The name is absent



Appendix 3.2: Sample films - synopses and character lists

Goldfinger uκ 64

20

Guards∕technicians at Goldfinger1S Swiss factory

4___

21

Mr Ling

3____

22

Man in Felix Leiter's office

4___

23

Guards∕technicians at Goldfinger1S Kentucky stud
farm_________________________________________________

4

24

Jockeys∕stablehands at the Kentucky stud farm

4___

25

Felix Leiter's colleague

4___

26

Gish, an assistant to Goldfinger

4___

27

US gangsters_________________________________________

4___

28

Mr Solo, a US gangster

3____

29

US troops

4___

30

Goldfinger1S task force, Operation Grandslam________

4___

31

US army Brigadier

4___

32

US scientist who defuses the atomic bomb

4___

33

USAF personnel

4___

34

Bound and gagged crew of Bond's USAF plane

4___

A HARD DAY'S NIGHT dir Richard Lester UK 1964

This film, shot in black and white and set in contemporary UK,
is essentially a vehicle for the hugely successful pop music
group, the Beatles. In the course of delivering (in the days
before pop videos) live action footage of the four stars the
film also offers an acutely observed portrait of London in the
early sixties. Much of it clearly entailed location shooting
and there are various 'typical' scenes such as the interior of
a pub, the exterior of a junk shop, the Thames towpath. The
documentary mode is also suggested in the camera and lighting
techniques used, familiar from British documentary itself as
well as from current affairs programmes on contemporary
television. A considerable amount of information is offered,
between the lines as it were, about the preparation involved
in a television show, and about twenty four hours in the life
of a successful band. In this sense the film conforms to a
familiar postwar strain in British film making where the
expectation that a film should inform as well as entertain is
satisfied. On the other hand many cinematic 'tricks' are
employed: while this playfulness with the formal possibilities
of film seems to be a hallmark of British cinema in the 1960s
(cf, in this sample,
Tom Jones) it is also reminiscent of much
earlier forms of the absurd in cinema, recalling the work of

249



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