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  1. 27 de mar. de 2020 · March 27, 2020. Fire Films celebrated documentary The Ballad Of Shirley Collins, about the iconic English singer, is now streaming for the first time via Vimeo on Demand, including the first ever digital release of a host of bonus materials. The film screened at prestigious international festivals including Rotterdam, CPH:DOX and the London ...

  2. 16 de feb. de 2017 · The first official teaser for feature documentary The Ballad of Shirley Collins, premiering at the London Film Festival on October 13th before going on gener...

  3. 27 de oct. de 2017 · The Ballad Of Shirley Collins is essentially a film about time, and about how the past and present intertwine in our lives. It begins with Collins leaving her Lewes house on Bonfire Night, the voice of John Peel from a late ‘60s Perfumed Garden programme accompanying her as she winds up the hill.

  4. The Ballad Of Shirley Collins will premiere at London's Soho Curzon on 16 October. It will be followed by a post-film Q&A hosted by Stewart Lee, who wrote the sleevenotes for Lodestar. Shirley Collins was the cover star of The Wire 393. Subscribers can read the article online via Exact Editions.

  5. When Hastings-born Shirley Collins MBE (b 1935) released the album ‘Lodestar’ in 2016 it was her first release for 38 years and a happy day not just for fans of folk music but anyone interested in the traditional songs and folklore of Sussex, which Collins has always championed in her work. The album, recorded at home in her cottage in ...

  6. 13 de oct. de 2017 · THE BALLAD OF SHIRLEY COLLINS is a touching story of an important voice lost and found Following their award-winning documentary WAY OF THE MORRIS, filmmakers Rob Curry and Tim Plester return to th Intimate, moving and fascinating, THE BALLAD OF SHIRLEY COLLINS is a touching story of an important voice lost and found.

  7. 18 de oct. de 2017 · The Ballad of Shirley Collins doesn’t entirely eliminate the pair’s tendency towards modest, filmic excess. Utilising 16mm-shot reconstructions for Collins’ early life, the post-production effects attempt to conjure the flickering imperfections of found footage but they are too clinical, too perfectly poised to fully convince.