DOCSLIB.ORG

The Language of Evaluation on Twitter During the 2019 UK General Election

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Language of Evaluation on Twitter During the 2019 UK General Election “He just doesn’t care”: The Language of Evaluation on Twitter during the 2019 UK General Election Claire Mackay Master’s Programme in English Studies Faculty of Arts University of Helsinki May 2021 Tiedekunta – Fakultet – Faculty Koulutusohjelma – Utbildningsprogram – Degree Programme Faculty of Arts Master’s Programme in English Studies Opintosuunta – Studieinriktning – Study Track English Philology Tekijä – Författare – Author Claire Mackay Työn nimi – Arbetets titel – Title “He just doesn’t care”: The Language of Evaluation on Twitter during the 2019 UK General Election Työn laji – Arbetets art – Level Aika – Datum – Month and year Sivumäärä– Sidoantal – Number of pages Master’s Thesis May 2021 65 Tiivistelmä – Referat – Abstract The language of evaluation enables us to share opinions, cement values, and create interpersonal meaning. It is a fundamental aspect of both social media communication and political discourse. This study uses Martin and White’s (2005) Appraisal Framework to investigate how political actors use evaluation to express emotions and confer judgement in their attempts to increase support on social media. Drawing on a corpus of 1,212 tweets from Boris Johnson and Jeremy Corbyn during the 2019 British General Election campaign, this study focuses on how the individual politicians use ATTITUDE to build positive-self and negative-other evaluations. The analysis then considers the wider performance of populism in political discourse by examining positive appraisals of the people, presented against negative judgements of a corrupt elite. Finally, the thesis explores how specific Twitter features can be incorporated into the Appraisal Framework to better capture evaluation in tweets as complete objects. Contrary to expectations about the prevalence of negative messaging in electoral campaigns, the findings show that both candidates preferred to post positive evaluations on Twitter. Corbyn favoured judgements of his party that empathised their moral superiority (PROPRIETY), and Johnson praised his party for their ability to negotiate a departure from the EU (CAPACITY). Both candidates performed elements of populism, but the presentation and evaluation of the people was very different, with Johnson performing an exclusionary form of populism and Corbyn presenting a more inclusionary form. Whilst there are challenges in applying the Appraisal Framework to online campaigning, the results give a much more nuanced understanding of the evaluation inherent to this discourse than automated sentiment analysis is able to, particularly in identifying the interplay of positive-self and negative-other evaluation. However, Appraisal reaches beyond the text, and many features were present in the media attached to the tweets, and future studies would benefit from incorporating these aspects into the analysis. The evaluative force of other resources, such as emoji and hashtags, and Twitter practices, such as retweeting, should similarly not be underestimated, and this study concludes by suggesting how these aspects can be brought into the Appraisal Framework. Avainsanat – Nyckelord – Keywords Appraisal Framework, Evaluation, Twitter, Political discourse, Brexit, Populism Säilytyspaikka – Förvaringställe – Where deposited University of Helsinki digital archive HELDA (E-thesis) Muita tietoja – Övriga uppgifter – Additional information Contents 1. Introduction ......................................................................................................................... 1 1.1 Research questions ................................................................................................................. 3 2. Background .......................................................................................................................... 4 2.1 The Appraisal Framework ....................................................................................................... 4 2.1.1 ATTITUDE ........................................................................................................................... 4 2.1.2 ENGAGEMENT ..................................................................................................................... 8 2.1.3 GRADUATION .................................................................................................................... 10 2.2 Political campaigning on Twitter........................................................................................... 11 2.3 The Performance of Populism............................................................................................... 13 2.4 Previous studies .................................................................................................................... 14 3. Method .............................................................................................................................. 16 3.1 Data ....................................................................................................................................... 16 3.2 ATTITUDE and targets of appraisal .......................................................................................... 16 3.3 Layers of Appraisal ................................................................................................................ 18 3.4 Evaluation outside the text ................................................................................................... 20 4. Results ............................................................................................................................... 23 4.1 Positive Appraisals ................................................................................................................ 24 4.2 Negative evaluation .............................................................................................................. 26 4.3 Topic Orientated Appraisal ................................................................................................... 28 4.4 INSCRIBED ATTITUDE .................................................................................................................. 29 5. Discussion and Analysis ...................................................................................................... 33 5.1 Positive self and negative other evaluation .......................................................................... 33 5.1.1 Johnson’s evaluative style ............................................................................................. 33 5.1.2 Corbyn’s evaluative style .............................................................................................. 36 5.2 The Performance of Populism............................................................................................... 39 5.2.1 People-centric ............................................................................................................... 39 5.2.2 Anti-elite........................................................................................................................ 42 5.3 Applying Appraisal to political Twitter .................................................................................. 44 5.3.1 Retweets: Amplification of Other Voices ...................................................................... 44 5.3.2 Mentions and Hashtags: Interactivity and Imagined Audiences .................................. 46 5.3.3 External links: Evidentiality and Intertextuality ............................................................ 48 5.3.4 Emojis: Gesture as Text ................................................................................................. 49 5.3.5 Typography: Prosody as Text ........................................................................................ 51 5.3.5 Multimedia .................................................................................................................... 52 6. Conclusion .......................................................................................................................... 55 7. References ......................................................................................................................... 58 1. Introduction Social media has changed the way political parties conduct their election campaigns, and the relationship between “content, emotions, and user engagement is a central question for the under- standing of politics in the digital era” (Gerbaudo et al. 2019: 1). Twitter “offers a fertile ground for self- presentation” and is considered by many “to be the preferred ‘political’ medium” (Kissas 2020: 272) as it provides a rapid, unmediated channel to distribute opinions to a wide audience. A number of studies look at how politicians’ use of social media may influence voters (Bright et al. 2020, Barberá et al. 2015) or examine the link between populism and various platforms (De Luca 2021, Kissas 2020, March 2017). Fewer studies focus on the role of evaluative language in achieving these ends (Breeze 2019 & 2020, Gerbaudo et al. 2019, Hoffman 2018, Gross & Johnson 2016), so this study looks to close this gap by exploring how political actors use appraisal to increase support on social media. Using Martin and White’s (2005) Appraisal Framework, this analysis focuses on how emotion is expressed, and judgements proclaimed, in the tweets of the two main candidates in the 2019 UK General Election: Boris Johnson and Jeremy Corbyn. The snap General Election in 2019 may represent “one of the highest moments of political conflict in the UK” (De Luca
Load more

Recommended publications
  • Direito E Cinema Penal E Arte / Renato Bernardi, Daniela Aparecida Rodrigueiro, Fernanda De Matos Lima Madrid & Livia Carla Silva Rigão, Organizadores
    1 ©2019 - Programa de Pós-Graduação em Ciência Jurídica da UENP Anais do V Simpósio Regional Direito e Cinema em Debate Renato Bernardi, Daniela Aparecida Rodrigueiro, Fernanda de Matos Lima Madrid & Livia Carla Silva Rigão (Coordenadores) Universidade Estadual do Norte do Paraná (Editor) Renato Bernardi Coordenador Geral do Simpósio Regional Direito e Cinema em Debate Comissão Científica do V DIRCIN Prof. Dr. Ricardo Pinha Alonso (UNIVEM) Prof. Me. Adriano Aranão (UNIFIO) Profª. Drª. Carla Bertoncini (UENP) Profª. Drª. Mércia Miranda Vasconcellos (FANORPI) Dados Internacionais de Catalogação na Publicação (CIP) ___________________________________________________________________________ Direito e Cinema Penal e Arte / Renato Bernardi, Daniela Aparecida Rodrigueiro, Fernanda de Matos Lima Madrid & Livia Carla Silva Rigão, organizadores. – 1. ed. – Jacarezinho, PR: UENP & PROJURIS, 2019. (Anais do V Simpósio Regional Direito e Cinema em Debate) Vários autores Bibliografia ISBN 978-85-62288-78-4 1. Direito e Cinema Penal e Arte CDU-34 Índice para catálogo sistemático 1. Ciências Sociais. Direito. Lei em geral, métodos jurídicos e ciências auxiliares. 34 As ideias veiculadas e opiniões emitidas nos capítulos, bem como a revisão dos mesmos, são de inteira responsabilidade de seus autores. É permitida a reprodução dos artigos desde que seja citada a fonte. SUMÁRIO A 13ª EMENDA COMO POLÍTICA CRIMINAL-ECONÔMICA DOS ESTADOS UNIDOS..7 Jocelino Junior da SILVA ABUTRES EM BUSCA DE SANGUE LUCRATIVO..................................................................19
    [Show full text]
  • Television Sharknados and Twitter Storms
    Television Sharknados and Twitter Storms: Cult Film Fan Practices in the Age of Social Media Branding Stephen William Hay A thesis submitted to Victoria University of Wellington in fulfilment of the regulations for the degree of Master of Arts in Media Studies Victoria University of Wellington 2016 Abstract This thesis examines the Syfy channel’s broadcast of the television movie Sharknado and the large number of tweets that were sent about it. Sharknado’s audience engaged in cult film viewing practices that can be understood using paracinema theory. Paracinema engagement with cult films has traditionally taken place in midnight screenings in independent movie theatres and private homes. Syfy’s audience was able to engage in paracinematic activity that included making jokes about Sharknado’s low quality of production and interacting with others who were doing the same through the affordances of Twitter. In an age where branding has become increasingly important, Syfy clearly benefited from all the fan activity around its programming. Critical branding theory argues that the value generated by a business’s brand comes from the labour of consumers. Brand management is mostly about encouraging and managing consumer labour. The online shift of fan practices has created new opportunities for brand managers to subsume the activities of consumers. Cult film audience practices often have an emphasis on creatively and collectively engaging in rituals and activities around a text. These are the precise qualities that brands require from their consumers. Sharknado was produced and marketed by Syfy to invoke the cult film subculture as part of Syfy’s branding strategy.
    [Show full text]
  • Television Academy Awards
    2019 Primetime Emmy® Awards Ballot Outstanding Comedy Series A.P. Bio Abby's After Life American Housewife American Vandal Arrested Development Atypical Ballers Barry Better Things The Big Bang Theory The Bisexual Black Monday black-ish Bless This Mess Boomerang Broad City Brockmire Brooklyn Nine-Nine Camping Casual Catastrophe Champaign ILL Cobra Kai The Conners The Cool Kids Corporate Crashing Crazy Ex-Girlfriend Dead To Me Detroiters Easy Fam Fleabag Forever Fresh Off The Boat Friends From College Future Man Get Shorty GLOW The Goldbergs The Good Place Grace And Frankie grown-ish The Guest Book Happy! High Maintenance Huge In France I’m Sorry Insatiable Insecure It's Always Sunny in Philadelphia Jane The Virgin Kidding The Kids Are Alright The Kominsky Method Last Man Standing The Last O.G. Life In Pieces Loudermilk Lunatics Man With A Plan The Marvelous Mrs. Maisel Modern Family Mom Mr Inbetween Murphy Brown The Neighborhood No Activity Now Apocalypse On My Block One Day At A Time The Other Two PEN15 Queen America Ramy The Ranch Rel Russian Doll Sally4Ever Santa Clarita Diet Schitt's Creek Schooled Shameless She's Gotta Have It Shrill Sideswiped Single Parents SMILF Speechless Splitting Up Together Stan Against Evil Superstore Tacoma FD The Tick Trial & Error Turn Up Charlie Unbreakable Kimmy Schmidt Veep Vida Wayne Weird City What We Do in the Shadows Will & Grace You Me Her You're the Worst Young Sheldon Younger End of Category Outstanding Drama Series The Affair All American American Gods American Horror Story: Apocalypse American Soul Arrow Berlin Station Better Call Saul Billions Black Lightning Black Summer The Blacklist Blindspot Blue Bloods Bodyguard The Bold Type Bosch Bull Chambers Charmed The Chi Chicago Fire Chicago Med Chicago P.D.
    [Show full text]
  • City Research Online
    CORE Metadata, citation and similar papers at core.ac.uk Provided by City Research Online City Research Online City, University of London Institutional Repository Citation: Littler, J. ORCID: 0000-0001-8496-6192 (2019). Mothers behaving badly: chaotic hedonism and the crisis of neoliberal social reproduction. Cultural Studies, doi: 10.1080/09502386.2019.1633371 This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/22421/ Link to published version: http://dx.doi.org/10.1080/09502386.2019.1633371 Copyright and reuse: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. City Research Online: http://openaccess.city.ac.uk/ [email protected] Forthcoming in Cultural Studies 2019 Mothers behaving badly: Chaotic hedonism and the crisis of neoliberal social reproduction Jo Littler This article focuses on the significance of the plethora of representations of mothers ‘behaving badly’ in contemporary anglophone media texts, including the films Bad Moms, Fun Mom Dinner and Bad Mom’s Christmas, the book and online cartoons Hurrah for Gin and the recent TV comedy dramas Motherland, The Let Down and Catastrophe. All these media texts include representations of, first, mothers in the midst of highly chaotic everyday spaces where any smooth routine of domesticity is conspicuous by its absence; and second, mothers behaving hedonistically, usually through drinking and partying, behaviour that is more conventionally associated with men or women without children.
    [Show full text]
  • Fore- Verbatim Inside
    VOLUME 52, ISSUE 12 MONDAY, JANUARY 14, 2018 WWW.UCSDGUARDIAN.ORG NATIONAL PHOTOTHE US TEASE AND !"#$%&'()*)+,-.,/-+% MEXICOGOES BORDERHERE !*0/*01-*1'%2),3% 41'1-.5%#36,'/2* The impact of the current federal government shutdown on campus has been mostly limited to research grants. !"##$%&'()#*+ !"#$%&'($&#)*+%&$,% he partial U.S. government shutdown could have a direct effect on some of PHOTO BY NAME HERE /GUARDIAN TUC San Diego’s federally funded An on-campus contracts and grants. Most CAPTION PREVIEWING researchers will be able to continue THEteach-in ARTICLE explainsPAIRED WITH A student examines fowers at the Farmer’s Market in Town Square. UCSD Guardian // Photo by Michael Ciaglo the recent San Diego working, but some may be sent stop THE PHOTO TEASE. FOR work orders by their respective EXAMPLE IF THE PHOTO border closure and CAMPUS sponsoring federal agency. Research WEREaims OF to A educate BABY YOU funded by the National Science WOULD SAY “BABIES SUCK! students about #191*,3%"/551;1%>31(1?%@/6+)*;%&**/6*01'%.,%>/2*%@.55 Foundation, National Aeronautics THEY ARE WEAK AND immigration. !,#-,.('#/+0'12##-,./*01&$"% and Space Administration, National Oceanic and Atmospheric 4:?-869F##7$J:##HFeatures, page 6 he Academic Affairs Department held a town from other courses … they will focus on problems and hall meeting on Jan. 8 at the Great Hall that projects that are addressing problems,” Moore said. Administration, Department ?$43$5#4:K outlined construction and curriculum plans “Some of them will involve community and group of Justice, and Department of 343$55"##6789869##-:$4: Tfor the two new colleges that will be added to UC San projects.” Homeland Security could be >*"##-6##!:##L6<:##M6?$5 impacted.
    [Show full text]
  • Presents a Film by Michael Winterbottom 104 Mins, UK, 2019
    Presents GREED A film by Michael Winterbottom 104 mins, UK, 2019 Language: English Distribution Publicity Mongrel Media Inc Bonne Smith 217 – 136 Geary Ave Star PR Toronto, Ontario, Canada, M6H 4H1 Tel: 416-488-4436 Tel: 416-516-9775 Fax: 416-516-0651 Twitter: @starpr2 E-mail: [email protected] E-mail: [email protected] www.mongrelmedia.com Synopsis GREED tells the story of self-made British billionaire Sir Richard McCreadie (Steve Coogan), whose retail empire is in crisis. For 30 years he has ruled the world of retail fashion – bringing the high street to the catwalk and the catwalk to the high street – but after a damaging public inquiry, his image is tarnished. To save his reputation, he decides to bounce back with a highly publicized and extravagant party celebrating his 60th birthday on the Greek island of Mykonos. A satire on the grotesque inequality of wealth in the fashion industry, the film sees McCreadie’s rise and fall through the eyes of his biographer, Nick (David Mitchell). Cast SIR RICHARD MCCREADIE STEVE COOGAN SAMANTHA ISLA FISHER MARGARET SHIRLEY HENDERSON NICK DAVID MITCHELL FINN ASA BUTTERFIELD AMANDA DINITA GOHIL LILY SOPHIE COOKSON YOUNG RICHARD MCCREADIE JAMIE BLACKLEY NAOMI SHANINA SHAIK JULES JONNY SWEET MELANIE SARAH SOLEMANI SAM TIM KEY FRANK THE LION TAMER ASIM CHAUDHRY FABIAN OLLIE LOCKE CATHY PEARL MACKIE KAREEM KAREEM ALKABBANI Crew DIRECTOR MICHAEL WINTERBOTTOM SCREENWRITER MICHAEL WINTERBOTTOM ADDITIONAL MATERIAL SEAN GRAY EXECUTIVE PRODUCER DANIEL BATTSEK EXECUTIVE PRODUCER OLLIE MADDEN PRODUCER
    [Show full text]
  • Quirky Comedies
    What to Binge When You're Stuck at Home: Quirky Comedies 03.17.2020 When a shelter-in-place order is just around the corner, an irrelevant and likely British comedy is just the thing to get your mind off the state of the world. Good thing today's sheer tonnage of television has allowed many unique comedy voices to offer their take on things. The world views of people like Phoebe Waller-Bridge and Sharon Horgan aren't always the perkiest, but their dark humor will likely be a perfect match for your own during what sure feels like a dark time. Below we give the show's primary subscription streaming service but most shows are also available for purchase by episode or by season on iTunes, Google Play, Amazon Prime or YouTube. FX's Better Things Auteur Pamela Adlon plays single mom and working actor Sam Fox who is raising three daughters in sunny, funny Los Angeles while looking after her somewhat addled mother, Phil (Celia Imrie) who lives (conveniently?) across the street. Available on FX on Hulu. Hulu's Casual Newly divorced Valerie (Michaela Watkins) is trying to explore her new single life and she's doing it alongside her brother, Alex (Tommy Dewey) while they both help her daughter, Laura (Tara Lynne Barr), as she experiences the pain of adolescence. The show is created by Zander Lehman and directed by Jason Reitman. All four seasons, composed of eight episodes each, are available on Hulu. Amazon Prime's Catastrophe One person's catastrophe is another's opportunity to get married and start a family? That's the premise of this Brit-com from Sharon Horgan, who stars with Rob Delaney as an Irish lass who has a fling with a traveling American only to discover that she's pregnant.
    [Show full text]
  • Labour Party General Election 2017 Report Labour Party General Election 2017 Report
    FOR THE MANY NOT THE FEW LABOUR PARTY GENERAL ELECTION 2017 REPORT LABOUR PARTY GENERAL ELECTION 2017 REPORT Page 7 Contents 1. Introduction from Jeremy Corbyn 07 2. General Election 2017: Results 11 3. General Election 2017: Labour’s message and campaign strategy 15 3.1 Campaign Strategy and Key Messages 16 3.2 Supporting the Ground Campaign 20 3.3 Campaigning with Women 21 3.4 Campaigning with Faith, Ethnic Minority Communities 22 3.5 Campaigning with Youth, First-time Voters and Students 23 3.6 Campaigning with Trade Unions and Affiliates 25 4. General Election 2017: the campaign 27 4.1 Manifesto and campaign documents 28 4.2 Leader’s Tour 30 4.3 Deputy Leader’s Tour 32 4.4 Party Election Broadcasts 34 4.5 Briefing and Information 36 4.6 Responding to Our Opponents 38 4.7 Press and Broadcasting 40 4.8 Digital 43 4.9 New Campaign Technology 46 4.10 Development and Fundraising 48 4.11 Nations and Regions Overview 49 4.12 Scotland 50 4.13 Wales 52 4.14 Regional Directors Reports 54 4.15 Events 64 4.16 Key Campaigners Unit 65 4.17 Endorsers 67 4.18 Constitutional and Legal services 68 5. Labour candidates 69 General Election 2017 Report Page 9 1. INTRODUCTION 2017 General Election Report Page 10 1. INTRODUCTION Foreword I’d like to thank all the candidates, party members, trade unions and supporters who worked so hard to achieve the result we did. The Conservatives called the snap election in order to increase their mandate.
    [Show full text]
  • VIRGIN TV BRITISH ACADEMY TELEVISION AWARDS: NOMINATIONS 11 April 2017
    VIRGIN TV BRITISH ACADEMY TELEVISION AWARDS: NOMINATIONS 11 April 2017 COMEDY & COMEDY ENTERTAINMENT PROGRAMME CHARLIE BROOKER’S 2016 WIPE Production Team - House of Tomorrow/BBC Two CUNK ON SHAKESPEARE Charlie Brooker, Annabel Jones, Sam Ward, Lorry Powles - House of Tomorrow/BBC Two THE LAST LEG Production Team - Open Mike Productions/Channel 4 TASKMASTER Alex Horne, Andy Cartwright, Andy Devonshire - Avalon/Dave CURRENT AFFAIRS INSIDE OBAMA’S WHITE HOUSE Norma Percy, Brian Lapping, Paul Mitchell, Sarah Wallis - Brook Lapping/BBC Two TEENAGE PRISON ABUSE EXPOSED (PANORAMA) Production Team - BBC Productions/BBC One THREE DAYS OF TERROR: THE CHARLIE HEBDO ATTACKS (THIS WORLD) Dan Reed, Mark Towns, Luc Hermann - AMOS Pictures/BBC Two UNARMED BLACK MALE (THIS WORLD) James Jones, Sarah Foudy, Sarah Waldron, Sam Bagnall - BBC Current Affairs/BBC Two DRAMA SERIES THE CROWN Production Team - Left Bank Pictures/Netflix THE DURRELLS Production Team - Sid Gentle Films Ltd/Masterpiece/ITV HAPPY VALLEY Sally Wainwright, Juliet Charlesworth, Nicola Shindler, Neasa Hardiman - Red Production Company/BBC One WAR & PEACE Production Team - BBC Studios/BBC Wales/Lookout Point/TWC/BBC One ENTERTAINMENT PERFORMANCE ADAM HILLS The Last Leg - Open Mike Productions/Channel 4 CLAUDIA WINKLEMAN Strictly Come Dancing - BBC Studios/BBC One GRAHAM NORTON The Graham Norton Show - So Television/BBC One MICHAEL MCINTYRE Michael McIntyre's Big Show - Hungry McBear/BBC One ENTERTAINMENT PROGRAMME ANT & DEC’S SATURDAY NIGHT TAKEAWAY Production Team - ITV Studios/Mitre
    [Show full text]
  • Conservative Party's Election 2020 Digital Strategy Valent Projects Key
    Conservative Party’s Election 2020 Digital Strategy Valent Projects Key Observations: • The Tory party has radically changed its view of political affiliation in the UK. It sees Brexit as a catalyst that bought cultural belonging and identity to the fore more prominently than socio-economic class. In the 2019 election, it decided to rely heavily on digital communication and data to capitalise on this shift. • In the 2019 election, the Conservative campaign used digital media to persuade voters outside of their traditional supporter groups • Conservative Party’s activities on Facebook and their legal disclaimers suggest they are adopting data collection and analysis practices Labour would find objectionable. Labour’s data capabilities are, however, woefully out of date. The challenge is to upscale Labour’s approach to data in an ethical and legal framework • Boris Johnson effectively started the election campaign when he became prime minster on July 23. A campaign lead was approached a day later, and Facebook data harvesting began immediately • The Tory campaign’s structures were designed from the outset to; o place digital operations at the heart of the campaign o maintain message discipline o improve local campaigns’ ability to generate messaging o react quickly and decisively to events • The Conservative Party – and Boris Johnson in particular – had a strained relationship with the mainstream news media during the campaign. It is very likely traditional media was not seen as a priority route to audiences. It was instead used as a stage to capture content that was then targeted at key audiences on digital platforms • Misrepresentation was a recurring theme of the Tory campaign.
    [Show full text]
  • Bafta Rocliffe New Comedy Showcase
    The BAFTA Rocliffe partnership holds four developmental Presenter and Rocliffe Producer BAFTA ROCLIFFE writing events annually in the UK and in the US. 2014 sees two FARAH ABUSHWESHA [email protected] forums focusing on television comedy at the Guardian Edinburgh NEW COMEDY SHOWCASE 2014 sees two forums focusing on television comedy at the Guardian International Television Festival in August, as well as for a fourth Event Producer KAM KANDOLA FLYNN Edinburgh International Television Festival in August, as well as for a fourth consecutive year at the New York Television Festival in October. [email protected] with special guests SHARON HORGAN, ROB DELANEY, consecutive year at the New York Television Festival in October. Our Our next London event in September will focus on writing for Event Producer next London event in September will focus on writing for children and in children and in December we hold our annual film forum. JULIA CARRUTHERS MYFANWY MOORE and AMY HARTWICK December we hold our annual film forum. [email protected] A huge thank you to our script selection panel and jurors for their Event Producer THURSDAY 21 AUGUST 2014 role in selecting the featured extracts. They included Alex Moody, BRADLEY DOWN GUARDIAN EDINBURGH INTERNATIONAL TELEVISION FESTIVAL Anil Gupta, Arabella McGuigan, Ben Boyer, Ben Caudell, Ben [email protected] Farrell, Caroline Norris, Chantelle Woodnutt, Chris Sussman, Director Dan Hine, Dan March, David Freedman, David Quantick, SUSAN JACOBSON [email protected] Dawson Brothers, Elaine Gracie, Fiona McDermott, Jack Bayles, The BAFTA Rocliffe New Comedy Showcase, now in its Jamie Jay Johnson, Jon Wakeham, Kate Leys, Katie Boyles, Kevin Casting CATHERINE WILLIS fifteenth year, is a platform for new writing and networking.
    [Show full text]
  • Entertained at Home – New Online Ideas from Comedians to Help with the Lockdown Boredom and the Best on Demand Stand-Up and Tv Comedy
    ENTERTAINED AT HOME – NEW ONLINE IDEAS FROM COMEDIANS TO HELP WITH THE LOCKDOWN BOREDOM AND THE BEST ON DEMAND STAND-UP AND TV COMEDY From setting online tasks to locked down families, to new podcasts to raise the spirits, or reliving the fun of a trip to the theatre for a stand-up show and discovering an acclaimed box set. Below is a guide to what’s there and how to find them. This will be updated intermittently on our press centre here. ONLINE Alex Horne – Home Tasking (Twitter @AlexHorne) “Taskmaster is one of the most consistently funny comedy game shows on television” ★★★★ Sarah Hughes, The I Alex Horne (creator and star of Emmy and Bafta nominated Taskmaster) will be setting tasks from home to keep families entertained and as a nice diversion from everything that’s happening in the news. Using the hashtag #HomeTasking, Alex will set a brand new task at 9am on Monday, Wednesday, and Friday starting this week to coincide with kids being at home from the school closures. Greg Davies will be reprising his role at The Taskmaster and will be scoring people’s entries with points awarded and a winner announced each week. You can watch Alex explain Home Tasking here Iain Stirling – Gaming (Twitch @iainstirling) “At his best the Edinburgh native is an unhinged free-form anecdotist” ★★★★ Mark Wareham, The Mail On Sunday BAFTA-winning comedian Iain Stirling (Love Island, Taskmaster) is welcoming the public to join him playing on the world’s leading streaming service for gamers, Twitch from Monday to Wednesday at 7pm.
    [Show full text]