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                  <text>A selection of photographs from the Cork International Film Festival </text>
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                  <text>Please see individual items for licencing information. ©Reproduction rights CIFF</text>
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                <text>Director Peter Collinson, Richard Johnson, Dermot Breen and others</text>
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                <text>Cork Film Festival, Richard Johnson, Peter Collinson, Dermot Breen, Robert Monks</text>
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                <text>This is a black and white photo, dated 1971, of festival attendees including English film director Peter Collinson, actor Richard Johnson, festival director Dermot Breen and others unidentified. The group all smile for the camera while Collinson, with his distinctive sideburns, stares up at Johnson. In 1963 Collinson made the documentary &lt;em&gt;The One-Nighters&lt;/em&gt; of the Royal Showband, with Brendan Bowyer, on tour. It was screened at the Cork Film Festival in 1963, receiving a Certificate of Merit. Following this Collinson went on to make &lt;em&gt;Up the Junction&lt;/em&gt; (1967) and the now-legendary &lt;em&gt;The Italian Job&lt;/em&gt; (1969) starring Michael Caine. Collinson also directed the war film &lt;em&gt;The Long Day’s Dying&lt;/em&gt; (1968) starring the English actor David Hemmings who also came to the film festival in the 1970s. Around the time of this photo, dated 1971, Collinson has just finished the British thriller &lt;em&gt;Straight On till Morning&lt;/em&gt; (1972) starring Shane Briant and John Clive, both of whom were in Cork for the film festival in the early 70s.&lt;br /&gt;&lt;br /&gt;The Irish Film &amp;amp; Television Network (IFTN) site notes that Collinson (1936-1980) started out working as a senior floorman at RTÉ and was originally making a TV commercial for the Royal Showband, with cameraman Robert Monks, before persuading the band to commit to a documentary. Monks, who passed away in 2012, also worked with Cork-born Louis Marcus on his Award-nominated short films &lt;em&gt;Páistí ag Obair&lt;/em&gt; (&lt;em&gt;Children at Work&lt;/em&gt;) (1973) and &lt;em&gt;Conquest of Light&lt;/em&gt; (1975). Monks began his film career working as a film technician with the Irish National Film Institute and continued to collaborate with them throughout his life. A highlight of his career is the documentary on Irish film production &lt;em&gt;Memories in Focus&lt;/em&gt; (1996) with Peter Canning, which drew on the Liam O'Leary collection from the National Library.</text>
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                <text>1971&#13;
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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>Please see individual items for licencing information. ©Reproduction rights CIFF</text>
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                <text>Miss Movie Girl Betty Philbin and her sister</text>
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                <text>This is a black and white photo of Miss Movie Girl 1973, Betty Philbin, taken at the airport. Philbin, wearing a white suit accessorised with large sunglasses, and surrounded by her luggage, is accompanied by her sister, also in similarly large sunglasses. A similar item in the archive shows Philbin and her sister at the airport with film festival committee members and we might suppose that they are on festival business as part of the winning prize from the Miss Movie Girl competition. In October 1973 Philbin travelled to an International Congress in Venice where she hosted an Irish Whiskey event in the Hotel Excelsior in Lido, Venice. She was also a guest of the organisers of the Arnhem Film Festival in Holland that year.</text>
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                <text>&lt;span&gt;This item is licensed under a&amp;nbsp;&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>This is a black and white photo of the Irish actor David Kelly with festival director Dermot Breen, Jim O’Brien, and an unidentified companion. The small group are arriving into the marble lobby of the Imperial Hotel on the South Mall in Cork. Kelly, on the right next to Dermot Breen, is wearing a tweed jacket and tie, with light-coloured trousers and two-tone brogues. &lt;br /&gt;&lt;br /&gt;Born in Dublin, Kelly (1929-2012) was an Irish actor with a recognisable presence on the Irish stage and screen. His notable work includes &lt;em&gt;Strumpet City&lt;/em&gt; (RTÉ, 1980), &lt;em&gt;Into the West&lt;/em&gt; (Mike Newell, 1992), &lt;em&gt;Waking Ned&lt;/em&gt; (Kirk Jones, 1998), and &lt;em&gt;Charlie and the Chocolate Factory&lt;/em&gt; (Tim Burton, 2005). &lt;em&gt;Into the West&lt;/em&gt; was shown at the 2019 festival and is also preserved in the IFI Irish Film Archive. Kelly had an uncredited role in &lt;em&gt;The McKenzie Break&lt;/em&gt; (Lamont Johnson, 1970) which starred Brian Keith and the Irish actor Mary Larkin who came to the Cork festival in 1980. Around the time of this picture, which is dated 1974, Kelly would play the inept builder in an episode of &lt;em&gt;Fawlty Towers&lt;/em&gt; ('The Builders', 1975) which won him great acclaim. &lt;br /&gt;&lt;br /&gt;In an &lt;em&gt;Irish Examiner&lt;/em&gt; article by John Daly looking back at the film festival, David Kelly is quoted recalling the train journey from Dublin to Cork: "Irish hospitality was at its finest on that train, an elegant Orient Express atmosphere wrapped in a thoroughly Celtic welcome that made strangers who got on in Dublin lifelong friends by the time it arrived in Cork. Revelry and romance are the two words that come mostly to mind when I recall the journey." (&lt;em&gt;Irish Examiner&lt;/em&gt;, 04.11.2017.)</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>Please see individual items for licencing information. ©Reproduction rights CIFF</text>
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                <text>Judy Geeson, Robin O'Sullivan and colleague at the Savoy Cinema</text>
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                <text>Cork Film Festival, Judy Geeson, Robin O'Sullivan, Savoy Cinema, Sean Kenny</text>
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                <text>1969&#13;
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                <text>This is a black and white photo of the English actor Judy Geeson with Robin O’Sullivan and an unidentified colleague. Blond-haired Geeson, wearing a white lace evening dress and holding a bouquet of flowers, looks at the camera as she leaves the Savoy Cinema flanked by O'Sullivan and another festival attendee. Robin O’Sullivan, on the left, was a committed member of the Cork Film Festival team and would run it for a few years in the early eighties after the sudden death of the then-festival director, Dermot Breen, in 1978. &lt;br /&gt;&lt;br /&gt;Judy Geeson (1948-) was a popular film, television, and stage actor whose role playing the young student, Pamela Dare, in &lt;em&gt;To Sir, With Love&lt;/em&gt; (James Clavell, 1967) opposite Sidney Poitier secured her place in film history. This image is dated 1969-1970, when Geeson would have been around 22 years old. Her filmography includes &lt;em&gt;10 Rillington Place&lt;/em&gt; (Richard Fleischer, 1971) with Richard Attenborough, &lt;em&gt;Dominique&lt;/em&gt; (Michael Anderson, 1978) with Jenny Agutter,&amp;nbsp;and a supporting role in &lt;em&gt;The Eagle Has Landed&lt;/em&gt; (John Sturges, 1976) alongside Michael Caine, Donald Sutherland and Jenny Agutter. Around the time of this picture in 1970, Geeson had just completed the little-seen &lt;em&gt;One of Those Things&lt;/em&gt; (&lt;em&gt;Hændlight uheld&lt;/em&gt;) (Erik Balling, 1971) starring Roy Dotrice, which was a Danish film made with a British and Japanese cast in English. She was married to Sean Kenny, the extraordinary Irish theatre designer, in 1969 until his sudden death in 1973, age 43. Some of Kenny's set designs can be seen in the theatre and performance collection of the Victoria &amp;amp; Albert (V&amp;amp;A) online digital archive.</text>
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                <text>&lt;span&gt;This item is licensed under a&amp;nbsp;&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>Actors John Clive, Pamela Stephenson and Nicholas Ball</text>
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                <text>Cork Film Festival, John Clive, Nick Ball, Nicholas Ball, Pamela Stephenson, Billy Connolly</text>
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                <text>This is a black and white photo of the actors John Clive, Pamela Stephenson and Nicholas Ball in a photo dated 1970. All three are facing the camera smiling. Clive and Ball wear a festival ribbon pinned to their jackets and we also notice how the belt of Nicholas Ball has the logo ‘ball’ stitched onto it. &lt;br /&gt;&lt;br /&gt;John Clive, on the left in a tweed jacket, was an English film and television actor and author. He is best known to us from his film roles in &lt;em&gt;The Italian Job&lt;/em&gt; (Peter Collinson, 1969) with Michael Caine, &lt;em&gt;A Clockwork Orange&lt;/em&gt; (Stanley Kubrick, 1971) and four of the &lt;em&gt;Carry On&lt;/em&gt; films from the 1970s. He also played a small part in the Norman Cohen directed movie &lt;em&gt;Stand Up, Virgin Soldiers&lt;/em&gt; (1977); the Irish director Cohen also came to Cork around the time of this photo. Famously Clive was the voice of John Lennon in the animated film &lt;em&gt;Yellow Submarine&lt;/em&gt; (George Dunning, 1968) as the Beatles did not want to use their own voices in the movie. He was also a successful author for his best-selling books including &lt;em&gt;KG200&lt;/em&gt;, &lt;em&gt;The Last Liberator&lt;/em&gt;, and &lt;em&gt;Barossa&lt;/em&gt;. &lt;br /&gt;&lt;br /&gt;Nicholas Ball and Pamela Stephenson were a couple around the time of this photo having being married for brief time in the 1970s before she met, and eloped with, Billy Connolly in 1979. Born in New Zealand, Stephenson has forged a prolific career as writer, performer and psychologist. Her movie credits include &lt;em&gt;Stand Up, Virgin Soldiers&lt;/em&gt; (Norman Cohen, 1977) in which she acted with John Clive and Lynda Bellingham, both of whom were at the festival.</text>
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                <text>This is a black and white photo, taken during the 1980s, of the sculptor Patrick O’Sullivan in conversation with festival director Robin O’Sullivan. Patrick O’Sullivan is sitting on Robin O’Sullivan’s desk who is looking up at him as they talk. A small stone sculpture, which might be a festival award, sits on the table between them and behind them, pinned to the back wall, we note a hand-drawn cartoon of a&amp;nbsp;robin on top of a Coca-Cola can wrapped in film reel. &lt;br /&gt;&lt;br /&gt;Patrick O’Sullivan (1940-2015) was born in London to Irish parents and studied sculpture in England before moving to Cork in 1971. He lectured in sculpture at the Crawford College of Art and Design and during the time of this photo, dated 1980s, he was Head of Sculpture, a post he held from the 1980s to 1990s. O’Sullivan’s work, in marble, wood and bronze, has been exhibited around Ireland and his commission, &lt;em&gt;City&lt;/em&gt;, made from Kilkenny limestone, was placed on the South Mall in Cork as part of the Cork 800 sculpture symposium in 1985. &lt;br /&gt;&lt;br /&gt;Patrick O’Sullivan was a member of Aosdána. Established in 1981, Aosdána was set up by the Arts Council to honor artists whose work has contributed to the arts in Ireland. Membership is by peer nomination and is limited to 250 living artists who have produced a distinguished body of work. Fellow artist and Aosdána member Michael Quane speaking of O’Sullivan notes that: "Patrick O’Sullivan was always insightful and never failed to challenge. Like his work, he too in his personal style was quiet, quizzical, and enigmatic. All those who came within his reach, within his department, were often left guessing, questioning, perhaps occasionally exasperated, but always some way altered. That he changed, in some way, the world with which he came into contact, in such a non-didactic way, is a fine and worthy legacy for the quiet man and artist that Patrick O’ Sullivan was." (&lt;a href="(http://www.artscouncil.ie/News/Arts-Council-expresses-its-sadness-at-the-passing-of-Patrick-O_Sullivan/)"&gt;Arts Council 6.1.2015&lt;/a&gt;)</text>
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            <name>Rights</name>
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              <elementText elementTextId="14144">
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                <elementText elementTextId="8637">
                  <text>Please see individual items for licencing information. ©Reproduction rights CIFF</text>
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                <text>This is a black and white group photo of five festival guests chatting informally at a drinks reception. The photo only identifies festival friend Eddie Nolan and ‘Scottish actor – middle’. Nolan (1940-2013) was a managing director for the Ford Motor Company in Europe and stalwart for the annual regatta at the Royal Cork Yacht Club in Crosshaven, Cork.</text>
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                <text>Liam O'Leary with Cyril Cusack and others</text>
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                <text>This is a black and white photo of the Irish actor Cyril Cusack holding court with the archivist Liam O’Leary and others. The small group is at a drinks reception on the grounds of Ashbourne House in Glounthaune, Cork, during the 1970s. The photo, which is water-damaged, also includes Dick Beamish, his unidentified colleague, and Jack Mahoney. &lt;br /&gt;&lt;br /&gt;Liam O’Leary, on the far left of the photo turned towards Cusack, was born in 1910 in Youghal, County Cork. He was many things in life including film historian, filmmaker, author, actor, and founder of the Irish Film Society. And, perhaps most importantly for Ireland, he was an archivist. O’Leary was an acquisitions officer for the National Film Archive in London until 1966 when he returned to Ireland to work as a Film Acceptance Viewer for Radio Telefis Éireann. His love for the cinema was profound and he established the Liam O’Leary Archive to rescue Irish film-related objects, stories, and ephemera. He was the driving force behind the Irish Film Archive and his film collection is preserved there. (Kevin Brownlow, Obituary: Liam O’Leary, &lt;em&gt;Independent&lt;/em&gt;, 18.12.1992.)&lt;br /&gt;&lt;br /&gt;In 1986 the Liam O’Leary Archive was donated to the National Library of Ireland where it is now preserved. This archive of materials also includes correspondence, programme information, and newspaper clippings relating to the Cork International Film Festival and can be viewed in Special Collections of the National Library of Ireland.</text>
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        <name>Liam O Laoghaire</name>
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                  <text>University College Cork</text>
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                  <text>Please see individual items for licencing information. ©Reproduction rights CIFF</text>
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              <text>177 x 125mm</text>
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                <text>Poet John Montague and companion</text>
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                <text>Cork Film Festival, John Montague, Theo Dorgan, University College Cork</text>
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                <text>This is a colour photo of the Irish poet John Montague with an unidentified companion at a drinks reception. The photo is undated and uncredited but is of value to the archive given the legacy of Montague to poetry and his affiliation with the film festival through his friendship with the poet Theo Dorgan. &lt;br /&gt;&lt;br /&gt;Whilst born in New York, Montague came to Ireland as a child and ended up teaching at the University College Cork (UCC) at the invitation of the then Professor of English Seán Lucy. Montague spent almost sixteen years at UCC before teaching in America, Belfast and Dublin. His early work includes &lt;em&gt;Forms of Exile&lt;/em&gt; (1958), &lt;em&gt;Poisoned Lands&lt;/em&gt; (1961), &lt;em&gt;A Chosen Light&lt;/em&gt; (1967) and &lt;em&gt;The Rough Field&lt;/em&gt; (1972). By the mid-eighties he found a new publisher, Peter Fallon of Gallery Press, who revitalised Montague’s publishing oeuvre, including his fiction and memoir. Montague was a founding member of Aosdána, a founding president of the Triskel Arts Centre in Cork, and in 2010 he was made Chevalier de la Légion d’honneur in France, also receiving a doctorate from the Sorbonne. He died in 2016 in Nice, France, where he had a home with his third wife, the writer Elizabeth Wassell. Montague counted Samuel Beckett and Seamus Heaney as friends and was a charismatic and generous-spirited mentor to many poets in Cork and beyond, including the Cork-born poet Theo Dorgan. Dorgan, also a member of Aosdána, was a key player in the reimagining of the Cork Film Festival along with Mick Hannigan in the early eighties.</text>
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                <text>University College Cork, Cork Film Festival</text>
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                <text>University College Cork</text>
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                <text>Cork, Ireland</text>
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            <name>Language</name>
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            <name>Rights</name>
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                <text>&lt;span&gt;This item is licensed under a&amp;nbsp;&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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        <name>John Montague</name>
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        <name>Theo Dorgan</name>
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        <name>UCC</name>
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        <name>University College Cork</name>
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Cork, Ireland</text>
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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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      <name>Still Image</name>
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          <name>Original Format</name>
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          <elementTextContainer>
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              <text>Photo</text>
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          <name>Physical Dimensions</name>
          <description>The actual physical size of the original image</description>
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              <text>296 x 210mm</text>
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          <element elementId="50">
            <name>Title</name>
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                <text>Festival mascots outside the Cork Opera House</text>
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                <text>Cork Film Festival, Cork Opera House</text>
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          <element elementId="41">
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                <text>This is a black and white photograph of a street sweeper pushing his cleaning truck in front of the Cork Opera House and being escorted by two festival mascots.  The mascots, dressed as film negatives, are holding balloons decorated with the 1996 festival logo which helps us date this photo to the 28th edition of the festival. They are promoting the festival in front of the Cork Opera House on Emmet Place. Beyond them we see the traffic heading towards Lavitts Quay and over to Camden Place across the River Lee. The façade of the Opera House has changed since this photo was taken and in 2003 renovation works on the façade of the building, and the surrounding Emmet Place, were completed. The festival mascots in this picture are standing at Emmet Place which has since been redeveloped into a plaza-like square.</text>
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                <text>University College Cork, Cork Film Festival</text>
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                <text>University College Cork</text>
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                <text>1996</text>
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TIFF&#13;
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          </element>
          <element elementId="38">
            <name>Coverage</name>
            <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>
            <elementTextContainer>
              <elementText elementTextId="4939">
                <text>1996&#13;
Cork, Ireland</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="44">
            <name>Language</name>
            <description>A language of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="14005">
                <text>English, eng</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="14149">
                <text>&lt;span&gt;This item is licensed under a&amp;nbsp;&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>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
      </elementSet>
    </elementSetContainer>
    <tagContainer>
      <tag tagId="350">
        <name>Cork Opera House</name>
      </tag>
    </tagContainer>
  </item>
</itemContainer>
