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                <text>Closing Night with Lord Mayor Pearse Wyse in 1967</text>
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                <text>This is a black and white photo of the closing night of the festival in 1967 and shows guests and dignitaries seated across the expanse of the City Hall stage. A small white table at the front of the stage displays four St Finbarr statuettes, together with a Waterford crystal award. Lord Mayor Pearse Wyse is seated just behind the table and is looking towards his right while clapping his hands. &#13;
&#13;
Born in Cork, Pearse Wyse (1928-2009) was a Fianna Fáil politician who would serve as Lord Mayor of Cork in 1967 and again in 1974. A firm supporter of Jack Lynch he was a formidable opponent of Charles Haughey and was a member of the so-called 'Gang of 22'. Disillusioned with the Fianna Fáil party he went on to found the Progressive Democrats where he held a seat as a TD in the 1987 and 1989 elections. &#13;
&#13;
The photograph does not identify the guests but we note that the only woman on the stage of fourteen men is 'Miss Movie Girl 1967' who is seated next to the festival director Dermot Breen.  We can make out Gus Healy sitting next to Breen. Healy was Lord Mayor of Cork from 1964 to 1965 and 1975 to 1976.</text>
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                <text>&lt;p&gt;©Bateman Photography. 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>Gerry Jones and Frank Poole at the Festival Club</text>
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                <text>Cork Film Festival, Harp Lager, Gerry Jones, Dermot Breen, Frank Poole, Rank Film Productions, Rank Organisation,  Charles Haughey</text>
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                <text>1970&#13;
Cork, Ireland</text>
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                <text>&lt;p&gt;©Bateman Photography. 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 taken of a small group seated around a table at the Cork Film festival club. The club was sponsored by Harp Lager whose name adorns the large umbrella in the background. The back of the photo identifies only Gerry Jones but we recognise the film festival director Dermot Breen, Frank Poole and the lady (who might be his wife) from other photos in the archive. The convivial gathering are all smiling looking up at the camera. On the far left a bespectacled Poole is smiling up at the camera seated next to Dermot Breen who is half-turned towards him. &lt;br /&gt;&lt;br /&gt;Frank Poole was a managing director of Rank Film Productions, London during the 1960s until his retirement in the late 1970s. The Rank Organisation was a British film company whose contract players made regular appearances at the Cork Film Festival during the 1950s in particular. &lt;br /&gt;&lt;br /&gt;On the far right Gerry Jones, with a distinctive dark eye-patch over his right eye, is seated looking down towards the table. Jones might be considered an incongruous addition to the group; he was a Dublin business man who was a notable figure of 1970s Ireland when he stood by the then Taoiseach Charles Haughey during the 1970 'Arms Trial'. The trial involved the indictment, and ultimate acquittal, of Haughey and his colleague Neil Blaney for the alleged involvement in a conspiracy to smuggle arms to the IRA in Northern Ireland. In 2001 the &lt;em&gt;Irish Independent&lt;/em&gt; reported that secret British papers released by the Public Record Office in London noted that all twelve jurors at the time had been contacted by Gerry Jones (since deceased) in order to intimidate them but this was not substantiated ('Jones 'tracked arms trial jurors', &lt;em&gt;Irish Independent, &lt;/em&gt;19.04.2001). &lt;br /&gt;&lt;br /&gt;(Even though this picture is marked '1960s', based on other photos in the archive we provisionally date it 1970.)</text>
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&#13;
These eight girls in evening dress are not identified, but we hope that some of the public will recognise themselves and contact us so we can include their details!</text>
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Cork, Ireland</text>
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                <text>&lt;p&gt;©Bateman Photography. 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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            <elementTextContainer>
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                <text>This undated black and white photo shows Billy Newman holding up a film reel while examining a strip of film against the light. He is dressed in a dapper glen-check tartan jacket accessorised with a flower on the left lapel and is shown in profile smiling as he examines the filmstrip. &#13;
&#13;
Billy Newman worked as a films officer for the festival since its inception in 1956. He was responsible for the logistics of film distribution from other festivals to Cork and would personally deliver and retrieve the film reels from the various venues around Cork. The films would be viewed by the festival jury in a studio situated over Paddy Barry’s pub (now Gallagher’s) on the corner of Bridge Street and McCurtain Street. Once the festival was over it was Newman’s job to send the film reels onto their next film festival destination.  In the early days most of the organisers of the festival were amateurs and Billy Newman would use a week of his yearly holiday to work for the festival on a voluntary basis. &#13;
&#13;
This picture is of interest too because of the film reel itself. Thomas Edison is often credited with making the first camera in the 1890s and film reel was invented alongside the advent of motion-picture cameras. It is traditional to discuss the length of films in terms of ‘reels’ with each reel designed to hold 35-millimeter motion-picture film running approximately 1,000 feet which translates as approximately 11 minutes for sound film. The job of the projectionist was to ensure the smooth transition of a reel-to-reel changeover. The advent of a 'two-reeler' gave the projectionist 2,000 feet of film to play with before the transition. A standard Hollywood movie entailed five 'two-reelers' until of course the advent of digitisation meant the end of conventional movie projectors and the necessity of heavy rolls of film, much like the one that Billy Newman is holding up here.</text>
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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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              <elementText elementTextId="2906">
                <text>Gerry Jones and Peter Barry</text>
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                <text>Cork Film Festival, Gerry Jones, Peter Barry, Barry's Tea, Lord Mayor</text>
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                <text>1970&#13;
Cork, Ireland</text>
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                <text>This is a black and white photo of Peter Barry making a presentation to Gerry Jones. Both men are in dress suits accessorised with bow-ties. Jones on the left, with his trademark eye-patch, is shown in profile shaking the hand of Peter Barry. Jones was a Dublin business man, and a striking figure of 1970s Ireland when he stood by the then Taoiseach Charles Haughey during the 1970 'Arms Trial'.&amp;nbsp; &lt;br /&gt;&lt;br /&gt;Peter Barry, also in profile, is leaning towards Jones as he passes over a silver platter which glistens in the light of a camera flash. Born in Blackrock, Cork,&amp;nbsp; Barry (1928-2016) was an Irish Fine Gael politician who served as Lord Mayor of Cork from 1970 to 1971. He was first elected to Dáil Éireann in 1969 and would go on to serve at eight successive elections including a stint as deputy leader under Garret Fitzgerald in 1979, Minister for the Environment from 1981 to 1982 and Minister for Foreign Affairs from 1982 to 1983. It was as Minster for Foreign Affairs that he was involved in the negotiations of the Anglo-Irish Agreement and bore witness its signing in 1985. Seemingly it was Peter Barry’s leadership during this time that ensured British reluctance was overcome during the negotiations – an accord that will forever be associated with him. He retired after the 1997 general election and his seat was taken over by his daughter Deirdre Clune. &lt;br /&gt;&lt;br /&gt;However it is as tea-maker that many Corkonians remember Peter Barry. His legacy as one of Cork’s most successful businessmen, taking over the tea business established in 1901 by his grandfather James J. Barry and originally based on Princes Street in Cork, is evident in kitchen cabinets all over the land.&amp;nbsp; (www.barrystea.ie; ‘Peter Barry obituary: Hard-headed politician turned Barry’s Tea into a success’, &lt;em&gt;Irish Times&lt;/em&gt;, 26.08.2016.)</text>
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                <text>&lt;p&gt;©Bateman Photography. 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>&lt;p&gt;©Bateman Photography. 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 a festival press conference, with the Jamaican playwright Trevor Rhone and his colleagues in attendance. Rhone, resting his chin on his right hand, is seated at the top of the table in a checkered shirt, his lean physique is turned towards his (unidentified) companions at the table who are smiling while looking down at the table. The table is littered with papers, cigarettes, ashtrays, and a pair of sunglasses. Behind them, we note the Press Office poster tacked to the wall, next to a man with a cigarette in his mouth who catches the flash of the camera with a smile. &lt;br /&gt;&lt;br /&gt;Trevor Rhone was in Cork for his successful film &lt;em&gt;The Harder They Come&lt;/em&gt; (Perry Henzell, 1972) which he co-wrote with Perry Henzell. (The back of the photo notes that this group includes Perry Henzell, but he isn’t in this picture.) It was the first Jamaican-produced feature film and introduced reggae music to an international audience, becoming a cult hit in the process. Rhone’s later filmography includes &lt;em&gt;Milk and Honey&lt;/em&gt; (Glen Salzman, Rebecca Yates, 1988) and the Cannes Film Festival ‘favourite’ award-winning &lt;em&gt;One Love&lt;/em&gt; (Trevor Rhone, 2003), starring Ky-Mani Marley – the son of Bob Marley. In addition to his film work, Rhone lectured in Jamaica and various American universities including Harvard; his contribution to Caribbean cinema is profound. Rhone died from a heart attack at the age of 69 in 2009 and is buried in Jamaica. (David Katz, &lt;em&gt;The Guardian&lt;/em&gt;, 23.09.2009; B.Paddington and K.Q.Warner, ‘The Emergence of Caribbean Feature Films’, &lt;em&gt;Black Camera&lt;/em&gt;, Winter 2009, pp.91-108.)</text>
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                <text>&lt;p&gt;©Bateman Photography. 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 celebrated Jamaican playwright and film director Trevor Rhone and his colleagues at the Savoy Cinema in Cork. They are walking up the stone steps of the Savoy in the company of a lady identified as Dympna Warren. Warren is turned in conversation towards her companion, in sunglasses and a dark suit, who has his head lowered as he listens to her.&amp;nbsp; Behind them Trevor Rhone, wearing a light-coloured cheesecloth shirt, is heading up the steps in the company of his colleagues. We can just make out the day-time scene behind them at the doors of the cinema, where a small crowd can be seen milling around. &lt;br /&gt;&lt;br /&gt;This photo is dated 1972 which was the year that Rhone’s successful film, co-written with Perry Henzell, &lt;em&gt;The Harder They Come&lt;/em&gt; (Perry Henzell, 1972), was released. This gritty realist film, in which the Jamaican reggae singer Jimmy Cliff played a lead role, is credited for introducing reggae music and Jamaican culture to a global audience. It was Jamaica’s first homegrown film and arguably its greatest. When it premiered at the 1,500-seat cinema theatre in Kingston, Jamaica, in December 1972, 40,000 Jamaicans turned up. &lt;br /&gt;&lt;br /&gt;Trevor Rhone (1940-2009) grew up in Kingston, Jamaica, the last child of twenty-three. He went to drama school in England on a scholarship and on his return to Jamaica would instigate a resurgence of interest in Jamaican theatre, in particular with his 1971 play, the comedy &lt;em&gt;Smile Orange.&lt;/em&gt;&amp;nbsp;During this time he teamed up with the Jamaican director Perry Henzell to write the now seminal screenplay for &lt;em&gt;The Harder They Come&lt;/em&gt;. &lt;br /&gt;&lt;br /&gt;Rhone made a significant impact on the literature and culture of Jamaica helping to bring it to an international audience. In 1972 he received his first award in Cork for the best-edited film (for &lt;em&gt;The Harder They Come)&lt;/em&gt;, before travelling to Brixton’s Classic Cinema in London, where he had to stand outside the cinema handing out leaflets in an attempt to woo an audience in. Rhone later made &lt;em&gt;Smile Orange&lt;/em&gt; (1975), based on his 1971 play; while it didn’t have the same impact as his earlier film, it was well-received in the Caribbean and Jamaica and went on to win a gold medal at the Cork Film Festival in 1975. &lt;br /&gt;&lt;br /&gt;(David Katz, ‘Trevor Rhone obituary’, &lt;em&gt;The Guardian&lt;/em&gt;, 23.09.2009; B.Paddington and K.Q.Warner, ‘The Emergence of Caribbean Feature Films’, &lt;em&gt;Black Camera&lt;/em&gt;, Winter 2009, pp 91-108.)</text>
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                <text>&lt;p&gt;©Bateman Photography. 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 actor Jane Seymour signing the visitors’ book in the Lord Mayor’s Office at the Cork City Hall. The Lord Mayor Pearse Wyse (1928-2009) stands on the right which dates this photo to his mayoralty 1974-1975. The reception includes the actor Patrick Wayne on the left and the Monty Python actor Carol Cleveland.&lt;br /&gt;&lt;br /&gt;Cleveland, standing next to Wayne in this picture, was the only woman associated with the Monty Python 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). In 2014 she published &lt;em&gt;Pom Poms Up! From Puberty to the Pythons and Beyond&lt;/em&gt; (Dynasty Press Ltd.) which was well received by the critics. &lt;br /&gt;&lt;br /&gt;Jane Seymour, in a light-coloured polo neck jumper, is turned to the camera smiling as she signs the visitors' book. Born in 1951, Seymour has an extensive stage and screen career. She is probably best known for the James Bond film &lt;em&gt;Live and Let Die&lt;/em&gt; (Guy Hamilton, 1973), &lt;em&gt;Somewhere in Time&lt;/em&gt; (Jeannot Szwarc, 1980) with Christopher Plummer and Christopher Reeve, and the miniseries &lt;em&gt;East Of Eden&lt;/em&gt; (1981) based on John Steinbeck’s 1952 novel, and which won her a Golden Globe award. She has numerous television credits including &lt;em&gt;The Onedin Line&lt;/em&gt; (1972) with Peter Gilmore (who also came to the Cork Film Festival), &lt;em&gt;Onassis: The Richest Man in the World&lt;/em&gt; (1988), for which she won an Emmy Award, and the long-running show &lt;em&gt;Dr Quinn, Medicine Woman&lt;/em&gt; (1993-1998). Seymour also worked alongside Patrick Wayne on the fantasy film &lt;em&gt;Sinbad and the Eye of the Tiger&lt;/em&gt; (Sam Wanamaker, 1977) which was made in 1975 but not released until 1977 because of the time involved making the stop motion animation sequences. &lt;br /&gt;&lt;br /&gt;A bearded Patrick Wayne, stands on the left of this photo. Born in 1939, he is the son of the actor John Wayne (1907-1979) famous for his Western films. Patrick Wayne would act in eleven films alongside his father including the John Ford classics: &lt;em&gt;The Quiet Man&lt;/em&gt; (1952), &lt;em&gt;Mister Roberts&lt;/em&gt; (1955), &lt;em&gt;The Long Gray Line&lt;/em&gt; (1955), and &lt;em&gt;The Searchers&lt;/em&gt; (1956). Patrick Wayne was working on the fantasy film &lt;em&gt;Sinbad and the Eye of the Tiger&lt;/em&gt; (Sam Wanamaker, 1977) with Jane Seymour when he was asked to come to Cork to represent his father’s new movie &lt;em&gt;Brannigan&lt;/em&gt; (Douglas Hickox, 1975) starring John Wayne, Richard Attenborough and Judy Geeson – all of whom came to the Cork Film Festival. Interestingly the screenplay of &lt;em&gt;Brannigan&lt;/em&gt; was by Christopher Trumbo, son of the screenwriter Dalton Trumbo – one of the ‘Hollywood Ten’ who had been blacklisted in Hollywood during the 1940s and 1950s. (Pádraic Killeen, ‘Duke’s sons guest of honour at John Ford Ireland Symposium,’ &lt;em&gt;Irish Examiner&lt;/em&gt;, 04.06.2013)</text>
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            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
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              <elementText elementTextId="12640">
                <text>&lt;p&gt;©Bateman Photography. 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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              <elementText elementTextId="12641">
                <text>English, eng</text>
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        <name>Carol Cleveland</name>
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      <tag tagId="330">
        <name>James Bond</name>
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      <tag tagId="508">
        <name>Jane Seymour</name>
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      <tag tagId="34">
        <name>Lord Mayor</name>
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        <name>Monty Python</name>
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        <name>Patrick Wayne</name>
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      <tag tagId="277">
        <name>Pearse Wyse</name>
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