cork-based photographer Donal Sheehan we guess that the bathroom must be Cork-based too. The white-tiled bathroom, with a white transistor radio perched on the ledge of the bath, provides the perfect backdrop to the olive-toned skin of a glowing Bellingham. &lt;br /&gt;&lt;br /&gt;Born in 1948 and adopted later that year, Lynda Bellingham was an English actor, broadcaster, and author who was a familiar presence on British television, in particular for her work as a lunchtime chat show host on ‘Loose Women’ between 2007 and 2011, with whom she made more than 300 appearances. She also had a long-standing television career with such shows as &lt;em&gt;All Creatures Great and Small&lt;/em&gt; and &lt;em&gt;Doctor Who&lt;/em&gt;, as well as film credits that include &lt;em&gt;Confessions of a Driving Instructor&lt;/em&gt; (Claire Brough, 1976) and &lt;em&gt;Stand up, Virgin Soldiers&lt;/em&gt; (Norman Cohen, 1977) which would have coincided with her visit to the festival in the late seventies. &lt;br /&gt;&lt;br /&gt;Bellingham was appointed Officer of the Order of the British Empire (OBE) in 2013 for her services to charity work. She published her autobiography &lt;em&gt;There’s Something I’m Dying to Tell You&lt;/em&gt; in 2014, shortly before her death from cancer later that year, at the age of 66.</text>
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                <text>&lt;p&gt;©Donal Sheehan. All rights reserved. Please credit &lt;a href="https://corkfilmfest.org/"&gt;Cork International Film Festival&lt;/a&gt; &amp;amp; provide a link back to this site.&lt;/p&gt;</text>
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                <elementText elementTextId="8637">
                  <text>Please see individual items for licencing information. ©Reproduction rights CIFF</text>
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                <text>Donal Sheehan</text>
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              <elementText elementTextId="2500">
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                <text>This black and white photo identifies this runway shot as part of the Miss Movie Girl competition. The competition had various rounds including ‘evening attire’ and swimwear. We note the Harp Lager promotional material providing a backdrop for an improvised runway in what looks like a hotel function room. The fair-haired model, wearing a light-coloured chaste bathing suit worn over nylon tights, is gazing straight down towards the lens of the cameraman on her right. A crowd is gathered around the runway, some with bags in hand, and look on. &lt;br /&gt;&lt;br /&gt;While the idea of a Miss Movie Girl competition with a ‘bathing suit’ segment might bring a wry smile to our lips now it was very much in vogue during the 1970s, as we see with the Miss World pageant. Miss World originated in 1951, for the Festival of Britain, under the auspices of Eric and Julia Morley. During the 1960s and 1970s the pageant was one of the most-watched programmes on British television but fell out of favour as the decade progressed. Miss World still operates today, without that swimsuit segment, but is no longer televised in England or Ireland. A recent movie &lt;em&gt;Misbehaviour&lt;/em&gt; (2020), directed by Philippa Lowthorpe, looks at the bizarre and somewhat extraordinary nature of the Miss World pageant in a light-hearted yet illuminating way – reminding us of how the women’s liberation movement of the 1970s made way for a narrative that continues to this day via #MeToo.</text>
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                <text>&lt;p&gt;©Donal Sheehan. All rights reserved. Please credit &lt;a href="https://corkfilmfest.org/"&gt;Cork International Film Festival&lt;/a&gt; &amp;amp; provide a link back to this site.&lt;/p&gt;</text>
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            <name>Language</name>
            <description>A language of the resource</description>
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                <text>English, eng</text>
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      <tag tagId="339">
        <name>Miss Movie Girl</name>
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    </tagContainer>
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</itemContainer>
