DOCSLIB.ORG

London Student Handbook 2020-21 1 Welcome to Metfilm School

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
London Student Handbook 2020-21 1 Welcome to Metfilm School Student Handbook 2021–22 Contents 1. Welcome to MetFilm School 3 2. MetFilm School Contact List 4 3. MetFilm School – London Campus 6 4. Your School: MetFilm Mission, Philosophy and Values 8 5. MetFilm School Student Support 13 6. Student Representatives and the Student Senate 16 7. Teaching and Learning 18 8. Your Facilities 23 9. Your Career 25 10. International Students 27 11. Rules and Regulations 30 12. Health and Safety 34 2 1. Welcome to MetFilm School We are delighted to welcome you to MetFilm If you are on an undergraduate or postgraduate School, where we look forward to you becoming courses, you will receive a specific course part of a community of students aiming to handbook as well as module study guides at succeed in the dynamic and ever-evolving world the start of each module. If you are on a short of film, television and screen content production. course, you will receive a student guide. All handbooks and guides are updated regularly Through your course, you will gain the core and the latest version is always posted under the creative, practical and business skills needed relevant programme and module site on Moodle. to succeed in today’s screen industries and join a community of MetFilm school students and The rules, regulations and policies alumni of whom we are justifiably proud. contained and referred to in this handbook form part of the agreement between us and All of our courses are demanding. You have should act as a guide for you throughout already declared yourself ready for the your time at the School. challenge, and we’re committed to providing you with an outstanding learning experience. We MetFilm School requires that all students have expect you to be self-directed, committed, and to read and understood this handbook. If you have seek answers beyond the classroom and we, for any questions then please do not hesitate to our part, will do all that we can to make your time contact your programme leader or course team, with us productive, enjoyable and stimulating. or come to the Help Desk in A-Block, where the Education and Student Services Team who will Above all, we look forward to supporting endeavour to answer your queries. your personal and professional development, encouraging you to collaborate with your fellow Good luck! students and get the most out of your time at the School. The MetFilm School Team This document sets out important information which you need to know as a student whilst you undertake your studies with us. Please read the handbook carefully. You should refer to this guide throughout the course of your studies. This handbook is for students on all MetFilm School (MFS) courses – both short courses and degree programmes. You can download this document, but please refer to the latest version of this handbook which can be accessed on the School’s website. 3 2. MetFilm School Contact List Director Registry Officer Jonny Persey Siobhan Breitsprecher T 020 8280 9124 T 020 8832 1956 E [email protected] E [email protected] Dean Senior Systems Administrator Katharina Koall Marco Cosentino T 020 8832 1921 T 020 8832 1931 E [email protected] E [email protected] CEO General Student or Administrative Queries David Howell E [email protected] T 020 8832 1940 E [email protected] Marking and Assessment Queries E [email protected] Deputy School Director Rachel Wood International Student Immigration Queries T 020 8832 1943 Pre-arrival queries: E E [email protected] [email protected] Post-arrival queries: Deputy School Director & Post Graduate E Programme Leader [email protected] Steve Pinhay Student Wellbeing T 020 8832 1951 E [email protected] E [email protected] Counselling Service Senior Manager – Curriculum E [email protected] Clarissa Newman T 020 8832 1922 Complaints E [email protected] E [email protected] Quality Manager General, Facilities, and Operations Sandra Bekvalac Reception T 020 8280 1264 T 020 8280 9112 E [email protected] E [email protected] Head of MetFilm Futures Kit Room / Kit Enquiries Sarah Winstanley E [email protected] T 020 8832 1932 Maintenance, AV, Health & Safety Queries E [email protected] E [email protected] Head of Planning and Development Room and Equipment Bookings Muhammad Obaidullah E [email protected] E [email protected] Student Services & Administration Head of Student Services & Administration Joanna Bott T 020 8280 9113 E [email protected] Disability & Wellbeing Advisor Nicole Bassett T 020 8092 4027 E [email protected] 4 Undergraduate Courses MA Directing Senior Tutor BA (Hons) Practical Filmmaking Simon Shore Programme Leader T 020 8832 1949 Matt Wake E [email protected] T 020 8832 1938 E [email protected] MA Screenwriting Senior Tutor Jamie Nuttgens BA (Hons) Practical Filmmaking T 020 8832 1949 Deputy Programme Leader E [email protected] James Davis E [email protected] MA Cinematography Senior Tutor Martin Bray BA Practical Filmmaking Course Manager T 020 8832 1949 David McDonald E [email protected] T 020 8832 1938 E [email protected] MA Post Production Senior Tutor Michael McHugh BA (Hons) Screen Acting Programme Leader T 020 8832 1949 Justin Trefgarne E [email protected] T 020 8832 1938 E [email protected] MA Film and Television Production Programme Leader BA (Hons) Screen Acting Justin Trefgarne Deputy Programme Leader T 020 8832 1949 Krishna Dubasiya E [email protected] T 020 8832 1938 E [email protected] MA Film and Television Production Course Co-ordinator BA (Hons) Screen Acting Stephan Mirre Course Coordinator E [email protected] Christabel Clark E [email protected] Short Courses Head of Short Courses ScreenSpace Courses Veronique Sambe Head of Screenspace T 020 8280 9114 Lisette Johnston E [email protected] T 020 8832 1953 E [email protected] Garden Studios Garden Studios Centre Manager ScreenSpace Deputy Programme Leader Hannah Fawcett Alexandra Ferguson T 020 8092 4038 T 020 8832 1953 E [email protected] E [email protected] Postgraduate Courses MA Producing Senior Tutor and MA Programme Leader Steve Pinhay T 020 8832 1951 E [email protected] MA Deputy Programme Leader Alice Guilluy E [email protected] MA Course Manager Natalie Jeans T 020 8832 1949 E [email protected] 5 3. MetFilm School – London Campus 6 7 4. Your School: MetFilm Mission, Philosophy and Values Mission Since its launch in 2003, MetFilm School has been committed to educational excellence with powerful links into industry. To date we MetFilm Futures is our student and graduate have educated over 12,000 students with a opportunities team, focused on providing support, high proportion of those on courses of six industry advice, and employment opportunities months or longer now working in the creative within the curriculum and after graduation. screen industries. Our mission is to inspire a new generation of screen professionals, educating them for today’s world of multi-platform storytelling and ever-expanding opportunities. Our goal is to nurture smart thinking, sharp skills and talent, MetFilm Production is an award-winning creating a great school with students at the production company creating high quality heart of all that we do. fiction and documentary films for theatrical audiences worldwide. The MetFilm Ecosystem MetFilm Sales is a boutique agency, MetFilm brings together passionate, experienced specialising in the financing and sales of and creative specialists at the forefront of the single documentaries and series, in close screen industries. It is comprised of individual but collaboration with MetFilm Production. mutually supported teams, united by a collective interest in the growth and development of the Unique Educational Approach screen industries. MetFilm School has taken the lead in screen education by bringing learning into an industry setting, encouraging smart storytelling and technical excellence. MetFilm School’s goal is to select students with the passion and tenacity to succeed in the creative screen industries, and to prepare them for the opportunities that lie ahead. MetFilm School’s education is complemented by: MetFilm School has campuses in London and Our location – a working studio with historic Berlin. Under the tuition of experienced, award- • and contemporary significance winning tutors, students learn how to become employable and engaged professionals within a Dedicated tutors who are industry wide range of contemporary media. • practitioners An innovative graduate opportunity • programme 8 Our Values MetFilm School Student Charter MetFilm School is committed to the values MetFilm School’s mission as an educational of equality, diversity, fairness, academic and institution is to provide students with a practical, personal integrity, collegiality, ethical behaviour, high-quality learning experience grounded in and welfare of individuals within the MetFilm professional industry practice and preparation. School community. To achieve these values, Our courses equip students with the knowledge, we call upon students and staff to carry out skills and mindset to prepare them for careers their activities in an environment of mutual within the screen industries. respect, inclusion, professional practice, and a positive attitude towards work. We seek to foster an inclusive environment in which creative, mature, focused, and MetFilm School is committed to promoting considerate individuals are valued as equality of opportunity for students and staff from members of a dynamic community. We believe all backgrounds, and nurturing an environment collaboration is the bedrock of professional which is free from discrimination based on race, practice that is reflected across the creative disability, gender, age, religion, belief, sexual screen industries, and students are required orientation, or gender reassignment.
Load more

Recommended publications
  • Darrol Blake Transcript
    Interview with Darrol Blake by Dave Welsh on Tuesday the 21st of September 2010 Dave Welsh: Okay, this is an interview with Darrol Blake on Tuesday the 21st of September 2010, for the Britain at Work Project, West London, West Middlesex. Darrol, I wonder if you'd mind starting by saying how you got into this whole business. Darrol Blake: Well, I'd always wanted to be the man who made the shows, be it for theatre or film or whatever, and this I decided about the age of eleven or twelve I suppose, and at that time I happened to win a scholarship to grammar school, in West London, in Hanwell, and formed my own company within the school, I was in school plays and all that sort of thing, so my life revolved around putting on shows. Nobody in my family had ever been to university, so I assumed that when I got to sixteen I was going out to work. I didn't even assume I would go into the sixth form or anything. So when I did get to sixteen I wrote around to all the various places that I thought might employ me. Ealing Studios were going strong at that time, Harrow Coliseum had a rep. The theatre at home in Hayes closed on me. I applied for a job at Windsor Rep, and quite by the way applied to the BBC, and the only people who replied were the BBC, and they said we have vacancies for postroom boys, office messengers, and Radio Times clerks.
    [Show full text]
  • Gender and the Quest in British Science Fiction Television CRITICAL EXPLORATIONS in SCIENCE FICTION and FANTASY (A Series Edited by Donald E
    Gender and the Quest in British Science Fiction Television CRITICAL EXPLORATIONS IN SCIENCE FICTION AND FANTASY (a series edited by Donald E. Palumbo and C.W. Sullivan III) 1 Worlds Apart? Dualism and Transgression in Contemporary Female Dystopias (Dunja M. Mohr, 2005) 2 Tolkien and Shakespeare: Essays on Shared Themes and Language (ed. Janet Brennan Croft, 2007) 3 Culture, Identities and Technology in the Star Wars Films: Essays on the Two Trilogies (ed. Carl Silvio, Tony M. Vinci, 2007) 4 The Influence of Star Trek on Television, Film and Culture (ed. Lincoln Geraghty, 2008) 5 Hugo Gernsback and the Century of Science Fiction (Gary Westfahl, 2007) 6 One Earth, One People: The Mythopoeic Fantasy Series of Ursula K. Le Guin, Lloyd Alexander, Madeleine L’Engle and Orson Scott Card (Marek Oziewicz, 2008) 7 The Evolution of Tolkien’s Mythology: A Study of the History of Middle-earth (Elizabeth A. Whittingham, 2008) 8 H. Beam Piper: A Biography (John F. Carr, 2008) 9 Dreams and Nightmares: Science and Technology in Myth and Fiction (Mordecai Roshwald, 2008) 10 Lilith in a New Light: Essays on the George MacDonald Fantasy Novel (ed. Lucas H. Harriman, 2008) 11 Feminist Narrative and the Supernatural: The Function of Fantastic Devices in Seven Recent Novels (Katherine J. Weese, 2008) 12 The Science of Fiction and the Fiction of Science: Collected Essays on SF Storytelling and the Gnostic Imagination (Frank McConnell, ed. Gary Westfahl, 2009) 13 Kim Stanley Robinson Maps the Unimaginable: Critical Essays (ed. William J. Burling, 2009) 14 The Inter-Galactic Playground: A Critical Study of Children’s and Teens’ Science Fiction (Farah Mendlesohn, 2009) 15 Science Fiction from Québec: A Postcolonial Study (Amy J.
    [Show full text]
  • Camera Stylo Proof 2
    SCREENING RACE ALEXANDRA MCCALLA The “hood” spaces of South Central in Los Angeles and — North Kensington in West London—known as Grove, Boyz n the Hood (1991) short for the area’s main road Ladbroke Grove—both Kidulthood (2006) experienced an influx of black migrant workers in the first half of the 20th century. The films Boyz n the Hood (1991) and Kidulthood (2006) explore the current problems of the South Central and Grove hoods respectively, while presenting the effects of the historical construction of these spaces. Both are written and directed by black men, set and shot in the areas in which they grew up, John Singleton’s Boyz n the Hood (Boyz) and Noel Clarke’s Kidulthood intimately reveal the nuances of their hoods. Through analysing the two hood films’ depiction of race and space, the socio-economic effects on race relations in London and LA can be examined. The “Great Migration” in the US, out of the South from 1910-1930, due to obtainable wealth in factory jobs, caused a shift in the African American identity; black people were not simply associated with the South’s con- 4 notations of slavery. Rheid-Pharr explains, “the black American was in some ways losing her ability to name Alexandra is currently in her third year completng herself properly, distinctly. Black identity could no lon- a double major in Economics and Cinema Studies. Within cinema studies, she has a particular ger be associated with a specific region, caste, economic interest in racial representation and identity of status, erotic affinity, or biology” (5).
    [Show full text]
  • The Finance and Production of Independent Film and Television in the UK: a Critical Introduction
    The Finance and Production of Independent Film and Television in the UK: A Critical Introduction Vital Statistics General Population: 64.1m Size: 241.9 km sq GDP: £1.9tr (€2.1tr) Film1 Market share of UK independent films in 2015: 10.5% Number of feature films produced: 201 Average visits to cinema per person per year: 2.7 Production spend per year: £1.4m (€1.6) TV2 Audience share of the main publicly-funded PSB (BBC): 72% Production spend by PSBs: £2.5bn (€3.2bn) Production spend by commercial channels (excluding sport): £350m (€387m) Time spent watching television per day: 193 minutes (3hrs 13 minutes) Introduction This chapter provides an overview of independent film and television production in the UK. Despite the unprecedented levels of convergence that characterise the digital era, the UK film and television industries remain distinct for several reasons. The film industry is small and fragmented, divided across the two opposing sources of support on which it depends: large but uncontrollable levels of ‘inward-investment’ – money invested in the UK from overseas – mainly from the US, and low levels of public subsidy. By comparison, the television industry is large and diverse, its relative stability underpinned by a long-standing infrastructure of 1 Sources: BFI 2016: 10; ‘The Box Office 2015’ [market share of UK indie films] ; BFI 2016: 6; ‘Exhibition’ [cinema visits per per person]; BFI 2016: 6; ‘Exhibition’ [average visits per person]; BFI 2016: 3; ‘Screen Sector Production’ [production spend per year]. 2 Sources: Oliver & Ohlbaum 2016: 68 [PSB audience share]; Ofcom 2015a: 3 [PSB production spend]; Ofcom 2015a: 8.
    [Show full text]
  • UK Films for Sale AFM 2018
    UK Films For Sale AFM 2018 10X10 TAltitude Film Ent. Cast: Luke Evans, Kelly Reilly Vicki Brown +1 310 458 6700 x863 Genre: Thriller [email protected] Director: Suzi Ewing Market Office: Loews #863 Status: Completed Home Office tel: +44 20 7478 7612 Synopsis: After meticulous planning and preparation, Lewis snatches Cathy off the busy streets and locks her away in a soundproofed room measuring 10 feet by 10 feet. His motive - to have Cathy confess to a dark secret that she is determined to keep hidden. But, Cathy has no intention of giving up so easily. 13 Graves TEvolutionary Films Cast: Kevin Leslie, Morgan James, Jacob Anderton, Terri Dwyer, Diane Shorthouse +1 310 458 6700 x727 Michael McKell [email protected] Genre: Horror Market Office: Loews #727 Director: John Langridge Home Office tel: +44 20 8215 3340 Status: Completed Synopsis: On the orders of their boss, two seasoned contract killers are marching their latest victim to the ‘mob graveyard’ they have used for several years. When he escapes leaving them no choice but to hunt him through the surrounding forest, they are soon hopelessly lost. As night falls and the shadows begin to lengthen, they uncover a dark and terrifying truth about the vast, sprawling woodland – and the hunters become the hunted as they find themselves stalked by an ancient supernatural force. 2:Hrs TReason8 Films Cast: Harry Jarvis, Ella-Rae Smith, Alhaji Fofana, Keith Allen Anna Krupnova +1 310 458 6700 x2220 Genre: Fantasy [email protected] Director: D James Newton Market Office: UK Film Centre-Loews 7fl Zuma Status: Completed Home Office tel: +44 791 462 1232 Synopsis: When Tim, a 15yr old budding graffiti artist, and his two best friends Vic and Alf, bunk off from a school trip at the Natural History Museum, they stumble into a Press Conference being held by Lena Eidelhorn, a mad Scientist who is unveiling her latest invention, The Vitalitron.
    [Show full text]
  • This Spectred Isle James Bond, Alan Partridge, and Englishness
    This SPECTREd Isle James Bond, Alan Partridge, and Englishness GILLIAN GROSZEWSKI Like the Aston Martin car he drives and the Savile Row tailors he frequents, James Bond is an English cultural icon. ndeed, in !"#!, $aniel %raig, as Bond, was the natural choice to &act' as the securit( escort for )er Majest(, the +ueen, as she made her wa( to the o,ening ceremon( of the -l(mpic .ames in Lon/ don, itself a celebration of all things English. Although ap,roximating the iconic, Steve %oogan2s 3ctional character, Alan 4artridge, does not ,ossess the same cul/ tural cachet as 5leming’s international man of m(ster(. A self/,rofessed Bond su,er/fan, 4artridge attempts, on a regular basis, to achieve the im,ossible: to become an icon. 7here Bond and brand become inseparable due to their so,h/ isticated interdependence, 4artridge desperatel( seeks cor,orate ,artnershi, in an attempt to increase his ,ersonal wealth and social ,ro3le. )owever, while 4artridge ma( ap,ear, at 3rst sight, a ,ale imitation of 5leming’s iconic sleuth, both characters ,ossess a similarl( acute awareness of what it means to be Eng/ lish. %hristine Berberich has written of Bond that &behind the suave secret agent lurks a character 0oth at ease and at odds with his time' 8!"#!, #9:. Looking be/ hind the ,reoccu,ation of Alan 4artridge with all things Bond highlights the changing conce,t of what it means to be English in contem,orar( Britain. Like Bond, 4artridge frequentl( 3nds himself to 0e at odds with those that surround him ; not least due to his encyclo,aedic knowledge of the Bond franchise ; but Gillian Groszewski +e12hes Englis3 1+ -higwell S2hool.
    [Show full text]
  • Simon Tindall Director of Photography
    Simon Tindall Director of Photography Agents Alice Dunne Assistant +44 (0) 20 3214 0949 Flora Line [email protected] Daniela Manunza Assistant [email protected] Lizzie Quinn [email protected] + 44 (0) 203 214 0911 Credits Film Production Company Notes DIRECTOR OF PHOTOGRAPHY RUN BBC Films Dir: Scott Graham Prod: Margaret Matheson, Rosie Crerar, Ciara Barry THE SHOW BFI/Emu Films Dir: Mitch Jenkins Prod: Mike Elliot and Jim Mooney (with Roger Ashton-Griffiths, Alan Moore and Siobhan Hewlett) DAYS OF THE BAGNOLD Stigma Films Dir: Simon Bird SUMMER Prod: Matthew James Wilkinson (with Tamsin Greig and Rob Brydon) United Agents | 12-26 Lexington Street London W1F OLE | T +44 (0) 20 3214 0800 | F +44 (0) 20 3214 0801 | E [email protected] Production Company Notes FISHERMAN'S FRIENDS Fred Films/ Blue Penguin Dir: Chris Foggin Prod: Meg Leonard, Nick Moorcroft and James Spring (with Tuppence Middleton, James Purefoy, Noel Clarke and Daniel Mays) WE DON'T TALK ABOUT BFI/BBC Films/Creative Scotland Dir: Scot Graham LOVE Prod: Margaret Matheson (with Mark Stanley, Amy Manson and Anders Hayward) THE FESTIVAL Fudge Park/Film 4 Dir: Iain Morris Prod: Claire Jones (with Joe Thomas, Hannah Tointon and Jemaine Clement) THE GOOB BBC Films Dir: Guy Myhill Prods: Lee Groombridge, Mike Elliot (with Sienna Guillory, Sean Harris & Hannah Spearritt) NORTHERN SOUL Stubborn Heart Films Dir: Elaine Constantine Prod: Debbie Grey (with Steve Coogan, Antonia Thomas & Christian McKay) EVERYDAY Revolution Films Co-DP Dir: Michael Winterbottom
    [Show full text]
  • CAST BIOS TOM RILEY (Leonardo Da Vinci) Tom Has Been Seen in A
    CAST BIOS TOM RILEY (Leonardo da Vinci) Tom has been seen in a variety of TV roles, recently portraying Dr. Laurence Shepherd opposite James Nesbitt and Sarah Parish in ITV1’s critically acclaimed six-part medical drama series “Monroe.” Tom has completed filming the highly anticipated second season which premiered autumn 2012. In 2010, Tom played the role of Gavin Sorensen in the ITV thriller “Bouquet of Barbed Wire,” and was also cast in the role of Mr. Wickham in the ITV four-part series “Lost in Austen,” alongside Hugh Bonneville and Gemma Arterton. Other television appearances include his roles in Agatha Christie’s “Poirot: Appointment with Death” as Raymond Boynton, as Philip Horton in “Inspector Lewis: And the Moonbeams Kiss the Sea” and as Dr. James Walton in an episode of the BBC series “Casualty 1906,” a role that he later reprised in “Casualty 1907.” Among his film credits, Tom played the leading roles of Freddie Butler in the Irish film Happy Ever Afters, and the role of Joe Clarke in Stephen Surjik’s British Comedy, I Want Candy. Tom has also been seen as Romeo in St Trinian’s 2: The Legend of Fritton’s Gold alongside Colin Firth and Rupert Everett and as the lead role in Santiago Amigorena’s A Few Days in September. Tom’s significant theater experiences originate from numerous productions at the Royal Court Theatre, including “Paradise Regained,” “The Vertical Hour,” “Posh,” “Censorship,” “Victory,” “The Entertainer” and “The Woman Before.” Tom has also appeared on stage in the Donmar Warehouse theatre’s production of “A House Not Meant to Stand” and in the Riverside Studios’ 2010 production of “Hurts Given and Received” by Howard Barker, for which Tom received outstanding reviews and a nomination for best performance in the new Off West End Theatre Awards.
    [Show full text]
  • Comedic Indexes (See Bell 2001A, 2001B)
    Indexes: comedic, humorous and laughable (for all the right reasons) Paula Clarke Bain, Marketing Director, Society of Indexers The set -up An index can provide an entertaining conclusion to a book in its own right. Some indexes can be unfortunately laughable for entirely the wrong reasons, but many authors and indexers choose to add deliberate humour to this final part of the book, and some do this very well. Over the last couple of years, I have been writing a series of blog posts on the comedy book index on my website ( baindex.org ), some of which have become articles for The Indexer journal (Bain 2017, 2018), continuing the fine tradition of Hazel Bell’s reviews of comedic indexes (see Bell 2001a, 2001b). I’m pleased to present an overview of some recent examples for this issue of Catalogue and Index . I have always had a great interest in comedy in my leisure time, and I have indexed a lot of books in my work hours, having been a full -time freelancer since 2001. It’s been a great delight to me, as both a comedy and indexing fan, to see that many of my favourite comedy writers have recently produced books that have plenty of humorous material in their indexes. These include Francis Wheen, Charlie Brooker, Richard Ayoade, and the writers of the Alan Partridge and Steven Toast characters, all of which I review below. Strange indexes indeed: Francis Wheen The earliest of these were two books by Francis Wheen, journalist and deputy editor of Private Eye magazine. How Mumbo -Jumbo Conquered the World was published in 2004 and Strange Days Indeed followed in 2009.
    [Show full text]
  • Bafta Rocliffe New Writing Showcase – Tv Comedy 2016
    In addition to our top three finalists, theF ORUM LIST includes BAFTA Rocliffe patrons include: three additional projects. To contact any of the writers, simply Jenni Konner, Christine Langan, Julian Fellowes, John Madden, Mike Newell, BAFta ROCLIFFE NEW WrITING email [email protected] with your details and we will connect Richard Eyre, David Parfitt, Cameron you with them. McCracken, Peter Kosminsky, David Yates, SHOWcaSE Ð TV COMEDY 2016 Finola Dwyer, Michael Kuhn, Nik Powell, FRENEMIES by Paul Wilson Duncan Kenworthy, Rebecca OÕBrien, TUESDAY 21 JUNE 2016 No break-up is easy. But if two people can make each other Simon Relph, Sue Perkins, John Bishop and Dave Spikey. BAFTA 195 PIccaDILLY, LONDON W1J 9LN unhappy when they’re together, imagine the pain they can inflict when they’re apart. Rocliffe Producer and Moderator GALGOROTH by Alex Harvey FaraH ABUSHWESHA Parodic animated comedy series, spoofing ‘80s sci-fi/fantasy cartoons, [email protected] coupling puerile humour with epic storylines and satire: South Park BAFTA Producers meets He-man. JULIA CarrUTHERS [email protected] HELP by Sally Tatum & David Brain KAM KANDOLA FLYNN HELP is the story of what happens when your best friend becomes [email protected] your nanny. Rocliffe Producer JADE GrEEN [email protected] KEVIN CECIL is a writer and After becoming neither FaraH ABUSHWESHA runs A huge thank you to our script selection panelists and jurors. Casting script editor. He won an Emmy, an electrical engineer nor Rocliffe and is the Director FaYE TIMBY a Writer’s Guild of America an actor, multi-BAFTA of Content for the comedy The Jury [email protected] award and a Writer’s Guild of nominated ADAM TANDY platform PYPO.
    [Show full text]
  • Alpha Papa Alan Partridge Stream
    Alpha papa alan partridge stream Watch Alan Partridge: Alpha Papa Online | alan partridge: alpha papa | Alan Partridge: Alpha Papa. Watch Alan Partridge Alpha Papa Online - Free Streaming Full Movie on Putlocker. The primary series of I am Alan Partridge was IMO the best comedy. Alan Partridge: Alpha Papa Radio DJ Alan Partridge experiences a difficult time when his radio station seems to be forced by a new media group. He puts. Watch Alan Partridge: Alpha Papa with Subtitles Online For Free in HD. Free Download Alan Partridge: Alpha Papa. Watch free movie Streaming now. Alan Partridge: Alpha Papa () - Alan Partridge has had many high points and low points in life. National TV supporter. In charge of executing a visitor on live. Alan Partridge: Alpha Papa: Watch online now with Amazon Instant Video: Steve Coogan, Colm Meaney, Format, Amazon Video (streaming online video). Watch alan partridge: alpha papa movies Online. Watch alan partridge: alpha papa movies online for free on Alan Partridge: Alpha Papa Alan Partridge has had many ups and downs in life. Please create an account to access unlimited downloads and streaming. Watch Alan Partridge: Alpha Papa starring Steve Coogan in this Comedy on DIRECTV. It's available to watch. Buy Alan Partridge: Read 88 Movies & TV Reviews - Purchase rights, Stream instantly Details. Format, Amazon Video (streaming online video). Is Netflix, Amazon, Hulu, Crackle, iTunes, etc. streaming Alan Partridge: Alpha Papa? Find where to watch online! Does Netflix, Quickflix, Stan, iTunes, etc. stream Alan Partridge: Alpha Papa? Find where to watch online! Click Here: ® ® Alan Partridge: Alpha Papa Full Movie Online HD ® ® | Watch Alan Partridge: Alpha.
    [Show full text]
  • Unseen Horrors: the Unmade Films of Hammer
    Unseen Horrors: The Unmade Films of Hammer Thesis submitted by Kieran Foster In partial fulfilment of the requirements for the award of Doctor of Philosophy De Montfort University, March 2019 Abstract This doctoral thesis is an industrial study of Hammer Film Productions, focusing specifically on the period of 1955-2000, and foregrounding the company’s unmade projects as primary case studies throughout. It represents a significant academic intervention by being the first sustained industry study to primarily utilise unmade projects. The study uses these projects to examine the evolving production strategies of Hammer throughout this period, and to demonstrate the methodological benefits of utilising unmade case studies in production histories. Chapter 1 introduces the study, and sets out the scope, context and structure of the work. Chapter 2 reviews the relevant literature, considering unmade films relation to studies in adaptation, screenwriting, directing and producing, as well as existing works on Hammer Films. Chapter 3 begins the chronological study of Hammer, with the company attempting to capitalise on recent successes in the mid-1950s with three ambitious projects that ultimately failed to make it into production – Milton Subotsky’s Frankenstein, the would-be television series Tales of Frankenstein and Richard Matheson’s The Night Creatures. Chapter 4 examines Hammer’s attempt to revitalise one of its most reliable franchises – Dracula, in response to declining American interest in the company. Notably, with a project entitled Kali Devil Bride of Dracula. Chapter 5 examines the unmade project Nessie, and how it demonstrates Hammer’s shift in production strategy in the late 1970s, as it moved away from a reliance on American finance and towards a more internationalised, piece-meal approach to funding.
    [Show full text]