The Dylan Thomas Season
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(Public Pack)Agenda Document for Culture, Welsh Language And
------------------------ Public Document Pack ------------------------ Agenda - Culture, Welsh Language and Communications Committee Meeting Venue: For further information contact: Committee Room 2 - The Senedd Steve George Meeting date: 20 June 2018 Committee Clerk Meeting time: 09.15 0300 200 6565 [email protected] ------ 1 Introductions, apologies, substitutions and declarations of interest 2 Film and major television production in Wales: Evidence Session 14 (09:15 - 10:15) (Pages 1 - 17) Ron Jones, Founder and Executive Chairman of Tinopolis, Chair of the Welsh Government’s Creative Industries Sector Panel and a member of the Media Investment Panel. Break (10:15 - 10:30) 3 Film and major television production in Wales: Evidence Session 15 (10:30 - 11:30) (Pages 18 - 31) Ken Skates AM, Cabinet Secretary for Economy and Transport Dafydd Elis-Thomas AM, Minister for Culture, Tourism and Sport Mick McGuire, Director Business and Regions Joedi Langley, Head of Creative Sector 4 Paper(s) to note 4.1 The Welsh Government’s relationship with Pinewood (Pages 32 - 79) 4.2 Film and major television production in Wales: Additional Evidence from the Welsh Government (Pages 80 - 83) 4.3 Film and major television production in Wales: Additional Evidence from the Arts Council of Wales (Pages 84 - 86) 4.4 Film and major television production in Wales: Additional Evidence from Euros Lyn (Pages 87 - 89) 4.5 Film and major television production in Wales: Additional Evidence (Pages 90 - 92) 4.6 Correspondence from the Welsh Language Commissioner -
BBC Wales, Management Review, 2009/10
WALES MANAGEMENT REVIEW 2009/10 a INTRODUCTION FROM DIRECTOR, BBC CYMRU WALES IN A YEAR WHEN DIGITAL SWITCHOVER SWEPT ACROSS THE COUNTRY, THE ROLE OF WALES’ nATIONAL BROADCASTER HAS NEVER BEEN CLEARER. Some said that digital switchover would change everything. By beaming countless additional channels into every home across Wales, some warned it would accelerate the fragmentation of viewing, weakening the social and civic ties that bind us together. And yet take a look at what actually happened. In 2009/10, almost a million viewers – the highest figures for at least five years – tuned into BBC Cymru Wales programming each and every week. On top of this success, our network output continued to attract worldwide attention, including Torchwood’s stunning debut on BBC One and BBC Two’s captivating Last Chance to See. That success is of course a tribute to the skills and resilience of our talented production teams – both in-house and across the independent sector – and many of their achievements are rightly “ THIS YEAR’S SUCCESS IS A POWERFUL REMINDER OF captured in this review. OUR AUDIENCE’S DEMAND FOR HIGH QUALITY AND Our success this year is a powerful reminder that in an age of apparent digital plenty – with all its countless distractions – our audience’s demand for high quality and distinctive national programming DISTINCTIVE NATIONAL PROGRAMMING.” is as strong and robust as ever. MENNA RICHARDS, It is, needless to say, a challenge and responsibility we relish. DIRECTOR, BBC CYMRU WALES Menna Richards COVER IMAGE Director, BBC Cymru Wales Presenter Eddie Butler tells the story of a 5th or early 6th century carved sandstone, part of a trail of historical objects inspired by our History of the World project, and which can be seen at the National Museum Wales in Cardiff. -
BBC TV Standards Wales
BBC Wales Technical Standards for English Television Programme Delivery BBC Wales Technical Standards for English Language Television Programme Delivery (BBC ONE Wales, BBC TWO Wales and 2W) Version 1.3 (Updated for BBC Wales August 2003 to include new audio standard) Version 1.3 19/08/03 © BBC 2002 1 BBC Wales Technical Standards for English Television Programme Delivery Contents CONTENTS ------------------------------------------------------------------------------------------------------------------------ 2 1 SCOPE OF DOCUMENT ------------------------------------------------------------------------------------------------- 3 2 INTRODUCTION ----------------------------------------------------------------------------------------------------------- 3 3 TECHNICAL RESPONSIBILITIES FOR PROGRAMMES---------------------------------------------------------- 4 3.1 GENERAL RESPONSIBILITIES ---------------------------------------------------------------------------------------- 4 3.2 TECHNICAL LIAISON -------------------------------------------------------------------------------------------------- 4 3.3 RELAXATION OF STANDARDS---------------------------------------------------------------------------------------- 4 4 GENERAL TECHNICAL REQUIREMENTS---------------------------------------------------------------------------- 5 4.1 VIDEO GENERAL TECHNICAL REQUIREMENTS -------------------------------------------------------------------- 5 4.2 AUDIO GENERAL TECHNICAL REQUIREMENTS -------------------------------------------------------------------- 8 -
Dylan Thomas Resources
Dylan Thomas was born on the 27th October Cwmdonkin Avenue is located in a position that 1914 at 5 Cwmdonkin Drive, a semi-detached is high above Swansea Bay. As young boy Dylan house in the Uplands area of Swansea. would have looked out on the sea every day. 1914 was a momentous year for the World The changing moods of this wide, curving seascape because of the outbreak of the Great War. would have a lasting impact on the imagination of the poet to be. His father was an English teacher and although both his parents could speak Welsh, he and his Dylan would continue to live and work for much sister Nancy were brought up as English speakers. of his life in locations with magnificent sea views. WG22992 © Hawlfraint y Goron / Crown Copyright 2014 / Crown WG22992 © Hawlfraint y Goron www.cadw.wales.gov.uk/learning At Swansea Waterfront a statue of Dylan as a young boy sits looking out over the docks and Although Dylan Thomas did not write in Welsh, at the people who stroll by. The sculptor John the inspiration for much of his work was rooted in Doubleday has shown the poet perched on the the closeness he felt for Wales, its people and its edge of his chair. He looks like he has been caught landscape. The historic town of Laugharne, with its in the moment of creative thought. magnificent castle and its swirling estuary provided him with many creative writing opportunities. He Dylan began to write at a young age. He was a wrote ‘Portrait of the Artist as a Young Dog’ from teenager when he began to keep the notebooks the gazebo that is set into the imposing walls of into which he poured his writing ideas, especially the Castle. -
BBC Cymru Wales Apprenticeship Role: Sound Apprentice Location: Roath Lock Studios, Cardiff
Sound Apprentice - Drama Company: BBC Cymru Wales Apprenticeship Role: Sound Apprentice Location: Roath Lock Studios, Cardiff About the Organisation BBC Cymru Wales is the nation's broadcaster, providing a wide range of English and Welsh language content for audiences across Wales on television, radio and on our websites Roath Lock, is the BBC's state of the art centre of excellence for Drama, a place brimming with new energy and talent. When the first productions moved into Roath Lock in September 2011, they fulfilled a BBC commitment to create a centre of excellence for Drama in Cardiff. Located in Porth Teigr, Cardiff Bay, the 170,000 square foot facility, including nine studios and equivalent in length to three football pitches, is now the permanent, purpose-built home of four flagship BBC dramas - Casualty, Pobol y Cwm, Doctor Who - as well as new productions in the future. Job Description Sound Assistants are a member of the Production Sound Crew and provide general back up and support to the Production Sound Mixer and the Boom Operator. They are responsible for checking all stock, microphones and batteries and making sure that the sound department runs as smoothly as possible. Although the work is physically demanding, the hours are long and are sometimes performed on location in extreme terrain and/or severe weather the work can be very rewarding. Sound Assistants usually begin work early arriving on set half at least an hour before call time, with the rest of the Sound Crew. They help to unload the sound van, and working with the Boom Operator, check that all equipment is prepared and fully operational. -
Poetry in Process
Poetry in Process: The Compositional Practices of D.H. Lawrence, Dylan Thomas and Philip Larkin being a thesis submitted for the Degree of Doctor of Philosophy in the University of Hull by Alexandra Mary Davies BA (University of Wales, Lampeter), MA (University of Wales, Cardiff) September 2008 i Contents Acknowledgements vi Abbreviations vii INTRODUCTION 1 I GENERAL 1. Methodologies 4 Chronology, Objective and Subjective Changes 5 Identifying Phases in the Writing Process 8 Traditional Manuscript Studies 10 French Genetic Criticism 12 Anglo-American and German Editorial Theory: The Problem of Textual 'Authority' 25 Compositional Criticism 34 'Versioning' 39 Producing an Edition 41 Editions of the Poems of Lawrence, Thomas and Larkin 42 Approaches of the Methodologies 52 Preparing an Edition of the Three Poets 57 Approaching the Drafts 59 2. Practicalities 63 'Operation Manuscript' 63 The Development of Modern Literary Manuscript Acquisition The Poetry Collection: State University of New York at Buffalo 67 The Humanities Research Centre, University of Texas at Austin 74 The Manuscripts D.H. Lawrence 75 Dylan Thomas 81 Philip Larkin 89 ii 3. Compositional Practices 103 Theories and Definitions 104 Work Routines 114 Pen(cil) on Paper 122 Attitudes to Completed/ Published Poems 129 Conclusion 131 II PARTICULAR 4. 'The Immediate Present': D.H. Lawrence 133 'Sorrow' 135 'The Inheritance' 140 'The Virgin Mother' 154 'Piano' 163 5. 'Shut...in a Tower of Words': Dylan Thomas 184 Vocation 186 'Prologue' 191 The Manuscripts of 'Prologue' 196 'Versions': The Growth of 'Prologue' 198 Early, doggerel versions 199 The Transitional Phase 206 The Final Phase 212 Thomas as a Collector of Words 213 i) Thesaurus Lists and Reference Books 217 ii) Rhyme Scheme and Form 225 iii) Intermediate Versions 230 6. -
Annual Report on the BBC 2019/20
Ofcom’s Annual Report on the BBC 2019/20 Published 25 November 2020 Raising awarenessWelsh translation available: Adroddiad Blynyddol Ofcom ar y BBC of online harms Contents Overview .................................................................................................................................... 2 The ongoing impact of Covid-19 ............................................................................................... 6 Looking ahead .......................................................................................................................... 11 Performance assessment ......................................................................................................... 16 Public Purpose 1: News and current affairs ........................................................................ 24 Public Purpose 2: Supporting learning for people of all ages ............................................ 37 Public Purpose 3: Creative, high quality and distinctive output and services .................... 47 Public Purpose 4: Reflecting, representing and serving the UK’s diverse communities .... 60 The BBC’s impact on competition ............................................................................................ 83 The BBC’s content standards ................................................................................................... 89 Overview of our duties ............................................................................................................ 96 1 Overview This is our third -
Contributions for 4 April 2019
Contributions: NAFW This note is collated and edited by NRW from submissions from Forum members and NRW staff prior to National Access Forum Meetings to facilitate the sharing of information. Contents The British Horse Society: Mark Weston .................................................................... 2 British Mountaineering Council : Elfyn Jones.............................................................. 5 Ramblers Cymru: Rebecca Brough ............................................................................ 7 Sport Wales – Steve Morgan ...................................................................................... 9 IPROW – Ruth Rourke ............................................................................................. 10 Natural Resources Wales – Mary Galliers ................................................................ 11 Natural Resources Wales – Rachel Parry ................................................................ 11 Pembrokeshire Coast National Park Authority – Anthony Richards ......................... 14 Canoe Wales: Steve Rayner OBE ............................................................................ 15 NRW & Pembrokeshire Coast National Park –Tourist Engagement Fund (RTEF) funded work 2018-2020……………………………………………………………………16 Cycling UK - Roger Geffen……………………………………………………………… 20 Visit Wales - Kerry Thatcher………………………………………………………………22 NFU Cymru - Rachel Lewis-Davies………………………………………………………24 Page 1 of 24 www.natura lresourceswales.gov.uk The British Horse Society: Mark Weston [email protected] -
904-4 BBC NR AC Wales 210612.Indd
WALES AUDIENCE COUNCIL REVIew 2011/12 a 01 Foreword by the National Trustee 02 Audience Council activity 04 Audience Council Wales report on BBC performance 09 BBC performance against Public Purposes 14 Audience priorities for 2012/13 17 Audience Council Wales 18 Contacts Cover image BBC National Orchestra of Wales at one of its concerts for special schools. FORewORD BY THE NaTIONal TRUSTee announced. This has been hugely welcomed by audiences. The Roath Lock drama production facility in Cardiff Bay, which now provides a home for Pobol y Cwm, Casualty and Doctor Who, was delivered on budget and on time. It potentially provides a huge boost for the creative industries in Wales. Following the Westminster Government’s announcement that S4C would be funded from the licence fee from 2013, I strongly welcome the new agreement reached with S4C and I look forward to the BBC and S4C exploiting future opportunities for co-operation for the creative, social, educational and “The Roath Lock drama economic benefit of audiences in Wales. production facility in Cardiff Bay, The year under review saw the departure which now provides a home for of Keith Jones as Director BBC Wales Pobol y Cwm, Casualty and Doctor and the appointment of Rhodri Talfan Davies to that post. I am grateful to Keith Who, was delivered on budget for his substantial support for the work of and on time.” Audience Council Wales and contribution to BBC Cymru Wales over many years. I warmly welcome Rhodri’s appointment The BBC’s Audience Councils advise the and look forward to working closely with Trust on how well the BBC fulfils its Public him during the months and years to come. -
Media Nations: Wales 2019
Media nations: Wales 2019 Published 7 August 2019 Overview This is Ofcom’s second annual Media Nations: Wales report. The report reviews key trends in the television and audio-visual sector as well as the radio and audio industry in Wales. It provides context to the work Ofcom undertakes in furthering the interests of consumers and citizens in the markets we regulate. In addition to this Wales report, there are separate reports for the UK as a whole, Scotland, and Northern Ireland, as well as an interactive data report. The report provides updates on several datasets, including bespoke data collected directly from licensed television and radio broadcasters (for output, spend and revenue in 2018), Ofcom’s proprietary consumer research (for audience opinions), and BARB and RAJAR (for audience consumption). It should be noted that our regulatory powers do not permit us to collect data directly from online video-on-demand and video-sharing services (such as ITV Player, Netflix, Amazon Prime Video and YouTube) for research purposes, and therefore we also use third-party sources for information relating to these services. 1 Contents Overview............................................................................................................ 2 Key points .......................................................................................................... 3 TV services and devices...................................................................................... 5 Screen viewing .................................................................................................. -
13Spring 2016
SAMPLE EDITION SPRING13 2016 THE NightwatchmanTHE WISDEN CRICKET QUARTERLY SAMPLER THE NIGHTWATCHMAN THE THE WISDEN CRICKET QUARTERLY Nightwatchman Issue 13, out now, features the following: Cricket’s past has been enriched by great writing and Wisden is making sure its future Matt Thacker introduces the 13th issue of The Nightwatchman will be too. The Nightwatchman is a quarterly collection of essays and long-form articles and Benj Moorehead on the joy of county commentaries when far from home is available in print and e-book formats. Mark Eklid revels in the ground with the crooked spire Co-edited by Anjali Doshi and Tanya Aldred, with Matt Thacker as managing editor, The Nightwatchman features an array of authors from around the world, writing beautifully and Tim Wigmore remembers the birth of Durham CCC at length about the game and its myriad offshoots. Contributors are given free rein over Phil Walker owes his adolescent pleasures to Chelmsford subject matter and length, escaping the pressures of next-day deadlines and the despair of cramming heart and soul into a few paragraphs. Brian Halford looks back on Glamorgan’s triumph of 1948 There are several different ways to get hold of and enjoy The Nightwatchman. You can Gavin Pike played in Wally Hammond’s farewell game subscribe to the print version and get a free digital copy for when you’re travelling light. If you don’t have enough room on your book case, you can always take out a digital-only Stephen Bates on two blazered Hampshire officers subscription. Or if you’d just like to buy a single issue – in print, digital or both – you can Isabelle Westbury examines the women’s county game do that too. -
The Development of Dylan Thomas' Use of Private Symbolism in Poetry A.Nne" Marie Delap Master of Arts
THE DEVELOPMENT OF DYLAN THOMAS' USE OF PRIVATE SYMBOLISM IN POETRY By A.NNE" MARIE DELAP \\ Bachelor of Arts Oklahoma State University Stillwater, Oklahoma 1964 ~ubmitted to the faculty of the Graduate College of the Oklahoma State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May, 1967 0DAHOMI STATE IJIIVERsifi'li' 1-~BR,AYRV dlNlQN THE DEVELOPMENT OF DYLAN THOMAS O USE OF PRIVATE SYMBOLISM IN POETRY Thesis Approved: n n 11,~d Dean of the Graduate College 658670 f.i PREFACE In spite of numerous explications that have been written about Dylan Thomas' poems, there has been little attention given the growth and change in his symbolism. This study does not pretend to be comprehensive, but will atte~pt, within the areas designated by the titles of chapters 2, 3, and 4, to trace this development. The terms early 129ems and later poems will apply to the poetry finished before and after 1939, which was the year of the publication of The Map tl Love. A number of Thomas• mature poems existed in manu- script form before 1939, but were rewritten and often drastically altered before appearing in their final form. .,After the funera1° ' i is one of these: Thomas conceived the idea for the poem in 1933, but its final form, which appeared in The Map .Q! ~' represents a complete change from the early notebook version. Poem titles which appear in this study have been capitalized according to standard prac- tice, except when derived from the first line of a poem; in thes,e cases only the first word is capitalized.