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                <text>Jane Seymour with Carol Cleveland, Patrick Wayne and others at Lord Mayor Reception</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, perched on the arm of the chair, the Monty Python actor Carol Cleveland. The photo also identifies the TV director and author Christopher Fitz-Simon and Pat Roche from the Cork-Kerry Tourism Board. Fitz-Simon was a drama director with RTÉ who has held posts as artistic director of the Lyric, Abbey, and Peacock Theatres. In 2007 he published his well-received memoir of Ireland in the 1940s &lt;em&gt;Eleven Houses&lt;/em&gt; (Penguin, Ireland). He stands behind Jane Seymour in this picture, looking down, as she looks up and smiles at the camera. &lt;br /&gt;&lt;br /&gt;Born in 1951, Seymour has an extensive stage and screen career. She is probably best known for roles in 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) winning her a Golden Globe. 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). &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) and 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; 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. (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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                <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>Lord Mayor Pearse Wyse with Tom Nicholas and Dermot Breen at Ashbourne House garden party</text>
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                <text>Cork Film Festival, Ashbourne House, Lord Mayor, Pearse Wyse, Tom Nicholas, London Friends of Cork, Dermot Breen</text>
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                <text>This is a black and white photo of festival guests, taken on the grounds of Ashbourne House in Glounthaune, Cork. The festival director Dermot Breen is holding court while Lord Mayor Pearse Wyse and Tom Nicholas look on. 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, when this picture was taken. Tom Nicholas on the right, with his hands clasped behind his back, was the founding member of the London Friends of Cork and raised thousands of pounds to help the development of the film festival.</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 American actor Carroll Baker with the festival director Dermot Breen. They are shown facing each other whilst shaking hands. Breen is wearing a dinner jacket while Baker is dressed in a light-coloured organza gown decorated with a flower motif.&lt;br /&gt;&lt;br /&gt;Born in 1931, Carroll Baker is an Academy Award and BAFTA nominee for her career-defining role as ‘Baby Doll’ Meehan in the 1956 film &lt;em&gt;Baby Doll&lt;/em&gt; directed by Elia Kazan and later &lt;em&gt;Giant&lt;/em&gt; (George Stevens, 1956) acting with Elizabeth Taylor, Rock Hudson, and James Dean. (The music for &lt;em&gt;Giant&lt;/em&gt; was scored by Dimitri Tiomkin whose image is also in this archive.) She studied in the Actors Studio under Lee Strasberg who introduced her to the work of Kazan and the Tennessee Williams script. Yet despite her success in Hollywood, Baker had a difficult relationship with the studios, such as Warner and Paramount, and in particular with the producer Joseph Levine, whose contracts tied her to work for them whatever her wishes. She left Hollywood in the late 1960s and moved to Italy working in Italian thrillers and horror movies which allowed her to work outside the constraints of the Hollywood moral code as well as her probable blacklisting by the studios. &lt;br /&gt;&lt;br /&gt;At the time of this photograph, Baker had filmed the leading role in Corrado Farina’s horror film &lt;em&gt;Baba Yaga&lt;/em&gt; (1973). The Italian director Farina was also at the festival and they might have been promoting &lt;em&gt;Baba Yaga&lt;/em&gt; that year. Baker is the mother of Blanche Baker, with the director Jack Garfein. Born in 1957 Blanche Baker is a well-regarded actor and filmmaker winning an Emmy Award for her work in the television miniseries &lt;em&gt;Holocaust&lt;/em&gt; (1978). She also starred in the title role of Edward Albee’s stage adaptation of &lt;em&gt;Lolita&lt;/em&gt; on Broadway during 1981-2.</text>
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                <text>This is a black and white photo of the French film director François Truffaut with Lord Mayor Pat Kerrigan, American actor Carroll Baker and festival director Dermot Breen. All four are standing in front of a cinema ticket office advertising the price of admission (60 pence for a seat in the balcony and stalls, 40 pence for a seat in the front stalls and 30 pence for children). Truffaut on the left is turned towards Breen and the others, while the Lord Mayor, in his mayoral chain, and Carroll Baker, wearing a dapper crochet hat, face the camera. &lt;br /&gt;&lt;br /&gt;Pat Kerrigan was Lord Mayor of Cork from 1973 to 1974. He was an Irish politician and trade union official affiliated with the Labour Party. After failing to win a seat in the 1969 and 1973 general elections he was nominated to the 13th Seanad by Taoiseach, Liam Cosgrave, where he served until 1977. He won a seat for the Cork City constituency in the 1977 general election and took his seat that year before dying two years later, age 51. &lt;br /&gt;&lt;br /&gt;In this picture Kerrigan is standing next to the American actor Carroll Baker. Born in 1931 Baker was a well-regarded Academy nominated actor best known for her career-defining role as ‘Baby Doll’ Meehan in the 1956 film &lt;em&gt;Baby Doll&lt;/em&gt; directed by Elia Kazan. Her films include &lt;em&gt;The Big Country&lt;/em&gt; (William Wyler, 1958) and &lt;em&gt;How the West Was Won&lt;/em&gt; (John Ford, Henry Hathaway, George Marshall, 1962) and the George Peppard romance &lt;em&gt;The Carpetbaggers&lt;/em&gt; (1964). Despite her success, she had a difficult relationship with the studios, such as Warner and Paramount, whose contracts tied her to work for them whatever her wishes. Baker left Hollywood in the late 1960s and moved to Italy working in Italian thrillers and horror movies which allowed her work outside the constraints of the Hollywood moral code as well as her probable blacklisting by the studios.&amp;nbsp; At the time of this photograph Baker had filmed the leading role in Corrado Farina’s horror film &lt;em&gt;Baba Yaga&lt;/em&gt; (1973). The Italian director Farina was also at the festival (and was on the Jury) and it is probable that they were promoting &lt;em&gt;Baba Yaga &lt;/em&gt;that year.&lt;br /&gt;&lt;br /&gt;François Truffaut (1932-1984) was a French film director, screenwriter, producer, actor and film critic at &lt;em&gt;Cahiers&lt;/em&gt;. His career spans forty years of filmmaking and in 1959 his autobiographical film &lt;em&gt;The 400 Blows&lt;/em&gt;, with Jean-Pierre Léaud, ushered in French New Wave (&lt;em&gt;La Nouvelle Vague&lt;/em&gt;) cinema with the rejection of traditional film-making structures. His filmography includes &lt;em&gt;Jules and Jim&lt;/em&gt; (1962), the non-French speaking &lt;em&gt;Fahrenheit 451&lt;/em&gt; (1966), and &lt;em&gt;The Story of Adèle H.&lt;/em&gt; (1975) with Isabelle Adjani for which she was nominated for a Best Actress Oscar. Around the time of this photograph Truffaut had released &lt;em&gt;Day for Night&lt;/em&gt; (1973) which won him an Oscar for Best Foreign Film. His final film was &lt;em&gt;Confidentially Yours&lt;/em&gt; (1983) which he made as an homage to his favourite director Alfred Hitchcock. He died a year later, age 52, from a brain tumor and is buried in Paris.</text>
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                <text>This is a black and white photo of the Russian film composer Dimitri Tiomkin with his wife, Olivia Tiomkin, and two others including festival director Dermot Breen. They are attending a press reception at the Café Royal in London, for the Soviet biopic film &lt;em&gt;Tchaikovsky&lt;/em&gt; (Igor Talakin, 1970). Tiomkin and his wife are standing on the left of the photo, holding drinks, while in conversation with Breen and an unidentified colleague. &lt;br /&gt;&lt;br /&gt;Dimitri Tiomkin (1894-1979) was Ukrainian by birth and trained in Russia and Berlin, before moving eventually to Hollywood where he was best known for his scores for Western films, including work with the directors Frank Capra, Fred Zinnemann, and Alfred Hitchcock amongst others. In all, he received twenty-two Academy Award nominations and won four Oscars including three for Best Original Score for &lt;em&gt;High Noon&lt;/em&gt; (Fred Zinneman, 1952), &lt;em&gt;The High and the Mighty&lt;/em&gt; (William Wellman, 1954), and &lt;em&gt;The Old Man and the Sea&lt;/em&gt; (John Sturges, Fred Zinnemann, 1958) as well as an Oscar for Best Original Song for &lt;em&gt;The Ballad of High Noon&lt;/em&gt;.&lt;br /&gt;&lt;br /&gt;In this image, Tiomkin and his wife are at a reception for the film &lt;em&gt;Tchaikovsky&lt;/em&gt; which was a Soviet-American collaboration about the Russian composer Pytor Illyich Tchaikovsky. Tiomkin scored the music for the film which was nominated for an Academy Award in the foreign-language category. It was a tribute by Tiomkin, as a composer, to another Russian composer and was one of the last motion picture films to be scored by him.</text>
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                <text>&lt;p&gt;©Pic Photo, London. 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 actors Francesca Annis and Jon Finch with a guest identified as Ivan Ruttle. They are probably sitting under the Harp Lager-sponsored umbrella of the festival club and are chatting, drinking, and smoking as are the animated guests who sit at tables around them. &lt;br /&gt;&lt;br /&gt;Jon Finch, at the right of the photo in a leather jacket pulling on a cigarette, was an English film and stage actor born in 1942. He was a handsome in demand actor who achieved some notoriety for turning down plum roles when offered them due to a self-proclaimed lack of ambition, such as the chance to replace Sean Connery and play James Bond in &lt;em&gt;Live and Let Die&lt;/em&gt; (Guy Hamilton, 1973) (the part went to Roger Moore instead). In the early 1970s Finch played supporting roles in Hammer Horror productions &lt;em&gt;The Horror of Frankenstein&lt;/em&gt; (Jimmy Sangster, 1970) and &lt;em&gt;The Vampire Lovers&lt;/em&gt; (Roy Ward Baker, 1970) with Dawn Addams, a regular visitor to the Cork Film Festival in its earlier days, with her then-husband Prince Vittorio Massimo. But it was for his Shakespearean roles Finch would become well known. Most famously he played Macbeth in &lt;em&gt;Macbeth&lt;/em&gt; (aka &lt;em&gt;The Tragedy of Macbeth&lt;/em&gt;) (Roman Polanski, 1971) alongside his companion in this picture, Francesca Annis, as Lady Macbeth. Finch also starred in Alfred Hitchcock’s &lt;em&gt;Frenzy&lt;/em&gt; (1972) as well the BBC television productions &lt;em&gt;Richard II&lt;/em&gt; (1978), &lt;em&gt;Henry IV&lt;/em&gt;, parts one and two (1979), and as Don Pedro in the BBC’s &lt;em&gt;Much Ado About Nothing&lt;/em&gt; (1984). His final film role was in the historical drama &lt;em&gt;Kingdom of Heaven&lt;/em&gt; (Ridley Scott, 2005) alongside Orlando Bloom and Eva Green. Finch died in 2012, age 71. &lt;br /&gt;&lt;br /&gt;Francesca Annis, chatting to her companion in this picture, is also an English film and stage actor with a prolific film career. At the time of this photo she had just completed &lt;em&gt;Macbeth &lt;/em&gt;(1971) with Jon Finch, directed by Roman Polanski, whose wife Sharon Tate had recently been murdered in Hollywood by followers of Charles Manson. The film was financed by the &lt;em&gt;Playboy&lt;/em&gt; magazine editor Hugh Hefner as mainstream studios refused to finance it given Polanski’s mental state and yet, despite its critical mauling at the time, the film has gone on to garner plaudits for its somewhat accurate depiction of a bleak violent world. As Polanski notes: &lt;em&gt;… [the film] is violent. But the play is violent. And life is violent too&lt;/em&gt;. &lt;br /&gt;&lt;br /&gt;(Bernard Weinraub, ‘“If you don’t show violence the way it is,” says Roman Polanski, “I think that’s immoral and harmful. If you don’t upset people then that’s obscenity,’’’ &lt;em&gt;The New York Times&lt;/em&gt;, 12.12.1971; Ronald Bergan, ‘Jon Finch obituary: Charismatic star of Polanski’s Macbeth and Hitchcock’s Frenzy’, &lt;em&gt;The Guardian&lt;/em&gt;, 12.01.2013)</text>
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                <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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        <src>https://corkfilmfest.ucc.ie/files/original/25c884ec9783e73db302f9356bfeb410.jpg</src>
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                  <text>Photographs </text>
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                  <text>1956-</text>
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Cork, Ireland</text>
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                  <text>Please see individual items for licencing information. ©Reproduction rights CIFF</text>
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                <text>Imogen Hassall with Dermot Breen and colleague</text>
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                <text>Cork Film Festival, Imogen Hassall, Dermot Breen</text>
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                <text>1977&#13;
Cork, Ireland</text>
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                <text>Donal Sheehan</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 Imogen Hassall with the festival director Dermot Breen and an unidentified companion. The three stand in a huddle having a conversation, oblivious to the camera, while a young boy in the background catches the picture as it's taken. &lt;br /&gt;&lt;br /&gt;Hassall came to Cork in 1977 during a time of hiatus in her film career which mostly consisted of bawdy comedies and horror movies. Her filmography includes &lt;em&gt;Carry on Loving&lt;/em&gt; (Gerald Thomas, 1970) with Sid James, Joan Sims and Kenneth Williams, &lt;em&gt;El Condor&lt;/em&gt; (John Guillermin, 1970), &lt;em&gt;When Dinosaurs Ruled the Earth&lt;/em&gt; (Val Guest, 1970), and &lt;em&gt;Incense for the Damned&lt;/em&gt; (Robert Hartford-Davis,1972) with Patrick Macnee and Peter Cushing. Her final film role was in the James Bond spoof &lt;em&gt;Licensed to Love and Kill&lt;/em&gt; (Lindsay Shonteff) in 1979. Hassall had a turbulent personal life and died by suicide in 1980, age only 38. The festival director, Dermot Breen, on the right in this photo, would also die unexpectedly, age 54, in the year following this picture in 1978.</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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