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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>Russian film director Stanislav Rostotsky and others</text>
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                <text>Cork Film Festival, Stanislav Rostotsky, Russia, Dermot Breen, Nina Menshikova</text>
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                <text>This is a black and white photo of the Russian director Stanislav Rostotsky with festival director Dermot Breen and two unidentified female colleagues. The small convivial group, all dressed in evening wear, stand together smoking and laughing. The photo is dated provisionally ‘1970s’ and notes that the lady wearing a floral high-necked dress, at the far left, is a ‘Russian actor’. Stanislav Rostotsky, standing on the far right, was a Soviet film director and screenwriter. Born to a Russian-Polish family in 1922, Rostotsky served as a photojournalist for the Red Army before becoming a film director. He directed more than 12 motion pictures between 1955 and 1989 – often with war as a running theme. Rostotsky served as President of the Moscow International Film Festival on a number of occasions until his retirement from the film industry after his final film in 1989 (&lt;em&gt;From the Life of Fyodor Kuzkin&lt;/em&gt;) stating that he had nothing left to say. The 1967 Cork Film Festival programme notes that the festival showed Rostotsky’s film &lt;em&gt;Bela&lt;/em&gt; (1966) that year. Two of his later films - &lt;em&gt;The Dawns Here Are Quiet&lt;/em&gt; (1972) and &lt;em&gt;White Bim Black Ear&lt;/em&gt; (1977) - were nominated for an Academy Award for Best Foreign Language Film. &lt;br /&gt;&lt;br /&gt;The unidentified Russian actor in this photo might be his wife, the Russian actor Nina Menshikova (1928-2007). She had a prolific film career but acted in only one of Rostotsky’s films: &lt;em&gt;We’ll Live Till Monday&lt;/em&gt; (1968). She was the mother of the Russian actor Andrei Rostotsky born in 1957. Like his father, Andrei too served in the Soviet Army before becoming an actor and director. He died in 2002 following a climbing accident while shooting his new film &lt;em&gt;My Frontier&lt;/em&gt;.</text>
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                <text>1970&#13;
Cork, Ireland</text>
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                <text>&lt;p&gt;©SMV Studios. 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>A selection of signed publicity photographs from the Cork International Film Festival collection. Publicity photographs were used for promotional purposes in film distribution and this is a small collection of signed photographs from the archive.</text>
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                  <text>1956-</text>
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              <description>Information about rights held in and over the resource</description>
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                  <text>Please see individual items for licencing information. ©Reproduction rights CIFF</text>
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              <text>195 x 244mm</text>
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                <text>Signed photo of Laurence Harvey</text>
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                <text>Cork Film Festival, Laurence Harvey, Wolf Mankowitz</text>
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                <text>This is a signed black and white publicity photo of the Lithuanian-born English actor and director Laurence Harvey (1928-1973). It shows Harvey, in a dark polo neck jumper, looking directly at the lens of the camera. The photo is signed and dedicated to the former festival director Dermot Breen: &lt;em&gt;To Dermot Breen, with thanks &amp;amp; affectionate good wishes, Laurence Harvey&lt;/em&gt;. &lt;br /&gt;&lt;br /&gt;Harvey's extensive filmography includes &lt;em&gt;The Manchurian Candidate&lt;/em&gt; (John Frankenheimer, 1962) with Frank Sinatra and Janet Leigh; &lt;em&gt;Life at the Top&lt;/em&gt; (Ted Kotcheff, 1965); and narration for the Soviet film &lt;em&gt;Tchaikovsky&lt;/em&gt; (Igor Talankin, 1969). Around the time of his visit to the Cork festival, Harvey starred in &lt;em&gt;Escape to the Sun&lt;/em&gt; (Menahem Golan, 1972) and &lt;em&gt;The Deep&lt;/em&gt; (Orson Welles, 1970) which was an unfinished film starring Harvey and Jeanne Moreau. When Harvey died in 1973 it ended any chance of the picture being finished. One of Harvey's final commitments was to film &lt;em&gt;Cockatrice&lt;/em&gt; (1963), a satirical novel about filmmakers by Wolf Mankowitz, which was never made. Wolf Mankowitz was also a visitor to the festival during the 1960s and 1970s.</text>
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                <text>University College Cork, Cork Film Festival, Chris J Arthur, TransWorld eye</text>
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                <text>Chris J Arthur, TransWorld eye</text>
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                <text>&lt;a href="https://corkfilmfest.ucc.ie/items/show/283"&gt;Laurence Harvey at the Cork Film Festival&lt;/a&gt;</text>
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                <text>&lt;p&gt;©Chris J Arthur, TransWorld Eye. 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 Irish filmmaker Colm Ó Laoghaire accepting an award from Arthur Watkins, president of the International Federation of Film Producers Association. The award was for the best film in the educational section for the Irish-spoken &lt;em&gt;Fior Uisce&lt;/em&gt; (&lt;em&gt;Water Wisdom&lt;/em&gt;), which was sponsored by the Department of Local Government. Narrated by Niall Tóibín, and filmed in Ring and Old Parish, Waterford, it was aimed at encouraging rural communities to provide themselves with piped water, at a time when four out of five homes relied on non-tapped water. Ruth Barton notes in her book, &lt;em&gt;Irish National Cinema&lt;/em&gt; (Routledge, 2004:68), that Ó Laoghaire’s film was so close to Soviet filmmaking practices, both in style and temperament, the Soviet delegation at the 1962 Cork Film Festival expressed an interest in inviting Ó Laoghaire to the (then) USSR. &lt;br /&gt;&lt;br /&gt;As well as working for RTÉ, Ó Laoghaire also produced and directed Gael Linn cinema newsreels for many years. In addition to &lt;em&gt;Fior Uisce&lt;/em&gt;, his filmography includes &lt;em&gt;Tony Bacillus &amp;amp; Co&lt;/em&gt; (1946), a short silent film which used puppets to fight the tuberculosis germ, &lt;em&gt;Irish Gossamer&lt;/em&gt; (1958), which was commissioned by the Irish Tourist Board to encourage visitors to Ireland, and &lt;em&gt;Gaeltacht&lt;/em&gt;, a series of programmes looking at life in the Gaeltacht in the late 1960s. Colm Ó Laoghaire died in Dublin in 2007.</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>1980&#13;
Cork, Ireland</text>
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            <name>Description</name>
            <description>An account of the resource</description>
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                <text>This is a black and white photo of the American actor Hurd Hatfield standing with two festival guests from Ballinlough in Cork. Hatfield, in a dress suit, is smiling as he looks to his right at his young companion. On his left a lady, in a white fur-trimmed jacket, smiles broadly at the camera. &lt;br /&gt;&lt;br /&gt;This is the only image we have of Hurd Hatfield in the archive and is particularly special because his name is forever associated with Cork in the naming of Hatfield House on Tobin Street. Hatfield House was the headquarters for the Cork film festival for many years and was named for Hurd Hatfield who was a friend of the festival. Hatfield House is now the home of Barbara Hubert Hand Bookbindery. Tobin Street itself is the home of the Triskel Arts Centre which is attached to the medieval Christchurch which fronts onto South Main Street. In 1984 excavations on this narrow street revealed medieval layers constituting backyards of houses that once fronted onto Tobin Street.&amp;nbsp;&lt;br /&gt;&lt;br /&gt;Hurd Hatfield (1917-1998) was born in New York City, studied drama in London, but eventually made his home in East Cork after visiting his friend, the actor Angela Lansbury, whom he met on the set of &lt;em&gt;The Picture of Doran Gray&lt;/em&gt;, and who lived in nearby Conna. He restored the 13th-century Ballinterry House and spent the last twenty years or so of his life there. He made his name in Hollywood after playing the title role of Dorian Gray in the MGM film &lt;em&gt;The Picture of Dorian Gray&lt;/em&gt; (Albert Lewin, 1945). His filmography includes &lt;em&gt;The Diary of a Chambermaid&lt;/em&gt; (Jean Renoir, 1946), &lt;em&gt;The Beginning or the End&lt;/em&gt; (Norman Taurog, 1947), &lt;em&gt;Mickey One&lt;/em&gt; (Arthur Penn, 1961) with bit parts in movies such as &lt;em&gt;The Boston Strangler&lt;/em&gt; (Richard Fleischer, 1968) and &lt;em&gt;Her Alibi&lt;/em&gt; (Bruce Beresford, 1989).&amp;nbsp;&lt;br /&gt;&lt;br /&gt;Interestingly Hatfield was a student of the Russian-American actor and teacher Mikhail Chekhov, nephew of the playwright Anton Chekhov, and would perform extensively with his company in the former Soviet Union. His link with Russian culture was profound and on his death bed in Cork, he was attended to by a Russian Orthodox priest. ('Manhattanite of many parts,' &lt;em&gt;irishtimes.com&lt;/em&gt;, 08.01.1999; Ronald Bergan, 'Hurd Hatfield obituary: the face behind Dorian Gray,' &lt;em&gt;The Guardian&lt;/em&gt;, 05.02.1999.)</text>
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                <text>English, eng</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="14277">
                <text>&lt;p&gt;©Examiner Publications (Cork) Ltd. 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/fffa009d9d5b587c7d79fad724045600.jpg</src>
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              <name>Title</name>
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                  <text>Photographs </text>
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                  <text>Cork Film Festival</text>
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                  <text>A selection of photographs from the Cork International Film Festival </text>
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              <name>Creator</name>
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                  <text>University College Cork</text>
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                  <text>1956-</text>
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                  <text>1956-&#13;
Cork, Ireland</text>
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                  <text>Photo&#13;
TIFF&#13;
JPEG</text>
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              <description>Information about rights held in and over the resource</description>
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                <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>Physical Dimensions</name>
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              <text>252 x 204mm</text>
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          <element elementId="50">
            <name>Title</name>
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                <text>Film composer Dimitri Tiomkin with Olivia Tiomkin and others at a press reception in London</text>
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                <text>Cork Film Festival, Dimitri Tiomkin, Olivia Tiomkin, &lt;em&gt;Tchaikovsky&lt;/em&gt;, Dermot Breen, Russia</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>University College Cork, Cork Film Festival, Pic Photo, London</text>
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            <description>A related resource from which the described resource is derived</description>
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                <text>Cork Film Festival Collection</text>
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            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
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                <text>University College Cork</text>
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                <text>1973</text>
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            <description>An entity responsible for making contributions to the resource</description>
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                <text>Pic Photo, London</text>
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TIFF&#13;
JPEG</text>
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                <text>1973&#13;
London, England&#13;
Cork, Ireland</text>
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            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="14206">
                <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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