THE TANSLEY LECTURE in Defence of Political Staff
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Guardian and Observer Editorial
Monday 01.01.07 Monday The year that changed our lives Swinging with Tony and Cherie Are you a malingerer? Television and radio 12A Shortcuts G2 01.01.07 The world may be coming to an end, but it’s not all bad news . The question First Person Are you really special he news just before Army has opened prospects of a too sick to work? The events that made Christmas that the settlement of a war that has 2006 unforgettable for . end of the world is caused more than 2 million people nigh was not, on the in the north of the country to fl ee. Or — and try to be honest here 4 Carl Carter, who met a surface, an edify- — have you just got “party fl u”? ing way to conclude the year. • Exploitative forms of labour are According to the Institute of Pay- wonderful woman, just Admittedly, we’ve got 5bn years under attack: former camel jockeys roll Professionals, whose mem- before she flew to the before the sun fi rst explodes in the United Arab Emirates are to bers have to calculate employees’ Are the Gibbs watching? . other side of the world and then implodes, sucking the be compensated to the tune of sick pay, December 27 — the fi rst a new year’s kiss for Cherie earth into oblivion, but new year $9m, and Calcutta has banned day back at work after Christmas 7 Karina Kelly, 5,000,002,007 promises to be rickshaw pullers. That just leaves — and January 2 are the top days 16 and pregnant bleak. -
Wordsearch - Q Christmas TV Specials a Seek out the TV Seasonal Offerings in the Grid
Wordsearch - q Christmas TV specials a Seek out the TV seasonal offerings in the grid. Words go up down, diagonally – and forwards and backwards T P B N D S S G I B S L Q U A L E Q L N E M S S R A G D R I D M H T N L S G O T L C M G D E H L U E R A E D C N W B B S O M K C J J H C T L P U X O V U O S H U L L N Q A A J R N E A V E E T V O M M E C G I A W H G D Z X W I M G O D M H Q R T C U E F I A I D W I P B I T T Z A W A T A P T A V B G O S W Q B H D K L J O J B J G I H Y K R T S W I H S H C D E W Y t S H H E O S E E T S G C H E F A B I R D I N T H E H A N D O F T S W T D C T P D E Y A O S T R E A L R E R H H I Y Q H S Z Q U S U F I Q T N C L F P W R H A O I O E Y J Y P B N N S U P E D X R S S F M E R T G B A Z N Z H F W F Z D R K W L X E E M O T O P R M O S X M K A N I Z C U M E T I L O D H R D B L T U G U K B Y G I K S X S E W T F U G S E L I S Y E E M N G Z J D S B V W R I R E C A W B L J L C E S C F Y K C H K A E S U B F S V Z S A O R G T O R J K G K T D E E P E F A T P T O D C D G U J Z G O S X N D E I S Y O A E T O M O R D S O E R U I S S B I N E E S S D E R U Z A K K R W G Q S R J D U K R C L N M S H M T V Y I I j L P C Q N K G P I N E K A C G D I E V I H J G D Z J A M G T T C H H L O T A E E S L C R R L S F Z R R O V T N N L O C H N O U T Z Y N J F Z M S Z P C Y H C R I S S H O N I K H T H A H M B W E M I M J M E U F E R I N Q S G Q K K V C M Z Y J F R E I S A I O F B R F R R C B P A P G G V D C P E E R Y M I I D K A I Z Y H B Y Q M R T R I H S E E R H F E H L I A A D S F M J A M H C E Y M N L N Y N S D E Y N J I X L A V F K E -
Trends in Political Television Fiction in the UK: Themes, Characters and Narratives, 1965-2009
This item was submitted to Loughborough’s Institutional Repository (https://dspace.lboro.ac.uk/) by the author and is made available under the following Creative Commons Licence conditions. For the full text of this licence, please go to: http://creativecommons.org/licenses/by-nc-nd/2.5/ Trends in political television fiction in the UK: Themes, characters and narratives, 1965-2009. 1 Introduction British television has a long tradition of broadcasting ‘political fiction’ if this is understood as telling stories about politicians in the form of drama, thrillers and comedies. Vote, Vote for Nigel Barton (1965) is generally considered the first of these productions for a mass audience presented in the then usual format of the single television play. Ever since there has been a regular stream of such TV series and TV-movies, varying in success and audience appeal, including massive hits and considerable failures. Television fiction has thus become one of the arenas of political imagination, together with literature, art and - to a lesser extent -music. Yet, while literature and the arts have regularly been discussed and analyzed as relevant to politics (e.g. Harvie, 1991; Horton and Baumeister, 1996), political television fiction in the UK has only recently become subject to academic scrutiny, leaving many questions as to its meanings and relevance still to be systematically addressed. In this article we present an historical and generic analysis in order to produce a benchmark for this emerging field, and for comparison with other national traditions in political TV-fiction. We first elaborate the question why the study of the subject is important, what is already known about its themes, characters and narratives, and its capacity to evoke particular kinds of political engagement or disengagement. -
Geoffrey Beevers Is the Master*
ISSUE 40 • JUNE 2012 NOT FOR RESALE FREE! GEOFFREY BEEVERS IS THE MASTER* PLUS! MARK STRICKSON & SARAH SUTTON Nyssa and Turlough Interviewed! I KNOW THAT VOICE... Famous names in Big Finish! *AND YOU WILL OBEY HIM! SNEAK PREVIEWS EDITORIAL AND WHISPERS e love stories. You’ll be hearing those words from us a lot more over the coming months. We’re only saying it because it’s the truth. And in THE FOURTH DOCTOR ADVENTURES a way, you’ve been hearing it from us since we started all this, right SERIES 3 W back in 1998, with Bernice Summerfield! Every now and then, I think it’s a good idea to stop and consider why we do 2014 might seem what we do; especially when, as has happened recently, we’ve been getting such a long way away, a pounding by a vociferous minority in online forums. As you may know, there but it’ll be here have been some teething problems with the changeover to our new website. before you know There was a problem with the data from the old site, relating to the downloads it – and so we’re in customers’ accounts. It seems that the information was not complete and had already in the some anomalous links in it, which meant that some downloads didn’t appear and studio recording others were allocated incorrectly. Yes, we accidentally gave a lot of stuff away! And, the third series of in these cash-strapped times, that was particularly painful for us. Thanks to all of Fourth Doctor Adventures, once again you who contacted us to say you wouldn’t take advantage of these – shall we say featuring the Doctor and Leela. -
The Handling of Political Disinformation in the TV Series Yes, Minister (BBC, 1980-1984) and Its Antonio M
ISSN 2340-5236 Anàlisi 64, 2021 9-25 The handling of political disinformation in the TV series Yes, Minister (BBC, 1980-1984) and its Antonio M. Bañón Hernández impact on YouTube Antonio M. Bañón Hernández Universidad de Almería. CySOC [email protected] Submission date: March 2021 Accepted date: May 2021 Published in: June 2021 Recommended citation: BAÑÓN HERNÁNDEZ, A. M. (2021). “The handling of political disinformation in the TV series Yes, Minister (BBC, 1980-1984) and its impact on YouTube”. Anàlisi: Quaderns de Comunicació i Cultura, 64, 9-25. DOI: <https://doi.org/10.5565/rev/ analisi.3424> Abstract Yes, Minister is a series that has been part of the collective imagination of citizens in many English-speaking countries since the 1980s, in which disinformation is frequently used or mentioned by its main characters. Its enormous impact has been long-lasting, and in recent years it has gained special prominence on YouTube. The objectives of this paper are the following: a) to quantify the presence of fragments of the series Yes, Minister on YouTube, including their titles, the episodes to which they belong, their duration and the number of views and comments; and b) to analyse the processes, strategies and mechanisms of disinfor- mation in these fragments. To this end, we first described the fragments with more than 200,000 views, of which there were forty. After this analysis, we chose the videos with more than 400,000 views and, in those, analysed the processes, strategies and mechanisms of dis- information. There were twenty-two such documents and they contained as many as 125 samples of disinformation: mostly associated with the process of concealment, followed by blurring and, thirdly, invention. -
Wordplay in Yes, Prime Minister
Univerzita Palackého v Olomouci Filozofická fakulta Katedra anglistiky a amerikanistiky Wordplay in Yes, Prime Minister (Diplomová práce) Autor: Radek Lukeš Studijní obor: Anglická filologie Vedoucí práce: Prof. PhDr. Jaroslav Macháček, CSc. Olomouc 2014 Prohlašuji, že jsem tuto diplomovou práci vypracoval samostatně a uvedl úplný seznam citované a použité literatury. V Olomouci dne 30. dubna 2014 ................................................ Na tomto místě bych rád poděkoval Prof. PhDr. Jaroslavu Macháčkovi, CSc. za cenné rady a připomínky, které mi velmi pomohly při tvorbě této práce. TABLE OF CONTENTS TABLE OF CONTENTS 1. INTRODUCTION ..................................................................................................................... 3 1.1 Research motivation and purpose ................................................................................ 3 1.2 Structure ....................................................................................................................... 4 1.3 Material and method .................................................................................................... 5 2. DEFINING WORDPLAY ........................................................................................................... 6 2.1 Definition of wordplay .................................................................................................. 6 2.2 Characteristics of a Pun ............................................................................................... 14 2.2.1 Difference between -
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103 WIELAND SCHWANEBECK , Dresden The More, the Merrier? British Comedy and the Community of Laughter Amongst the many myths surrounding the birth of comedy in the ancient world is one which claims that comedy came into being as a deliberate antithesis to the solemn nature of tragedy. According to this myth, comedy was conceived when "a rowdy, drunken band of revelers mov[ed] unsteadily and noisily through the street" to mock the elaborate tragic verse which dominated the ritual festivities (Alan Sommerstein qtd. in Weitz 2010, 41). While this story is not true (at least not regarding its factual content), it does nevertheless appear as a fitting invention, for there is definitely a social aspect about comedy which renders it an experience both inclusive and exclusive at the same time. Though comedy has been identified as an essentially antisocial phenomenon by some observers – for laughter derives from challenging norms and from moving its heroes outside the accepted order into the realm of "[the] destructive and [the] anarchic" (Charney 1990, 171) – its social implications and its community-building effects are not to be overlooked. As F.H. Buckley argues in The Morality of Laughter , shared laughter builds societies and even has an economic dimension, since "[b]y establishing a bond between jester and listener, laughter permits them to promote their trust in each other. With the trust comes a greater ability to exploit profitable opportunities for joint gain" (2003, 178). The following pages will elaborate on these ideas and characterise the traditional relationship between the genre of comedy and the idea of community. -
Yes, Prime Minister | Invincible | Anne Reid Charity Evening • Previews
November 015 | No. 5 | Bimonthly www.bromleylittletheatre.org The oFFiCiAL orGAN oF MiChAeL YorK oBe PRESIDENT: • Reviews: Yes, Prime Minister | Invincible | Anne Reid charity evening • Previews: Good People | Doubt: A Parable | The Ladykillers + events Diary • Noticeboard 1 Kerrin Roberts and Bruce Wallace in BLT chair Key contacts BLT’s September 2015 production of Yes, Prime Minister. For quite a long time now, we have been Key contact areas: able to help many deserving charities raise funds by opening our final dress rehearsals [email protected] - [email protected] on the Thursday before the first night of our main house productions to an audi ence invited by the charity. Alison Dunkley Chairman: [email protected] has been in charge of the organisation of Key: Jane Buckland these events for a number of years and- Photo: Tim Hinchliffe (www.timhinchliffe.com) Tim Hinchliffe Photo: has worked very hard with the charities to make these evenings such an enjoy Finance: able and productive part of BLT life. We are very grateful to her. She has decided Key: Howard Binysh [email protected] to step down and Emma Kerby-Evans will take over the running of the charity nights. Artistic: Thank you very much Alison and thank you Emma for picking up the baton. Keys:[email protected] Pauline Armour / Jane Buckland W I hope you’ve had a chance to look at our Tel: 07984 722308 e are very fortunate at BLT in that Spotlights 2016 season which was published in the- the revenue generated from ticket last edition of . It’s one of our Youth group: sales and membership fees covers the most interesting ones to date in my opin cost of putting on our productions and the ion. -
British TV Comedies
Copyrighted material – 978–1–137–55294–5 Introduction, editorial matter and selection © Jürgen Kamm and Birgit Neumann 2016 Individual chapters © Contributors 2016 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No portion of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, Saffron House, 6–10 Kirby Street, London EC1N 8TS. Any person who does any unauthorized act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The authors have asserted their rights to be identifi ed as the authors of this work in accordance with the Copyright, Designs and Patents Act 1988. First published 2016 by PALGRAVE MACMILLAN Palgrave Macmillan in the UK is an imprint of Macmillan Publishers Limited, registered in England, company number 785998, of Houndmills, Basingstoke, Hampshire RG21 6XS. Palgrave Macmillan in the US is a division of St Martin’s Press LLC, 175 Fifth Avenue, New York, NY 10010. Palgrave Macmillan is the global academic imprint of the above companies and has companies and representatives throughout the world. Palgrave® and Macmillan® are registered trademarks in the United States, the United Kingdom, Europe and other countries. ISBN 978–1–137–55294–5 This book is printed on paper suitable for recycling and made from fully managed and sustained forest sources. Logging, pulping and manufacturing processes are expected to conform to the environmental regulations of the country of origin. -
TV Sitcoms and Gender
http://www.mediaculture-online.de Autor: Stafford, Roy Titel: TV Sitcoms and Gender. Quelle: http://www.itpmag.demon.co.uk/Downloads/SitcomAbstract.pdf, Riddlesden, Keighley 2004. P. 1-5. Verlag: itp (in the picture). Media Education Magazine. Published with kind permission of the author and publisher. Roy Stafford TV Sitcoms and Gender Notes to support Pictureville Event February 2004 Sitcom Definition A setting and a group of characters providing the opportunity for a comic narrative, usually resolved in 25-30 minutes (although the ‘situation’ remains open to future disruption), and broadcast in a series of five or more episodes. Production and distribution • tv sitcom is essentially a ‘writer’s medium’; • although ‘stars’ are important, the characters they play are often more so; • in the US teams of writers v. in the UK, single or paired writers; • once successful, very long runs in the US v. much shorter seasons in the UK; • sitcom ideas have moved both ways across the Atlantic, but often it is easier for UK commentators to recognise those that go from the UK to the US (usually having to be changed to suit American tastes). Recently they have failed to make much impact (e.g. Men Behaving Badly, Coupling); • ‘live action’ shows have been used as the basis for animation (Bilko became Top Cat/Boss Cat, The Flintsones was based on a US family sitcom). The Simpsons has been by far the most successful ‘original’ animation series. 1 http://www.mediaculture-online.de • US shows are ‘syndicated’ across many channels and exported worldwide; • UK production contexts changed with the advent of Channel 4 and the rise of the ‘independent producer’ (sitcoms were the basis for the rise of new companies such as Hat Trick, Celador etc.). -
1 News and Comic Affairs the Audience Reception of British
News and Comic Affairs The audience reception of British Television Political Comedy 1962-2012 Matthew Crowder Royal Holloway, University of London A thesis submitted for the degree of Doctor of Philosophy Department of Media Arts April 2015 1 Declaration of Authorship I, Matthew Crowder, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. This thesis has not been submitted for a degree, either in the same or different form, to this or any other University. Signed: ______________________ Date: ________________________ 2 Abstract This thesis researches the reception of British television political comedy from 1962 to 2012, exploring the continuities and contrasts in viewers’ definitions, interpretations and evaluations of the genre. Television comedy scholarship has privileged the text but this first in-depth study of British political comedy conceptualises television genre as a cultural category, and adopts the method of qualitative historical reception research to explore the different ways that viewers have written about the genre. Political comedy's reception is dominated by discourses of power, and the genre’s comedic references to news and current affairs are consistently invoked in accounts of its effects upon everyday life. The research highlights viewers’ emotive responses in four case studies that place pleasure and displeasure, cultural distinctions, and social affiliations in their historical contexts, arguing that judgments about political comedy’s value, meaning and social effects are related to hierarchies of aesthetics and taste, and their relationship to public issues defined as socially significant. The chapter on That Was The Week That Was discusses beliefs that irreverent comedy could affect British institutions. -
With the Benefit of Hindsight Valedictory Reflections from Departmental Secretaries, 2004–11
With the benefit of hindsight Valedictory reflections from departmental secretaries, 2004–11 With the benefit of hindsight Valedictory reflections from departmental secretaries, 2004–11 Edited by John Wanna • Sam Vincent • Andrew Podger Published by ANU E Press The Australian National University Canberra ACT 0200, Australia Email: [email protected] This title is also available online at http://epress.anu.edu.au National Library of Australia Cataloguing-in-Publication entry Title: With the benefit of hindsight : valedictory reflections from departmental secretaries, 2004-11/ edited by John Wanna, Sam Vincent, Andrew Podger. ISBN: 9781921862731 (pbk.) 9781921862748 (ebook) Subjects: Civil service--Australia--Anecdotes. Australia--Officials and employees--Anecdotes. Other Authors/Contributors: Wanna, John. Vincent, Sam. Podger, A. S. (Andrew Stuart) Dewey Number: 351.94 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying or otherwise, without the prior permission of the publisher. Cover design and layout by ANU E Press Printed by Griffin Press This edition © 2012 ANU E Press Contents 2012 Valedictory Series Foreword . vii Introduction . ix Andrew Podger and John Wanna 1 . Yes, minister – the privileged position of secretaries . 1 Roger Beale 2 . My fortunate career and some parting remarks . 7 Andrew Podger 3 . Performance management and the performance pay paradox . 15 Allan Hawke 4 . Thirty-eight years toiling in the vineyard of public service . 29 Ric Smith 5. The last count – the importance of official statistics to the democratic process . 43 Dennis Trewin 6 . Balancing Life at Home and Away in the Australian Public Service .