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                  <text>Please see individual items for licencing information. ©Reproduction rights CIFF</text>
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                <text>François Truffaut, Lord Mayor Pat Kerrigan, and others</text>
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                <text>Cork Film Festival, François Truffaut, Lord Mayor,  Pat Kerrigan,  Dermot Breen</text>
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                <text>This is a black and white photo of the French film director François Truffaut signing the visitors' book, probably at the Cork City Hall. The Lord Mayor, Pat Kerrigan, is seated by him looking up towards the camera while Truffaut signs the book. The festival director Dermot Breen, and two other unidentified delegates, stand behind them watching the proceedings. &lt;br /&gt;&lt;br /&gt;On the right of the photo, the unidentified man might be from West Africa given his traditional national costume. He is wearing a light-coloured richly embroidered kaftan style robe known as an agbada. These cotton robes are usually worn on ceremonial occasions and originate in West Africa but today can be seen in all regions of Africa and amongst the modern-day diaspora. Agbada are often worn with a soft fez type hat, as in this picture, known as Aso Oke hats. These soft embroidered hats are worn slouched to one side of the wearer’s head over the left ear. Interestingly, however, if the hat is slouched over the right ear, as in this image it might signify that the wearer is unmarried.</text>
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                <text>Donal Sheehan</text>
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                <text>1973&#13;
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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>François Truffaut, Lord Mayor Pat Kerrigan, Carroll Baker and Dermot Breen</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>&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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                <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>Please see individual items for licencing information. ©Reproduction rights CIFF</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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                <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, 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>Please see individual items for licencing information. ©Reproduction rights CIFF</text>
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                <text>Director Richard Lester and Dermot Breen</text>
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                <text>Cork Film Festival, Dermot Breen, Richard Lester, The Beatles, Helen Shapiro,  Michael Pertwee, Robert Shaw</text>
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                <text>This is a black and white photo of the American film director Richard Lester presenting a celebration bottle of Domecq’s cream sherry to the festival director Dermot Breen. Lester is pointing at his name which is printed on the label of the bottle. &lt;br /&gt;&lt;br /&gt;Born in 1932, Richard (aka Dick) Lester is best known for his work with The Beatles. Lester’s first short film &lt;em&gt;The Running Jumping &amp;amp; Standing Still Film&lt;/em&gt; (1959), with Spike Milligan and Peter Sellers, brought him to the attention of The Beatles who chose him to make &lt;em&gt;A Hard Day’s Night&lt;/em&gt; in 1964. His earlier film, &lt;em&gt;It’s Trad, Dad&lt;/em&gt; (1962), starred the singing sensation Helen Shapiro who came to the Cork Film Festival in 1972. Lester continued to work with the Beatles directing &lt;em&gt;Help&lt;/em&gt; in 1965 which was a commercial success. In 1966 he directed the musical comedy film &lt;em&gt;A Funny Thing Happened on the Way to the Forum&lt;/em&gt; with a screenplay by Michael Pertwee who came to the Cork Film Festival in the early seventies. Interestingly the cinematography on &lt;em&gt;A Funny Thing Happened on the Way to the Forum&lt;/em&gt; was by Nicolas Roeg who went on to become one of England’s influential film directors with &lt;em&gt;Don’t Look Now&lt;/em&gt; (1973), &lt;em&gt;The Man Who Fell to Earth&lt;/em&gt; (1976) starring David Bowie, and &lt;em&gt;The Witches&lt;/em&gt; (1990).&amp;nbsp; &lt;br /&gt;&lt;br /&gt;Around the time of this photo, which is dated 1975, Lester had finished &lt;em&gt;The Four Musketeers&lt;/em&gt; (1974) starring Oliver Reed and Raquel Welsh, and &lt;em&gt;Royal Flash&lt;/em&gt; (1975) with Malcolm McDowell and Oliver Reed. In 1976 he directed the British-American romance and adventure film &lt;em&gt;Robin and Marian&lt;/em&gt; starring Sean Connery, Audrey Hepburn and the English actor Robert Shaw who also came to the Cork Film Festival in the early seventies. Lester's later films include the commercially successful &lt;em&gt;Superman II&lt;/em&gt; (1980) and &lt;em&gt;Superman III&lt;/em&gt; (1983). For his final film Lester returned to the Beatles with &lt;em&gt;Get Back&lt;/em&gt; (1991) – a concert movie following Paul McCartney on his 1989-1990 World Tour. &lt;br /&gt;&lt;br /&gt;In 2010 Lester donated his large archive of film-related materials to the British Film Institute (BFI). The archive consisting of letters, scripts, notes, and photographs is available to the public via their Special Collections. (Mark Brown, ‘Richard Lester archive donated to BFI full of riches,’ &lt;em&gt;The Guardian&lt;/em&gt;, 23.08.2020.)</text>
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                <text>University College Cork, Cork Film Festival</text>
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                <text>1975</text>
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                <text>1975&#13;
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                <text>&lt;a href="https://corkfilmfest.ucc.ie/items/show/425"&gt;Robert Shaw and Vida Breen at the Capitol Cinema, Cork&lt;/a&gt;</text>
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                <text>Noel Purcell with Josef Locke</text>
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                <text>Cork Film Festival, Noel Purcell, Josef Locke, Carmel Dignam</text>
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                <text>This is a black and white photograph of the actor Noel Purcell in conversation with the Irish tenor Josef Locke and probably his wife Carmel Dignam. Purcell and Locke, in formal suits, accessorised with a festival ribbon, are huddled together in conversation with Purcell gesticulating with his hand outstretched towards Dignam who looks on, glass in hand. &lt;br /&gt;&lt;br /&gt;Noel Purcell (1900-1985) had a distinguished career on stage and in film. However he did gain some recognition as a singer for his rendition of &lt;em&gt;The Dublin Saunter&lt;/em&gt;, a song composed for him by the songwriter Leo Maguire (1903-1985). Purcell was given the Freedom of the City of Dublin in June 1984, a short time before his death in 1985. &lt;br /&gt;&lt;br /&gt;Derry-born Joseph McLaughlin, known professionally as Josef Locke, was born in 1917 and was particularly successful for his singing during the 1940s and 1950s. He worked as an Irish Guard and served abroad with the Palestine Police Force, before returning to Ireland to work for the Royal Ulster Constabulary in the late 1930s. He appeared in a small number of films, as himself, including &lt;em&gt;Holidays with Pay&lt;/em&gt; (John E Blakeley, 1948) and &lt;em&gt;What a Carry On!&lt;/em&gt; (John E Blakeley, 1949). However it is for his singing he is best remembered – in particular for his recordings of &lt;em&gt;Blaze Away&lt;/em&gt;, &lt;em&gt;The Town I Loved So Well&lt;/em&gt;, and &lt;em&gt;Hear My Song&lt;/em&gt;. He had somewhat protracted legal wranglings with the British tax-man over the years – and would successfully appeal various court sentences and demands. In later years Locke was honoured with recognition from the Variety Artists Trust, &lt;em&gt;The Late Late Show&lt;/em&gt;, and an award-winning film based on his life, &lt;em&gt;Hear My Song &lt;/em&gt;(Peter Chelsom) in 1991, a few years before his death in 1999.</text>
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                <text>Finbarr O'Connell </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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                <text>Lord Mayor Seán French showing the ceremonial mace to Lynda Bellingham and Linda Hayden </text>
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                <text>These black and white photos show Lord Mayor Seán French showing the ceremonial mace to the English actors Lynda Bellingham and Linda Hayden. The Lord Mayor, wearing the sterling silver and gold chain of office, is looking down at the mace smiling as he shows it to Bellingham and Hayden.&lt;br /&gt;&lt;br /&gt;These photos, taken by the same photographer Donal Sheehan, and each of similar size, give us a chance to look at the sterling silver ornamental mace which is one of four possessed by the Cork City Council. The historical information page on the Cork City Council website notes that they are all alike but vary in size. A ceremonial mace is intended to represent an official’s authority and is represented in art as far back as Ancient Egypt. Once used as practical weapons they became increasingly decorative over time and evolved into the civic mace, very similar to the one that we see here in the picture – with a flanged head of ornamental beaded and scalloped bands at the top of the mace, carrying the orb and cross. &lt;br /&gt;&lt;br /&gt;The original Cork mace is 36 inches long and was made in 1696 by the Cork silver and goldsmith, Robert Goble, with chasing made by a Flemish immigrant goldsmith, Charles Begheagle. Amongst other decorations, the Cork mace is engraved with the Royal Arms indicating the reign of George II (1792-60), the St George Cross (for England), the Harp (for Ireland), and the Arms of Cork City (www.corkcity.ie/lordmayor/historicalinformation)</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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