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                <text>This is a black and white photo of the Italian film director and actor Vittorio De Sica leaving the Savoy cinema, Cork. Above De Sica we see posters advertising the comedy film &lt;em&gt;Cannon Serenade&lt;/em&gt; (Wolfgang Staudte, 1958) in which De Sica starred as the captain of a small coastal freighter fitted with a little cannon in case of enemy attack during World War II. &lt;br /&gt;&lt;br /&gt;Born in Naples De Sica came from a poor family and as a young man worked as an actor. De Sica was considered a successful matinee idol of the Italian theatre and movies before turning to directing in 1940. His success with &lt;em&gt;The Children Are Watching Us&lt;/em&gt; (De Sica, 1944), &lt;em&gt;Shoeshine&lt;/em&gt; (De Sica, 1946) and &lt;em&gt;Bicycle Thieves&lt;/em&gt; (De Sica, 1948) established him as one of the great Italian directors of all time. In particular &lt;em&gt;Bicycle Thieves&lt;/em&gt; - an neo-realist drama which considered the poverty of post-war Italy - won a special honorary Oscar before the foreign film category was officially established. &lt;br /&gt;&lt;br /&gt;In this photo we also see a poster advertising his personal appearance at the Savoy that evening. Crowds gather around him on the right and left of the marble steps of the cinema. Sporting a dark mustache, De Sica is dressed in a dinner suit accessorised with a bow-tie and is looking down as he steps forward. To his front a cinema usher, wearing a two-piece suit with a long coat decorated with gilt buttons down its front, escorts the director down the steps. &lt;br /&gt;&lt;br /&gt;Ushers were known as 'commisionaires' in the early days of the Savoy and while the usher in this photo is not identified, John McSweeney notes in his book on the &lt;em&gt;Golden Age of Cork Cinemas&lt;/em&gt; (2013), that there was a well known head usher called John ('Johnno') O'Connell from Blarney Street in Cork who worked at the Savoy during the early days of its existence.</text>
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Cork, Ireland</text>
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                <text>&lt;p&gt;©RW Hammond. 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>Vittorio De Sica at Cork Kent Station</text>
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                <text>This is a black and white photo of the Italian film director and actor Vittorio De Sica stepping out of a car at Kent train station in Cork. The photo notes that he is accompanied by Ken Rives and the festival director Dermot Breen. A third man, wearing dark sunglasses, stands close to De Sica and is identified at the back of the photo as a 'bodyguard.'</text>
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                <text>&lt;p&gt;©RW Hammond. 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;©RW Hammond. 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 actor and fashionista Virginia Wetherell with a guest identified at the back of the photo as the Canadian JJ McArdle. They are talking to each other, seated at a table laden with the detritus of a meal. McArdle, cigarette in hand, is turned towards Wetherell who is wearing a dark-coloured velvet dress. &lt;br /&gt;&lt;br /&gt;Virginia Wetherell (1943-) worked in Hammer horror productions including &lt;em&gt;Dr Jekyll and Sister Hyde&lt;/em&gt; (Roy Ward Baker, 1971) and &lt;em&gt;Demons of the Mind&lt;/em&gt; (Peter Sykes, 1972), both of which were released around the time she came to visit the Cork Film Festival in 1972. She also appeared, as the naked actor tempting Malcolm McDowell as Alex, in Stanley Kubrick’s &lt;em&gt;A Clockwork Orange&lt;/em&gt; in 1971. She met her future husband, the actor Ralph Bates, on the set of &lt;em&gt;Dr Jekyll and Sister Hyde&lt;/em&gt; and was married to him from 1973 until his death from cancer in 1991.&lt;br /&gt;&lt;br /&gt;In 1971 Wetherell opened a vintage clothes shop in London’s Notting Hill, known as &lt;em&gt;Virginia&lt;/em&gt;. &lt;em&gt;Virginia&lt;/em&gt; was an opulent boutique-style shop that attracted designers and models from all over the world, only shutting down in 2015 when Wetherell (now Bates) turned 72. (‘After a career dressing up, Virginia Bates began to share her individual style. It took the world 30 years to catch up,’ &lt;em&gt;The Herald&lt;/em&gt;, 17.04.2004.)</text>
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                  <text>Please see individual items for licencing information. ©Reproduction rights CIFF</text>
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&#13;
Vittorio Massimo was from the princely house of Massimo, historically one of the great aristocratic families of Rome and a major patron of the arts. He was married to Dawn Addams from 1954 to 1971 and is the father of the photographer, Stefano Massimo, Prince of Roccasecca.</text>
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                <text>&lt;p&gt;©Ambrose O’Mullane. 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;©RW Hammond. 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>Upstanding Dermot Breen </text>
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                <text>&lt;p&gt;©Owen and Moroney. 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 sepia-toned photograph of Ted Sorensen, the political speechwriter behind John F Kennedy’s American presidential campaign in 1960. He is seated second from left, in glasses and dickie bow, with hands clasped in front of him. The other guests in the picture are not identified apart from a provisional Father Cormac, cigarette in hand, on the far right. The group is seated around a small square table, laden with drink, and looking up at the camera smiling. &lt;br /&gt;&lt;br /&gt;Theodore ‘Ted’ Sorensen was a close aide to President John F Kennedy whose inaugural address for Kennedy called on the American people to “ask not what your country can do for you, ask what you can do for your country.” In October 1962, Sorensen was involved with the growing missile crisis in Cuba when Kennedy asked him, and Bobby Kennedy, who was the Attorney General at the time, to draft a letter to the Soviet leader Nikita Khrushchev. This letter was critical in persuading the Soviets to withdraw their missiles from Cuba, potentially averting war between the superpowers. The back of the photo states that Sorensen was a future CIA director – he was indeed nominated by President Jimmy Carter in 1977 for the post of CIA director but the nomination was killed by conservative critics who cited, amongst other reasons, his youthful claim to have been a conscientious objector. He also worked with Barack Obama on his U.S. presidential campaign.&lt;br /&gt;&lt;br /&gt;An Irish-produced documentary film &lt;em&gt;Here Was Cuba&lt;/em&gt; (Emer Reynolds, John Murray 2013) tells the story of the Cuban Missile Crisis through the central characters of Kennedy, Castro, and Khrushchev. Many interviews were shot during 2010 for research purposes, including with Ted Sorensen. He died soon after in New York, age 82, following a stroke. &lt;em&gt;Here Was Cuba&lt;/em&gt; was nominated for a prestigious Grierson Award in the category of 'Best Historical Documentary' in 2014. &lt;br /&gt;&lt;br /&gt;('JFK’s key adviser Sorensen dies at 82', &lt;em&gt;Irish Times&lt;/em&gt;, 02.11.2010; AP, 'Ted Sorensen, JFK’s speechwriter and confidant, dies at 82', &lt;em&gt;The Guardian&lt;/em&gt;, 01.11.2010; IFTN, 'Interview with Emer Reynolds – IFTA-winning editor and co-director of &lt;em&gt;Here Was Cuba',&lt;/em&gt;&amp;nbsp;&lt;em&gt;The Irish Film &amp;amp; Television Network&lt;/em&gt;, 06.10.2014.)</text>
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                <text>Turgut Demirag playing with a child </text>
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                <text>This is a black and white photo, dated 1970, of a smiling festival delegate playing with a child. The young girl, standing amidst luggage, is laughing as she raises her hands. The location is not identified but it might be the front of the old Cork Airport. The rear of the photo identifies the delegate as ‘Turget, Billus-Turkish Film’. To the right of the shot, we recognise Robin O’Sullivan turned towards his companions. &lt;br /&gt;&lt;br /&gt;The 1970 festival programme notes that the short Turkish film &lt;em&gt;Separate Worlds&lt;/em&gt; (&lt;em&gt;Ayri Dünyalar&lt;/em&gt;) was shown that year. This might be an image of the director and producer Turgut N. Demirag. Demirag (1921-1987) was a Turkish film producer, director and screenwriter active between 1947-1973. His film &lt;em&gt;Love and Grudge&lt;/em&gt; (1964) was entered into the Moscow International Film Festival in 1964.</text>
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                <text>1970&#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>Trevor Rhone and the Jamaican delegation at the Savoy Cinema</text>
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                <text>Cork Film Festival, Savoy Cinema, Jamaica, Trevor Rhone, Perry Henzell</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>University College Cork, Cork Film Festival, Bateman Photography</text>
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                <text>Photo&#13;
TIFF&#13;
JPEG</text>
              </elementText>
            </elementTextContainer>
          </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="3534">
                <text>Cork, Ireland</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="12636">
                <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>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="44">
            <name>Language</name>
            <description>A language of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="12637">
                <text>English, eng</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
      </elementSet>
    </elementSetContainer>
    <tagContainer>
      <tag tagId="488">
        <name>Jamaica</name>
      </tag>
      <tag tagId="494">
        <name>Perry Henzell</name>
      </tag>
      <tag tagId="97">
        <name>Savoy Cinema</name>
      </tag>
      <tag tagId="493">
        <name>Trevor Rhone</name>
      </tag>
    </tagContainer>
  </item>
</itemContainer>
