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Søren Larsen © James D Parbery 2020-2021 This Edition 22 March 2021
TIMELINE Søren Larsen © James D Parbery 2020-2021 this edition 22 March 2021 The Danes have been building wooden ships since long before the Viking Era (c.790-1100 AD) and passing on skills from father to son while refining the method and ship design through the centuries. The principal building material, oak, was seriously depleted in most European countries by the late 19th century except in Denmark where oak forests were well managed at the initiative of King Frederich VI 1768 – 1839. Consequently wooden ship building in Denmark continued well into the 20th century. Søren Larsen, launched in 1948, was one of the last of these ships built in the 20th century for commercial cargo - a Baltic trader or sejlede paket (sailing packet) as the Danes called it. The builders, Søren Larsen og Sønners, named the ship after themselves as she was exceptionally well built and the last of a kind - a ship they could name with pride. Søren Larsen now has a rich history spanning almost seventy-five years and has sailed every ocean. She is in excellent condition, still sailing, currently based in Sydney, Australia. If readers have more information, articles, photographs etc to offer please contact James Parbery; [email protected] . 1 of 23 TIMELINE Søren Larsen © James D Parbery 2020-2021 this edition 22 March 2021 THE DANISH YEARS - CARGO SHIP 1948 - 1976 1945 May 5 End of Second World War; Denmark is liberated from German occupation. Mines had been laid throughout the Danish sea lanes during the war and these remain a hazard to shipping, with a significant loss of life until at least 1950 when all mines were finally cleared. -
Accompanying Notes to the 'Exhibition': Photographs of The
Accompanying Notes to the ‘Exhibition’: Photographs of the River Exe and its flood channel as it flows through Exeter. Karen Huckvale 2005 A Brief History of the River Exe. The River Exe is close to the origin, patterns of settlement and trading heart of the city of Exeter, the route of imports, exports, waste disposal and communication. Exeter was an international trading place from pre Roman times. A considerable number of Hellenistic or Eastern Mediterranean coins have been found in excavations within the city which indicate there was trade and significant connections between the ‘Exeter’ site and with the Mediterranean countries from around 250 BCE. The people who lived in Exeter before the Romans came were a Celtic tribe known as the Dumnonii. Some of them were traders but they were mostly farming and fishing people. The Exe in those days was full of salmon and the word Exe may derive from a British word Eisca meaning, ‘a river abounding in fish.’ The Romans occupied the site in 49 AD and gave it the name of Isca Dumnoniorum meaning Isca, capital city of the Dumnonii. Then in about AD 120 they began building: houses, public buildings a regular street pattern and substantial high earth banks around the town. These were superseded in 200 AD with a wall which became the line of the medieval city walls. The Romans must also have had a bridge over the Exe. Whilst nothing remains it seems pretty certain that there was a timber bridge similar to that built over the Thames in Roman London. -
Building Public Value: Renewing the BBC for a Digital World
DP1153 BPV Frontcover.qxd 6/25/04 2:52 PM Page 1 Building public value Renewing the BBC for a digital world CONTENTS Chairman’s prologue 3 Overview and summary 5 PART I: The BBC’s purpose, role and vision 1 Why the BBC matters 25 2 Changing media in a changing society 48 3 Building public value in the future 60 4 Demonstrating public value 83 5 The breadth of BBC services 89 6 Renewing the BBC 98 7 Paying for BBC services 112 PART II: Governing the BBC 123 Conclusion 135 1 2 Chairman’s prologue The BBC does not have a monopoly on wisdom about its own future. This is a contribution to the debate over Charter renewal, not the last word. I look to a vigorous and informed public debate to produce the consensus about the future size, shape and mission of the BBC. This document is itself a consensus, arrived at after a vigorous debate inside the BBC, and represents the considered views of Governors and management. Part II – our proposals on governance – is, of course, entirely the responsibility of the Governors. At the heart of Building public value is a vision of a BBC that maintains the ideals of its founders, but a BBC renewed to deliver those ideals in a digital world. That world contains the potential for limitless individual consumer choice. But it also contains the possibility of broadcasting reduced to just another commodity, with profitability the sole measure of worth. A renewed BBC, placing the public interest before all else, will counterbalance that market-driven drift towards programme-making as a commodity. -
Spaces of Preparation: the Acton 'Hilton' and Changing Patterns of Television Drama Rehearsal
Spaces of preparation: The Acton ‘Hilton’ and changing patterns of television drama rehearsal Hewett, RJ http://dx.doi.org/10.1080/01439685.2014.937179 Title Spaces of preparation: The Acton ‘Hilton’ and changing patterns of television drama rehearsal Authors Hewett, RJ Type Article URL This version is available at: http://usir.salford.ac.uk/id/eprint/34038/ Published Date 2014 USIR is a digital collection of the research output of the University of Salford. Where copyright permits, full text material held in the repository is made freely available online and can be read, downloaded and copied for non-commercial private study or research purposes. Please check the manuscript for any further copyright restrictions. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. SPACES OF PREPARATION: THE ‘ACTON HILTON’ AND CHANGING PATTERNS OF TELEVISION DRAMA REHEARSAL (6,770 words including notes & references) Dr Richard Hewett1 Correspondence: Richard Hewett, Flat 4, 158 Muswell Hill Road, London N10 3JE, UK, Email: [email protected] Biography Richard Hewett teaches television and film at Royal Holloway, the University of London. His PhD thesis, Acting for Auntie: From Studio Realism to Location Realism in BBC Television Drama, 1953-2008, was completed in 2012 at the University of Nottingham. Publications include the article ‘Acting in the New World: Studio and Location Realism in Survivors’ for the Journal of British Cinema and Television Volume 10.2, and ‘Who is Matt Smith?: Performing the Doctor’ in O'Day, Andrew (ed.), The Eleventh Hour: A Critical Celebration of the Matt Smith and Steven Moffat Era (I.B. -
2009 Faber Catalog.Pdf
BRITISH PRINTED MUSIC PUBLISHER OF THE YEAR 2004, 2005, 2006, 2007 & 2008 About Us Faber Music Inc was founded in 1965, for the also includes a wealth of high-quality publications principal purpose of publishing the music of meeting the needs of musicians in professional, Benjamin Britten. It now enjoys a world-wide teaching and recreational environments. reputation as one of the leading independent British publishers of classical, contemporary, Faber Music’s rapidly growing media division educational, media and popular music. represents outstanding composers of music for film and television, and through its subsidiary Alongside repertory works by Vaughan Williams, Rights Worldwide Ltd offers a specialist service Holst, Britten and Arnold, its performance catalog of copyright administration to media composers features one of the most notable and envied lists and production companies. of “house” composers including Oliver Knussen, Jonathan Harvey, George Benjamin and Thomas In 2005, Faber Music bought International Music Adès. Faber Music handles the concert works Publications (the European arm of Warner Bros. of Paul McCartney, the Christmas classic ‘The Publications) and has added a large roster of Snowman’ by Howard Blake, important music names to its popular music list. In Europe, Faber theatre works such as Andrew Lloyd Webber’s represents such groups as Arctic Monkeys, Cats, and Carl Davis’s renowned scores for great Queen, Nirvana, Aerosmith and Radiohead, films of the silent era. It has also developed, and solo artists such as George Michael, Amy with a strategy founded on quality, integrity and Winehouse, Michael Buble, Kate Bush and James creativity, a superb educational music programme Blunt. -
Lake Garda, Venice & Verona
FREEYOUR COPY EXPERTS IN COACH TRAVEL SINCE 1889 Gold Coach Holidays FROM £185pp UK & Continental Coaching Holidays Summer 2020 All excursions & entrance fees INCLUDED! 40+ NEW TOURS See page 2 for details FROM £289pp FREE Home Pick-Up on holidays of 4 days or more See page 6 for details WHAT THE JUDGES WERE LOOKING FOR... The judges were not only looking for a coach tour operator COACH TOURISM’S with more than 15 tour coaches but one that could demonstrate a commitment to quality, innovation and HIGHEST ACCOLADE! training, with an excellent industry reputation, together with Everyone at Bakers Dolphin are proud to announce examples of how it developed/enhanced its offering over the that we won two prestigious awards at the March 2018 last year. British Coach Tourism Awards at their annual ceremony. Coach Operator of the Year (Large Fleet) 2018 WHAT THE JUDGES SAID... Driver of the Year - Michael Blowers Our winner in this category is one of the oldest coach operators in the country, but its presentation demonstrated It is a huge accolade from our industry and underlines how modern and up-and-coming it is – including a clear our commitment to value and service that we have investment in both new vehicles and new technology. The held dear for 130 years. judges were particularly impressed by its dedication to safety, its personal service, and its professional marketing. The judges also appreciated that it’s a holiday business that goes above and beyond the coach industry standard, which helps to raise the profile of the industry as a whole. -
The British Monarchy on Screen
The British monarchy on screen oving images of the British monarchy, in fact and fiction, are almost as M old as the moving image itself, dating back to an 1895 dramatic vignette, The Execution of Mary Queen of Scots. Led by Queen Victoria, British monarchs themselves appeared in the new ‘animated photography’ from 1896. Half a The British century later, the 1953 coronation of Elizabeth II was a milestone in the adoption of television, watched by 20 million Britons and 100 million North Americans. At the century’s end, Princess Diana’s funeral was viewed by 2.5 billion worldwide. monarchy Historians have argued that the power of the image has bolstered the British monarchy as its political power has waned, but media scholars have been slow to examine how that power has been secured by royal self-promotion, entrepreneurial on screen deference, narrative sympathy, reportorial discretion and spectacular exhibition. In the first book-length examination of film and television representations of this enduring institution, distinguished scholars of media and political history analyse the screen representations of royalty from Henry VIII to ‘William and Kate’. Among their concerns are the commercial value of royal representations, the convergence of the monarch and the movie star, and the historical use of the moving image to maintain the Crown’s legitimacy. Seventeen essays by international commentators examine the portrayal of royalty in the ‘actuality’ picture, the early extended feature, amateur cinema, Edited by Mandy Merck the movie melodrama, the Commonwealth documentary, New Queer Cinema, TV current affairs, the big screen ceremonial and the post-historical boxed set. -
Memory of the World International Register
Collection of note manuscripts and film music of Composer ARAM KHACHATURIAN (Armenia) Ref N° 2012-84 1. Summary Aram Khachaturian is a world renowned Armenian composer, who is considered as a musician of genuinely universal stature. UNESCO places the name of Khachaturian among the greatest composers of the 20-th century, and in connection with his 100th anniversary, announced 2003 the Year of Aram Khachaturian. His works are part of the world music’s “gold portfolio”, and his “Sabre Dance” of the well-known ballet “Gayane” takes one of the first places in the list of the most popular compositions of our age. A. Khachaturian has left a comprehensive musical legacy embracing almost all genres and forms. He wrote 3 ballets - “Happiness”, “Gayane” and ”Spartacus”, three concertos and three concerto-rhapsodies (for piano and orchestra, for violin and concerto, for cello and orchestra), three symphonies, a number of other orchestral works, works for soloists, chorus, and symphony orchestra, songs, incidental music for Armenian and Russian films. 21 incidental music for performances in the Armenian and Moscow theatres (“Macbeth” by William Shakespeare 1955, “King Lear” by W. Shakespeare 1958, “Masquerade” by Michael Lermontov ,1941 etc.), Recitatives and Fugues, Children`s Albums, pieces for wind-band. Khachaturian’s music sounds also in a number of foreign films, such as “The Onedin Line”, Great Britain. Among his numerous awards, there are several State Prizes of the USSR, medals, orders and diplomas from different countries and statesmen, such as Medal of Pope John XXIII (1963, Vatican). A. Khachaturian was Honored Professor of the National Italian Academy of Musical Art Santa Cecilia (Rome), German and Greece Art Academies, Armenian Academy of Sciences. -
Kenneth Mckellar Collection
Extract from the library catalogue of Scottish Music Centre Kenneth McKellar Collection Page 1 of 40 | 26. Oct. 2020 Most items (except those marked ‘withdrawn’ or ‘on order’) may be consulted in the Centre. Visitors are advised to make an appointment, especially where the items required are stored offsite. Copies of unpublished works can often be obtained from us on request. Where they are currently available from our online shop, they are indicated thus. Items marked red have been digitised. Number of matching items found: 459. Sound Effects [cb40005]) / His Master's Voice Kenneth McKellar Collection 7FX 20 recording 78 sound archive Shelfmark: light Kenneth McKellar Song Book [2] - Another Selection of his favourite songs [cb26532]) / People's Friend book ref collection Shelfmark: FS14 Oh! What a Lovely War [cb39809]) / Paramount Kenneth McKellar Collection SPFL 251 recording LP album sound archive Shelfmark: vocal - group World of your Hundred Best Tunes Vol. 2, The [cb40008]) / Decca Kenneth McKellar Collection SPA 155 recording LP album sound archive Shelfmark: compilation The Old House [cb39890]) / His Master's Voice Kenneth McKellar Collection DA 1715 recording 78 sound archive Shelfmark: RED Rigoletto [Act 2]: Ella Mi Fu Rapita! [cb39468]) / His Master's Voice Kenneth McKellar Collection DB 3903 recording 78 sound archive Basic Conversational German [cb40009]) / The Gramophone Company Kenneth Scottish Music Centre, City Halls, Candleriggs, Glasgow G1 1NQ T: 0141 552 5222 E: [email protected] W: http://www.scottishmusiccentre.com -
Chapter 9 M U S I C F O R T E L E V I S I O N
How Film & TV Music Communicate – Vol.1 Text © Brian Morrell 2013 Chapter 9 M U S I C F O R T E L E V I S I O N In this chapter I would like to examine some notable music for television dramas and documentaries. Key to the chapter is how music serves and enhances the narrative of the film and in particular how specific compositional styles, contexts, harmonies, textures and production methods work. Music analysed includes: 24 (Sean Callery) Waking the Dead (Paul Hart) Spooks (Jennie Musket) Torchwood (Ben Foster and Murray Gold) Survivors (Edmund Butt) Six Feet Under (Thomas Newman) Band of Brothers (Michael Kamen) Police Squad (Ira Newborn) This Is Your Life (Laurie Johnson) Vincent (Rob Lane) Sherlock (Michael Price and David Arnold) Rubicon (Peter Nashell) Walking with Dinosaurs (Ben Bartlett) Batman (Neil Hefti) Click (Kevin Leavy) Who wants to be a Millionaire? (Keith Strachan and Mathew Strachan) Frost (John Hiseman and Barbara Thompson) Golapogas Documentary (Paul Leonard Morgan) The Onedin Line (Aram Ilyich Khachaturian) GBH (Richard Harvey and Elvis Costello) In every successful composer’s work there is a consistency of stylisation, approach or method. Even within the most seemingly eclectic and varied music for television and film there is a consistency; a recognisable thread running through it. This consistency is usually the reason for a composer’s success. It’s not just that they are ‘good’ (because, in the final analysis, what is ‘good’?) it’s that they have a style which is effective, works and which is recognisable. Often a specific and identifiable harmonic approach is embedded in the score, and this can leave a composer relatively free to explore and utilise a different instrumental textures and sounds. -
Collective Cultural Memory As a TV Guide
ACTA UNIV. SAPIENTIAE, FILM AND MEDIA STUDIES, 14 (2017) 71–94 DOI: 10.1515/ausfm-2017-0004 Collective Cultural Memory as a TV Guide: “Living” History and Nostalgia on the Digital Television Platform Berber Hagedoorn University of Groningen (NL) E-mail: [email protected] Abstract: Modern audiences engage with representations of the past in a particular way via the medium of television, negotiating a shared understanding of the past. This is evidenced by the increasing popularity of reboots, newly developed history and documentary programming, re-use of archival footage and nostalgia content. This article takes a closer look at television’s abilities to circulate and contextualize the past in the current era of convergence through narrowcasting or niche programming on digital television platforms, specifically via nostalgia programming. Such platforms exemplify the multifaceted way of looking at and gaining access to television programming through a variety of connected platforms and screens in the current multi-platform era. Since the way in which television professionals (producers, schedulers, commissioners, researchers) act as moderators in this process needs to be further analysed, the article places an emphasis on how meaningful connections via previously broadcast history and nostalgia programming are also curated, principally through scheduling and production practices for niche programming – key elements in television’s creative process that have received less academic attention. Furthermore, the article discusses to what extent media policy in the Netherlands is attuned to the (re-)circulation of previously broadcast content and programming about past events, and reflects on television’s possibilities for “re-screening” references to the past in the contemporary media landscape. -
THE YEAR of the LIFEBOAT Volume XLIII Number 447 Spring
THE YEAR OF THE LIFEBOAT Volume XLIII Number 447 Spring 1974 15p durability THE LIFEBOAT Spring 1974 Contents Notes of the Quarter by the Editor .. .. .. .. .. 117 The Modern Lifeboat Exhibition .. .. .. .. .. 118 Volume XLIII Birthday and New Year Honours .. .. .. .. .. 118 The Past—On Call by Commander Paul C. Chapman, QBE, RN, DSO, Number 447 DSC 119 Price 15p Douglas, Isle of Man—Birthplace of the RNLI by Joan Davies .. 120 Lifeboat International by Commander Peter D. Sturdee, OBE, RN .. 126 Chairman: COMMANDER F. R. H. SWANN, CBE, RNVR Profiles 128 Director and Secretary: International Boat Show 1974 129 CAPTAIN NIGEL D1XON, RN New Equipment—from the Boat Show .. .. .. .. .. 130 Lifeboat Services .. .. .. .. .. .. .. .. 132 THE YEAR Book Reviews .. .. .. .. .. .. .. ., 138 Central Appeals Committee .. .. .. .. .. .. 139 OF THE Some Ways of Making Money .. .. .. .. .. .. 140 LIFEBOAT Lifeboat People 142 Letters 143 1824-1974 Shoreline Section .. .. .. .. .. .. 144 Lives Saved: Societe Nationale de Sauvetage en Mer .. .. .. .. 145 Awards to Coxswains and Crews .. .. .. .. .. 146 98,500 Lifeboat Launches .. .. .. .. .. .. .. 149 ILB Launches 150 All editorial material submitted for Shoreline Organising Secretary: G. R. consideration with a view to publication (Bob) Walton, 29a Castle Street, in the journal should be addressed to Salisbury, Wiltshire (Telephone Salis- Editor: the Editor, THE LIFEBOAT, Royal National bury 6966). Life-Boat Institution, West Quay Road, PATRICK HOWARTH Poole, Dorset, BH15 1HZ (Telephone A year's subscription of four issues Assistant Editor: Poole71133). costs 88p, including postage, but those Photographs intended for return should who are entitled to receive THE LIFEBOAT JOAN DAVIES be accompanied by a stamped and free of charge will continue to do so.