Rincon Point is renowned as the Queen of the Coast, one of the premier surfing spots in the world, but that is only a fragment of its rich history. Before the arrival of Europeans, it was a Chumash village called Shuku. In the 19th century, it was part of Rancho El Rincon, whose owners included a rich but illiterate Californio rancher, an English physician who made house calls by bicycle, and a Chilean pharmacist who dispensed drugs out of an old ship's cabin. It was the site of a scandalous love-triangle murder in the 1870s, a rickety highway on stilts in the 1910s, and a raunchy honky-tonk in the 1920s. Banditos, nudists, movie stars, long-boarders--they have all shaped Rincon Point, a place immortalized by novelists, poets, painters, photographers, and the Beach Boys.
Rincon Point is renowned as the Queen of the Coast, one of the premier surfing spots in the world, but that is only a fragment of its rich history. Before the arrival of Europeans, it was a Chumash village called Shuku. In the 19th century, it was part of Rancho El Rincon, whose owners included a rich but illiterate Californio rancher, an English physician who made house calls by bicycle, and a Chilean pharmacist who dispensed drugs out of an old ship's cabin. It was the site of a scandalous love-triangle murder in the 1870s, a rickety highway on stilts in the 1910s, and a raunchy honky-tonk in the 1920s. Banditos, nudists, movie stars, long-boarders--they have all shaped Rincon Point, a place immortalized by novelists, poets, painters, photographers, and the Beach Boys.
This is a complete revision of the author's 1993 McFarland book Television Specials that not only updates entries contained within that edition, but adds numerous programs not previously covered, including beauty pageants, parades, awards programs, Broadway and opera adaptations, musicals produced especially for television, holiday specials (e.g., Christmas and New Year's Eve), the early 1936-1947 experimental specials, honors specials. In short, this is a reference work to 5,336 programs--the most complete source for television specials ever published.
In this definitive and long-awaited history of 1950s British cinema, Sue Harper and Vincent Porter draw extensively on previously unknown archive material to chart the growing rejection of post-war deference by both film-makers and cinema audiences. Competition from television and successive changes in government policy all forced the production industry to become more market-sensitive. The films produced by Rank and Ealing, many of which harked back to wartime structures of feeling, were challenged by those backed by Anglo-Amalgamated and Hammer. The latter knew how to address the rebellious feelings and growing sexual discontents of a new generation of consumers. Even the British Board of Film Censors had to adopt a more liberal attitude. The collapse of the studio system also meant that the screenwriters and the art directors had to cede creative control to a new generation of independent producers and film directors. Harper and Porter explore the effects of these social, cultural, industrial, and economic changes on 1950s British cinema.
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