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Michael Gaunt
MICHAEL GAUNT Tel/Fax: +44 (0)1483 771950 E-Mail: [email protected] ACTING Summary of roles from 1960 0nwards: FILM CREDITS INCLUDE: DIRECTOR ALL MEN ARE MORTAL Mayor of Rouen Nova Films Ate De Jong ROYAL CELEBRATION Neighbour BBC (Screen 2) Ferdinand Fairfax MAGGIE’S BABY Magistrate BBC (Screen 2) George Case T.V. CREDITS INCLUDE: VAN DER VALK Neighbour LWT Herbert Wise SOMEWHERE TO RUN Business man LWT Carol Wiseman NUMBER 27 Maitre’D BBC (Screen 2) Tristram Powell OSCAR WILDE (DE PROFUNDIS) Prison Doctor BBC Henry Herbert HAZELL (SUFFOLK GHOST) Peter Thames Mike Vardy BLAKE’S SEVEN (4 Episodes) Dr Bax BBC Vere Lorrimer JACKANORY (15 Stories) Story Teller BBC Anna Home/Jeremy Swan PREVIOUS T.V. CREDITS INCLUDE: LILLIE (JERSEY LILY) Lord Randolph Churchill LWT John Gorrie SWEETHEARTS Harold (Improvised) Anglia Peter Townley SOFTLY, SOFTLY (2 Series) Det Const Timms BBC Vere Lorrimer/ Roger Jenkins/ Leonard Lewis DIXON OF DOCK GREEN (2 Eps) Constable BBC Vere Lorrimer THE BROTHERS (2 Episodes) Bunny (Pilot) BBC Vere Lorrimer / Lenny Mayne HONEY LANE (2 Episodes) Antique dealer ATV Kevin Sheldon COUNTERSTRIKE News Reader BBC Vere Lorrimer REDCAP Lieutenant Corner ABC Guy Verney DIAL ‘M’ FOR MURDER Det Williams Redifusion John Moxey DEAD SILENCE(Armchair Theatre) Det Const Harris ABC John Moxey JAMIE Sir William Hewer LWT David Coulter THE HIGHER THEY FLY Perkins (Navigator) ABC Guy Verney (Armchair Theatre) HENRY VIII Cryer BBC Kevin Billington WRONG FOR FIVE HUNDRED Alex Prior ABC Ernest Maxin THE LINE MUST BE DRAWN Smith BBC Andrew -
Harold Pinter's Transmedial Histories
Introduction: Harold Pinter’s transmedial histories Article Published Version Creative Commons: Attribution 4.0 (CC-BY) Open Access Bignell, J. and Davies, W. (2020) Introduction: Harold Pinter’s transmedial histories. Historical Journal of Film, Radio & Television, 40. pp. 481-498. ISSN 1465-3451 doi: https://doi.org/10.1080/01439685.2020.1778314 Available at http://centaur.reading.ac.uk/89961/ It is advisable to refer to the publisher’s version if you intend to cite from the work. See Guidance on citing . To link to this article DOI: http://dx.doi.org/10.1080/01439685.2020.1778314 Publisher: Taylor & Francis All outputs in CentAUR are protected by Intellectual Property Rights law, including copyright law. Copyright and IPR is retained by the creators or other copyright holders. Terms and conditions for use of this material are defined in the End User Agreement . www.reading.ac.uk/centaur CentAUR Central Archive at the University of Reading Reading’s research outputs online Historical Journal of Film, Radio and Television ISSN: 0143-9685 (Print) 1465-3451 (Online) Journal homepage: https://www.tandfonline.com/loi/chjf20 Introduction: Harold Pinter’s Transmedial Histories Jonathan Bignell & William Davies To cite this article: Jonathan Bignell & William Davies (2020): Introduction: Harold Pinter’s Transmedial Histories, Historical Journal of Film, Radio and Television To link to this article: https://doi.org/10.1080/01439685.2020.1778314 © 2020 The Author(s). Published by Informa UK Limited, trading as Taylor & Francis Group Published online: 18 Jun 2020. Submit your article to this journal View related articles View Crossmark data Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=chjf20 Historical Journal of Film, Radio and Television, 2020 https://doi.org/10.1080/01439685.2020.1778314 INTRODUCTION: HAROLD PINTER’S TRANSMEDIAL HISTORIES Jonathan Bignell and William Davies This article introduces the special issue by exploring the transmediality of Harold Pinter's work. -
Synesthetic Landscapes in Harold Pinter's Theatre
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2010 Synesthetic Landscapes in Harold Pinter’s Theatre: A Symbolist Legacy Graça Corrêa Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1645 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Synesthetic Landscapes in Harold Pinter’s Theatre: A Symbolist Legacy Graça Corrêa A dissertation submitted to the Graduate Faculty in Theatre in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2010 ii © 2010 GRAÇA CORRÊA All Rights Reserved iii This manuscript has been read and accepted for the Graduate Faculty in Theatre in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. ______________ ______________________________ Date Chair of Examining Committee Daniel Gerould ______________ ______________________________ Date Executive Officer Jean Graham-Jones Supervisory Committee ______________________________ Mary Ann Caws ______________________________ Daniel Gerould ______________________________ Jean Graham-Jones THE CITY UNIVERSITY OF NEW YORK iv Abstract Synesthetic Landscapes in Harold Pinter’s Theatre: A Symbolist Legacy Graça Corrêa Adviser: Professor Daniel Gerould In the light of recent interdisciplinary critical approaches to landscape and space , and adopting phenomenological methods of sensory analysis, this dissertation explores interconnected or synesthetic sensory “scapes” in contemporary British playwright Harold Pinter’s theatre. By studying its dramatic landscapes and probing into their multi-sensory manifestations in line with Symbolist theory and aesthetics , I argue that Pinter’s theatre articulates an ecocritical stance and a micropolitical critique. -
British Television's Lost New Wave Moment: Single Drama and Race
British Television’s Lost New Wave Moment: Single Drama and Race Eleni Liarou Abstract: The article argues that the working-class realism of post-WWII British television single drama is neither as English nor as white as is often implied. The surviving audiovisual material and written sources (reviews, publicity material, biographies of television writers and directors) reveal ITV’s dynamic role in offering a range of views and representations of Britain’s black population and their multi-layered relationship with white working-class cultures. By examining this neglected history of postwar British drama, this article argues for more inclusive historiographies of British television and sheds light on the dynamism and diversity of British television culture. Keywords: TV drama; working-class realism; new wave; representations of race and immigration; TV historiography; ITV history Television scholars have typically seen British television’s late- 1950s/early-1960s single drama, and particularly ITV’s Armchair Theatre strand, as a manifestation of the postwar new wave preoccupation with the English regional working class (Laing 1986; Cooke 2003; Rolinson 2011). This article argues that the working- class realism of this drama strand is neither as English nor as white as is often implied. The surviving audiovisual material and written sources – including programme listings, reviews, scripts, publicity material, biographies of television writers and directors – reveal ITV’s dynamic role in offering a range of representations of Britain’s black population and its relationship to white working-class cultures. More Journal of British Cinema and Television 9.4 (2012): 612–627 DOI: 10.3366/jbctv.2012.0108 © Edinburgh University Press www.eupjournals.com/jbctv 612 British Television’s Lost New Wave Moment particularly, the study of ITV’s single drama about black immigration in this period raises important questions which lie at the heart of postwar debates on commercial television’s lack of commitment to its public service remit. -
British Film Institute Report & Financial Statements 2006
British Film Institute Report & Financial Statements 2006 BECAUSE FILMS INSPIRE... WONDER There’s more to discover about film and television British Film Institute through the BFI. Our world-renowned archive, cinemas, festivals, films, publications and learning Report & Financial resources are here to inspire you. Statements 2006 Contents The mission about the BFI 3 Great expectations Governors’ report 5 Out of the past Archive strategy 7 Walkabout Cultural programme 9 Modern times Director’s report 17 The commitments key aims for 2005/06 19 Performance Financial report 23 Guys and dolls how the BFI is governed 29 Last orders Auditors’ report 37 The full monty appendices 57 The mission ABOUT THE BFI The BFI (British Film Institute) was established in 1933 to promote greater understanding, appreciation and access to fi lm and television culture in Britain. In 1983 The Institute was incorporated by Royal Charter, a copy of which is available on request. Our mission is ‘to champion moving image culture in all its richness and diversity, across the UK, for the benefi t of as wide an audience as possible, to create and encourage debate.’ SUMMARY OF ROYAL CHARTER OBJECTIVES: > To establish, care for and develop collections refl ecting the moving image history and heritage of the United Kingdom; > To encourage the development of the art of fi lm, television and the moving image throughout the United Kingdom; > To promote the use of fi lm and television culture as a record of contemporary life and manners; > To promote access to and appreciation of the widest possible range of British and world cinema; and > To promote education about fi lm, television and the moving image generally, and their impact on society. -
Missing Believed Wiped Has Showcased Rediscovered Television Material Returned to the Archives Via Kaleidoscope, the Classic TV Archive Based in Birmingham
Left to Right: Morecambe and Wise: Be Wise When Driving (1963), Pipkins: Snapshots (ITV, 1980), Ivor The Engine: Mr Brangwyn’s Box (ITV, 1963), The Séance (BBC, 1978) Press Release Embargoed until: 00:00, 6 August 2018, London. For more than 2 decades the BFI’s Missing Believed Wiped has showcased rediscovered television material returned to the archives via Kaleidoscope, the classic TV archive based in Birmingham. 2018 marks the 30th anniversary of the organization. To celebrate this special milestone and long term partnership with the BFI, Missing Believed Wiped has handed the reins over to Kaleidoscope to programme this 2 part summer special at BFI Southbank on 11 August. Reflecting on their 30th birthday, Chris Perry, Kaleidoscope CEO, commented, “For 30 years we have been finding lost television. Today is a great opportunity to showcase the many finds made since 1988, which have included The Avengers, Crossroads, Out of the Unknown, The Likely Lads and Top of the Pops.” Screening a wealth of screen rarities and rediscoveries from the archives as well as presenting Kaleidoscope’s latest exciting finds, this curated programme will include a previously unknown 1963 Morecambe and Wise public information film, one of the earliest drink drive campaign films, and lost episodes of classic children’s television including early Ivor the Engine in black and white and an episode of Pipkins, starring Hartley Hare. Missing Believed Wiped audiences are also in for a rare treat with the first public screening of The Séance, a ‘lost’ untransmitted 1978 single drama from acclaimed playwright Jack Rosenthal (Yentl, The Lovers), directed by Renny Rye. -
The Spaces of the Wednesday Play (BBC TV 1964–1970): Production, Technology and Style
The spaces of the Wednesday Play (BBC TV 1964–1970): production, technology and style Article Accepted Version Bignell, J. (2014) The spaces of the Wednesday Play (BBC TV 1964–1970): production, technology and style. Historical Journal of Film, Radio and Television, 34 (3). pp. 369-389. ISSN 0143-9685 doi: https://doi.org/10.1080/01439685.2014.937182 (Special issue "Production, site and style") Available at http://centaur.reading.ac.uk/37674/ It is advisable to refer to the publisher’s version if you intend to cite from the work. See Guidance on citing . Published version at: http://www.tandfonline.com/doi/abs/10.1080/.VBsWcFYsoYU To link to this article DOI: http://dx.doi.org/10.1080/01439685.2014.937182 Publisher: Taylor & Francis All outputs in CentAUR are protected by Intellectual Property Rights law, including copyright law. Copyright and IPR is retained by the creators or other copyright holders. Terms and conditions for use of this material are defined in the End User Agreement . www.reading.ac.uk/centaur CentAUR Central Archive at the University of Reading Reading’s research outputs online Bignell, J., ‘The Spaces of The Wednesday Play (BBC TV 1964–1970): Production, Technology and Style’, Historical Journal of Radio, Film and Television Studies, 34:3 (2014), 369-389. The Spaces of The Wednesday Play (BBC TV 1964-70): Production, Technology and Style Jonathan Bignell Keywords Television; drama; film; location; studio; 1960s; BBC; Wednesday Play. Writing in the trade magazine Film and Television Technician in 1967, the story editor of The Wednesday Play, Roger Smith, looked forward to a moment of decisive change.1 British television production companies would need to re-equip themselves, ready for the coming of colour broadcasting. -
Bfi Showcases a Haul of Missing Believed Wiped Tv Rediscoveries Plus Festive Fun at the Tv Panto
Left to Right: Dennis Potter Guardian Lecture 30/10/80, Patrick Troughton in Freedom in September (ITV 1962), Spitting Image: The Panto (ITV, 1993) BFI SHOWCASES A HAUL OF MISSING BELIEVED WIPED TV REDISCOVERIES PLUS FESTIVE FUN AT THE TV PANTO facebook.com/BritishFilmInstitute | twitter.com/bfi | www.bfi.org.uk FOR IMMEDIATE RELEASE: 12 November 2019, London Missing Believed Wiped returns to BFI Southbank on Sunday 8 December to present another thrilling programme of recent TV rediscoveries, with a focus on original TV dramas and single plays. BFI are excited to screen extracts from a previously unseen filmed interview with Dennis Potter as well as long lost single plays, Freedom in September, a Cold War era story starring a pre-Doctor Who Patrick Troughton, psychological hostage drama No Harm Done starring Coronation Street’s Helen Worth and missing sitcom pilot Porterhouse Private Eye starring Carry on... regulars Peter Butterworth and June Whitfield. As part of a BFI season of his work, the quintessential British TV dramatist Dennis Potter was interviewed by TV Critic Philip Purser for The Guardian Lecture series at the NFT (now BFI Southbank), on 30 October, 1980. When BBC editors at the time made a last minute decision not to film the event for broadcast, Potter and his producer Kenith Trodd filmed the lecture themselves with the idea of selling it to a broadcaster. Missing Believed Wiped offers an audience the first glimpse of the interview since the event almost 40 years ago. Kenith Trodd, who held the rushes in his personal archive, will introduce extracts from this revealing interview which captures a pivotal moment in Potter’s prodigious TV career. -
A DAY by the SEA by N
Two’s Company and Karl Sydow in association with Master Media present A DAY BY THE SEA by N. C. Hunter programme A DAY BY THE SEA by N. C. HUNTER Cast in order of speaking Director Tricia Thorns Miss Mathieson Stephanie Willson Set Designer Alex Marker governess to the children Costume Designer Emily Stuart Elinor Eddison Tatum Smith-Sperling or Lighting Designer Neill Brinkworth daughter of Frances by her first marriage Beatrix Taylor Sound Designer Candice Weaver Toby Eddison Jack Swiftor Production Manager Owen Donkin Elinor’s brother George Taylor Stage Manager /Operator Remi Bruno Smith Doctor Farley David Acton Rehearsal Stage Manager Naomi Buchanan Brooks Doctor to David Performance Stage Manager Lauren Burns David Anson David Whitworth Design Assistant Natalie Furnell Calvert Laura’s brother-in-law Costume Assistant Samina Sattar Laura Anson Susan Tracy Assistants to the production Elizabeth Holden and Jan Rae a widow Production photography Philip Gammon Frances Farrar Alix Dunmore Press Anne Mayer (020 3659 8482) recently divorced from her second husband Marketing Mel Cox, Target Live William Gregson David Gooderson a solicitor Poster & programme design Jon Bradfield Producer Graham Cowley Julian Anson John Sackville Laura’s son, in the Foreign Office Our grateful thanks to: Duncan Coombe; Paul Grimwood; Humphrey Caldwell Hugh Sachs Miller Centre Theatre for costumes; Ladies’ hair by Lynne of an official in the Foreign Office Emslie Griffin at Stars; Guy Chapman for extra marketing help; Out of Joint for rehearsal space; Phil Gammon and Tony Pescod for the boat; Jenny and Peter Parker and the Bottom Act I Group for props; Ian Black, Sadie Crowder, Angus Duke, The garden of Laura Anson’s house in Dorset. -
British Docudrama Georges Fournier
British Docudrama Georges Fournier To cite this version: Georges Fournier. British Docudrama. InMedia : the French Journal of Media and Media Represen- tations in the English-Speaking World, Center for Research on the English-Speaking World (CREW), 2013. hal-02467735 HAL Id: hal-02467735 https://hal.archives-ouvertes.fr/hal-02467735 Submitted on 5 Feb 2020 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. InMedia The French Journal of Media and Media Representations in the English-Speaking World 3 | 2013 Cinema and Marketing British Docudrama Georges Fournier Publisher Center for Research on the English- Speaking World (CREW) Electronic version URL: http://inmedia.revues.org/591 ISSN: 2259-4728 Electronic reference Georges Fournier, « British Docudrama », InMedia [Online], 3 | 2013, Online since 16 November 2013, connection on 15 October 2016. URL : http://inmedia.revues.org/591 This text was automatically generated on 15 octobre 2016. © InMedia British Docudrama 1 British Docudrama Georges Fournier 1 Hybridized forms or representation, whether for the big screen or for television, have only recently aroused the interest of researchers, though the practice itself can be traced back to the origins of film. The tug of war that lies at the heart of docudrama − the generic term for this type of representation − springs from the mixture of elements borrowed from the fictional and documentary genres. -
An Introductory History of British Broadcasting
An Introductory History of British Broadcasting ‘. a timely and provocative combination of historical narrative and social analysis. Crisell’s book provides an important historical and analytical introduc- tion to a subject which has long needed an overview of this kind.’ Sian Nicholas, Historical Journal of Film, Radio and Television ‘Absolutely excellent for an overview of British broadcasting history: detailed, systematic and written in an engaging style.’ Stephen Gordon, Sandwell College An Introductory History of British Broadcasting is a concise and accessible history of British radio and television. It begins with the birth of radio at the beginning of the twentieth century and discusses key moments in media history, from the first wireless broadcast in 1920 through to recent developments in digital broadcasting and the internet. Distinguishing broadcasting from other kinds of mass media, and evaluating the way in which audiences have experienced the medium, Andrew Crisell considers the nature and evolution of broadcasting, the growth of broadcasting institutions and the relation of broadcasting to a wider political and social context. This fully updated and expanded second edition includes: ■ The latest developments in digital broadcasting and the internet ■ Broadcasting in a multimedia era and its prospects for the future ■ The concept of public service broadcasting and its changing role in an era of interactivity, multiple channels and pay per view ■ An evaluation of recent political pressures on the BBC and ITV duopoly ■ A timeline of key broadcasting events and annotated advice on further reading Andrew Crisell is Professor of Broadcasting Studies at the University of Sunderland. He is the author of Understanding Radio, also published by Routledge. -
Performing Television History
Performing television history Article Accepted Version Bignell, J. (2018) Performing television history. Critical Studies in Television: The International Journal of Television Studies, 13 (3). pp. 262-279. ISSN 1749-6039 doi: https://doi.org/10.1177/1749602018782860 Available at http://centaur.reading.ac.uk/77143/ It is advisable to refer to the publisher’s version if you intend to cite from the work. See Guidance on citing . To link to this article DOI: http://dx.doi.org/10.1177/1749602018782860 Publisher: Sage All outputs in CentAUR are protected by Intellectual Property Rights law, including copyright law. Copyright and IPR is retained by the creators or other copyright holders. Terms and conditions for use of this material are defined in the End User Agreement . www.reading.ac.uk/centaur CentAUR Central Archive at the University of Reading Reading’s research outputs online NOTE: This is the Accepted Version, reprinted by permission of SAGE Publications, of an article for Critical Studies in Television, vol. 13, no. 3 (September 2018), in a Special Issue on acting on television edited by Stephen Lacey and Simone Knox. Performing television history Jonathan Bignell, University of Reading Abstract An expanded conception of performance study can disturb current theoretical and historical assumptions about television’s medial identity. The article considers how to write histories of the dominant forms and assumptions about performance in British and American television drama, and analyses how acting is situated in relation to the multiple meaning-making components of television. A longitudinal, wide-ranging analysis is briefly sketched to show that the concept of performance, from acting to the display of television’s mediating capability, can extend to the analysis of how the television medium ‘performed’ its own identity to shape its distinctiveness in specific historical circumstances.