Bibliography
BALCON Michael, Michael Balcon presents … A Lifetime of Films, London: Hutchinson, 1969.
BLOOM Clive, Bestsellers: Popular Fiction Since 1900, London: Palgrave Macmillan, 2002.
CHRISTIE Agatha, The Secret of Chimneys [1925], London: Harper, 2001.
COWARD Noël, Play Parade, vol. III, London: William Heinemann, 1950.
COWARD Noël, Noël Coward: Autobiography, London: Methuen, 1986.
DEAN Basil, Seven Ages: An Autobiography, London: Hutchinson, 1970.
DICKENS Charles, A Tale of Two Cities [1859], London: Nelson, n.d.
DORFLES Gillo (ed.), [1968] Kitsch: An Anthology of Bad Taste, London: Studio Vista, 1969.
FALK Quentin, Travels in Greeneland, London: Quartet Books, 1984.
GLEDHILL Christine, Reframing British Cinema 1918-1928: Between Restraint and Passion, London: BFI, 2003.
GREENE Graham, Stamboul Train [1932], Harmondsworth: Penguin, 1984.
GREENE Graham, A Sort of Life [1971], Harmondsworth: Penguin, 1986.
HIGSON Andrew, “Transnational Developments in European Cinema in the 1920s”, Transnational Cinemas, vol. 1, n° 1, 2010, 69-82.
HOPE Anthony, The Prisoner of Zenda [1894], London: J. M. Dent, 1968.
HOPE Anthony, Rupert of Hentzau [1898], London: J. M. Dent, 1955.
HOPE Anthony, Sophy of Kravonia [1906], London: The Bodley Head, 1975.
HOPE Anthony, Memories and Notes, London: Hutchinson & Co., 1927
SAKI (H. H. Munro), Toys of Peace [1923], London: The Bodley Head Ltd., 1926.
SARGEANT Amy, British Cinema: A Critical History, London: BFI, 2005.
SCHAMA Simon, Landscape and Memory, London: Fontana Press, 1996.
SHAW George Bernard, in Bernard F. Dukore (ed.), Arms and the Man [1898], Carbondale: Southern Illinois University Press, 1982.
VON ARNIM Elizabeth, The Princess Priscilla’s Fortnight [1905], London: Smith, Elder & Co., 1906.
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Notes
Quentin Falk, quoting from Collected Essays (1969), Travels in Greeneland, London: Quartet Books, 1984, 2 and 55; see also, Graham Greene, A Sort of Life [1971], Harmondsworth: Penguin, 1986, 36.
Gillo Dorfles (ed.), “Transpositions”, Kitsch: An Anthology of Bad Taste, London: Studio Vista, 1969, 87.
Clive Bloom notes the debt owed by Buchan and other popular authors to Anthony Hope for escapist adventures “set within an international political crisis.” Clive Bloom, Bestsellers: Popular Fiction Since 1900, Basingstoke: Palgrave Macmillan, 2002, 113.
Christine Gledhill says that Cutts both scripted and directed The Queen Was in the Parlour and comments on the magnitude of the film’s sets and the often deft cinematography. Christine Gledhill, Reframing British Cinema 1918-1928, London: BFI Publishing, 2003, 116.
In von Arnim’s original, Priscilla is accompanied by her maid and Fritzing in her fanciful flight to an English village, whence she is pursued by a detective hired by her aristocratic suitor. Priscilla’s good looks attract the attention of the sons of the manor and the vicarage while her regal manners (considered inappropriate to her assumed humble status) provoke and expose the snobbery of the boys’ mothers.
Hermann Broch, “Notes on the Problem of Kitsch”, in Gillo Dorfles (ed.), op. cit., 72.
Gillo Dorfles, “Introduction”, ibidem, 10.
Ludwig Giesz, “Kitsch-man as tourist,” ibid., 10.
Dorfles suggests various etymological derivations for “Kitsch,” including the German verb “verkitschen” (“to make cheap”). See Dorfles, “Introduction”, op. cit., 10.
Vesna Goldsworthy, Inventing Ruritania: The Imperialism of the Imagination, New Haven & London: Yale University Press, 1998, 110.
Tatler, 15 September 1926, University of Bristol Theatre Collection, MM/REF/PE/WR/CN/46/29 (the reviewer, amongst others, suggesting that the play would make a good musical).
“The Prisoner of Zenda at the St. James’s”, 11 January 1896, MM/REF/TH/LO/ST.J/10.
St. John Ervine, “At the Play”, The Observer, 29 August 1926, 9.
Elizabeth von Arnim, The Princess Priscilla’s Fortnight [1905], London: Smith, Elder & Co., 1906, 3.
Vesna Goldsworthy, op. cit., 46.
Saki [H. H. Munro], “The Cupboard of the Yesterdays,” The Toys of Peace and Other Papers [1923], London: The Bodley Head, 1926, 221.
Vesna Goldsworthy, op. cit., 110.
Agatha Christie, The Secret of Chimneys [1925], London: Harper, 2001, 388.
Ibidem, 385.
Ibid., 395.
Vesna Goldsworthy, op. cit., 110.
Noël Coward, The Queen Was in the Parlour [1926] Act II, Play Parade, v. III, London: Heinemann, 1950.
Vesna Goldsworthy, op. cit., 94.
Hermann Broch, “Notes on the Problem of Kitsch”, in Gillo Dorfles (ed.), op. cit., 50. In the same anthology, Lotte H. Eisner suggests that the “definition of kitsch in cinema is far less rigid and infinitely less consistent than in any other type of figurative art. Lotte H. Eisner, “Kitsch in the cinema”, ibidem, 197-8.
Vesna Goldsworthy, op. cit., 157.
Simon Schama, Landscape and Memory [1995], London: Fontana, 1996, 82.
Anthony Hope, Memories and Notes, London: Hutchinson & Co., 1927, 91. Mason appeared as the Russian Major Plechanoff in the 1894 production of Shaw’s Arms and the Man.
See The Graphic, 26 October 1912, 651 and cover illustration showing a picturesque cavalcade of peasants on “lean and shaggy horses”, entering Belgrade, “as wild a set of men as one might find in Europe”. The Sheffield company, Mottershaw, had produced newsreel footage of the Serbian royal family – riding groomed and somewhat plumper ponies.
Anthony Hope, op. cit., 189.
Gillo Dorfles, “Introduction”, in Gillo Dorfles (ed.), op. cit., 10.
George Bernard Shaw, Arms and the Man [1898] Act I and Act II, Bernard F Dukore (ed.), Carbondale: Southern Illinois University Press, 1982.
See Amy Sargeant, British Cinema: A Critical History, London: BFI Publishing, 2005, 127.
Anthony Hope, op. cit., 181.
Vesna Goldsworthy, quoting The Manchester Guardian, op. cit., 49.
Anthony Hope, op. cit., 181.
Ibidem, 94 and MM/REF/TH/LO/LYC/49.
Vesna Goldsworthy, op. cit., 45.
MM/REF/TH/LO/ST.J/10.
John Rylands Library, Basil Dean archive DEA/2/19/2.
“Mr. Coward in the Balkans”, Manchester Guardian, 25 August 1926, 4.
Ibidem. See also, Manchester Guardian 12 April 1927.
Basil Dean, Seven Ages, London: Hutchinson, 1970, 302; see also Coward, Noël Coward: Autobiography, London: Methuen, 1986, 145.
See, for instance The Sunday Times review, 29 August 1926: “the sole intent for our delight was to out-Hope Anthony,” “Plays and Pictures,” Nation and Athenaeum, 4 September 1926; “Romance or Burlesque: Mixture of Elinor Glyn and Anthony Hope,” Westminster Gazette, 25 August 1926: MM/REF/PE/WR/CNO/46/20
Noël Coward, The Queen Was in the Parlour, Act II.
MM/REF/TH/LO/LYC/49.
In the programme for the 1894 production of Arms and the Man, Shaw thanks “Mr. Schönberg, Special War Artist to The Illustrated London News, for valuable assistance generously rendered.”
Noël Coward, Play Parade, op. cit., viii.
“The Queen Was in the Parlour”, Kine Weekly, 5 May 1927, 54-5.
Michael Balcon, Michael Balcon presents … A Lifetime of Films, London: Hutchinson, 1969, 27. Balcon hoped that Coward might write directly for the screen.
Noël Coward, The Queen Was in the Parlour, op. cit., Act I sc.1.
“It should bring patrons in thousands. Really charming picture.” Press commentary for The Queen Was in the Parlour, Kine Weekly, 5 May 1927, 2-3.
“Merry music at the box office. For the public sheer bread and honey”, Kine Weekly, 5 May 1927, 2-3.
“Meat which the public will eat. A work of art and popular winner.” Ibidem.
Andrew Higson, “Transnational Developments in European Cinema in the 1920s”, Transnational Cinemas, vol. 1, n° 1, 2010, 80.
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