Where Adam Stood

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Where Adam Stood UK TV play : 1976 : dir. Brian Gibson : BBC : 76 min prod: Kenith Trodd : scr: Dennis Potter : dir.ph.: …………………………….……………………………………………………………………………… Alan Badel; Ronald Hines; Max Harris Ref: Pages Sources Stills KBytes Ω Copy on VHS Last Viewed 5147 ½ 1 0 - - - - - No unseen Halliwell's Television Companion review: [no listing in "History of Television", "How Sweet It Was" or "Television's Greatest “Dennis Potter play taken from incidents in Hits"] Edmund Gosse’s "Father and Son" about a stern Victorian papa agonising over Darwin’s Theory of Relativity. As a leading natural scientist of the day he recognises its force, as a fundamentalist christian he is committed to the literal truth of the bible; his motherless son unwittingly sharpens the dilemma. On any estimation one of the half dozen best things Potter has done – intellectually faultless, warm, tender and sly. ** ” No further information currently available. If Max Harris played the son, nothing else is known of him. Dennis Potter supplied several other titles of special interest to the archive, most notably his superb serial “The Singing Detective” (wartime boyhood guilt intertwines with adult gumshoe fantasy in the mind of a patient hospitalised with a crippling skin disease) and the less pleasing “DREAMCHILD” (an elderly Alice Liddell on her first cruise to America is haunted by disturbing recollections of her childhood acquaintance with Lewis Carroll, and nightmarish encounters with his creations). As with director Peter Greenaway, however, Potter's private preoccupations were sometimes allowed to override narrative consistency and intellectual rigour. At least, he was never less than interesting (something one could not accuse Derek Jarman of, for example). The Darwinism debate was also the touchstone of the courtroom drama “INHERIT THE WIND”, made in 1960 and as a TV movie in 1988. See those titles, and subject index under HISTORY, RELIGION and TV PLAYS. .

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Dreams of Reading: Tender Is the Night
DOCUMENT RESUME ED 293 511 IR 013 034 AUTHOR Geraghty, Christine; Simpson, Philip TITLE Dreams of Reading: Tender Is the Night. PUB DATE Jul 86 NOTE 26p.; Paper presented at the International Television Studies Conferenc e (London, England, July 10-12, 1986). PUB TYPE Guides - Non-Classroom Use (055) -- Speeches /Conference Papers (150) EDRS PRICE MF01/PCO2 Plus Postage. DESCRIPTORS Comparative Analysis; Guidelines; *Media Adaptation; *Narration; *Novels; *Programing (Broadcast); Public Television; Television Research IDENTIFIERS British Broadcasting Corporation ABSTRACT Noting that little theoretical work has been done on the processes of adapting novels for television viewing, and that what discussion there is tends to concentrate on judgments about "faithfulness" to the original, this paper suggests that more can be gained from approaching television adaptations in a less literal way, and shows how the differences and similarities between the novel and its television adaptation can be mapped out. F. Scott Fitzgerald's novel, "Tender is the Night," is offered as an example of the kind of adaptation that is an important element in British television programming, and a brief review of the BBC (British Broadcasting Corporation) and the Seventh Network, Australia, production of the novel and its exhibition history is provided as background for the textual analysis that follows. The ensuing discussion (1) raises some general questions about the differences between verbal and visual sign systems and the nature of the changes generated by the shift from words to images; (2) defines and gives examples of a number of strategies believed to be central to the process of adaptation; and (3) analyzes the complexity of the adaptation process by looking carefully at a short section of the television program.
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d Like Orson Welles, Dennis Potter (1935-94) politician who doesn’t would be negligent. This is a all but started at the top, acclaimed as one position which I suspect would find favor with Jack Hay, i of television’s greatest writers from his first yet for most of us this doesn’t seem a particularly desir - r year in the business. A BBC initiative, aimed able state of affairs. Could we ever trust a person who at developing new writers, saw four of his has spent their entire career bending the truth for what plays transmitted in 1965. These included they believe? It is surely a very slippery psychological e the two Nigel Barton plays: Stand Up Nigel slope – you might even end up believing in WMD. Barton, and VOTE VOTE VOTE For Nigel c Barton. Yet, as Barton realizes, this is not the fault of individu - als. In his final tirade it is not individual politicians he The screenplay for VOTE VOTE VOTE was criticizes, but the structural demands of politics itself. It t heavily influenced by Potter’s own experi - is the process of standing as a candidate which is cor - ence as a Labour party candidate in the rupting, irrespective of the individual. There is none of o 1964 election. Standing in the safe Tory the salvation we expect from the narrative of commer - heartland of rural Hertfordshire, Potter didn’t cial cinema. No honest man makes good in the face of stand a chance of winning. Yet his total a corrupt world. When faced with the realities of the r revulsion at the experience seems to have political machine, the honest man realizes that he must been caused by something much deeper necessarily be corrupted if he is to take part.
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