Representations of British Probation
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'Drowning in Here in His Bloody Sea' : Exploring TV Cop Drama's
'Drowning in here in his bloody sea' : exploring TV cop drama's representations of the impact of stress in modern policing Cummins, ID and King, M http://dx.doi.org/10.1080/10439463.2015.1112387 Title 'Drowning in here in his bloody sea' : exploring TV cop drama's representations of the impact of stress in modern policing Authors Cummins, ID and King, M Type Article URL This version is available at: http://usir.salford.ac.uk/id/eprint/38760/ Published Date 2015 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]. Introduction The Criminal Justice System is a part of society that is both familiar and hidden. It is familiar in that a large part of daily news and television drama is devoted to it (Carrabine, 2008; Jewkes, 2011). It is hidden in the sense that the majority of the population have little, if any, direct contact with the Criminal Justice System, meaning that the media may be a major force in shaping their views on crime and policing (Carrabine, 2008). As Reiner (2000) notes, the debate about the relationship between the media, policing, and crime has been a key feature of wider societal concerns about crime since the establishment of the modern police force. -
Blue Plaques in Bromley
Blue Plaques in Bromley Blue Plaques in Bromley..................................................................................1 Alexander Muirhead (1848-1920) ....................................................................2 Benjamin Waterhouse Hawkins (1807-1889)...................................................3 Brass Crosby (1725-1793)...............................................................................4 Charles Keeping (1924-1988)..........................................................................5 Enid Blyton (1897-1968) ..................................................................................6 Ewan MacColl (1915-1989) .............................................................................7 Frank Bourne (1855-1945)...............................................................................8 Harold Bride (1890-1956) ................................................................................9 Heddle Nash (1895-1961)..............................................................................10 Little Tich (Harry Relph) (1867-1928).............................................................11 Lord Ted Willis (1918-1992)...........................................................................12 Prince Pyotr (Peter) Alekseyevich Kropotkin (1842-1921) .............................13 Richmal Crompton (1890-1969).....................................................................14 Sir Geraint Evans (1922-1992) ......................................................................15 Sir -
Investigating Format
Investigating Format Investigating Format: The Transferral and Translation of Televised Productions in Italy and England By Bronwen Hughes Investigating Format: The Transferral and Translation of Televised Productions in Italy and England By Bronwen Hughes This book first published 2017 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2017 by Bronwen Hughes All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-1689-2 ISBN (13): 978-1-4438-1689-2 TABLE OF CONTENTS Foreword .................................................................................................. viii Chapter One ................................................................................................. 1 Fictional Portrayals of the Police 1.1 A brief overview of televised police procedurals in the United Kingdom and in Italy 1.2 Presentation of ‘The Bill’ and ‘La Squadra’ 1.3 A comparative study of the non-dialogical features in ‘The Bill’ and ‘La Squadra’ Chapter Two .............................................................................................. 22 Research Framework: Talk in Institutional Settings 2.1 Conversation Analysis versus Critical Discourse -
1 Television Series and Serials
1 MS 199 A807 Papers of Norman J.Crisp [U/F] denotes that material is currently unfit for production and cannot be consulted [C]* denotes that material is closed Television series and serials 1/1 The brothers: details of directors and other staff, names and n.d. addresses, names of agents and fees of the main actors Ministry of Transport road safety act 1969 1/2 The brothers `The funeral': pilot script and carbon, discarded pages Jul 1970 1/3 The brothers `Down to business' (formerly `The meeting'): first and Nov 1970 - Feb second draft scripts, carbons, handwritten cast list, camera script 1971 1/4 The brothers `Mary': first draft script, carbon, manuscript cast list, Nov 1970 - rehearsal script c.Feb 1971 1/5 The brothers `Decision': first draft script 11 Jan 1971 1/6 The brothers `The party': first draft script, manuscript cast list, Feb - Mar 1971 rehearsal list 1/7 The brothers `The perfect day': rehearsal script Apr 1971 2/1 The brothers `Crisis': rehearsal script May 1971 2/2 The brothers (second series) `A family gathering', `Wheels and Jul - Oct 1972 deals': first draft scripts, rehearsal script, story outline, manuscript cast list 2/3 The brothers `Labour pains', `Negotiations': first draft scripts, Sep - Oct 1972 manuscript cast lists, rehearsal script 3 The brothers `Declaration of independence', `Errors of judgement': 1972 [U/F] scripts 4/1 The brothers `No hard feelings': draft scripts, manuscript cast list, Dec 1972 - Feb notes on the storyline 1973 4/2 The brothers `The Hammond account', `The newly weds': scripts, Feb -
Chameleon Dinosaur?
Chameleon Or Dinosaur? A Study of Police Management Culture. Victor Paul OLISA. London School of Economics and Political Science PhD Thesis UMI Number: U198801 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI U198801 Published by ProQuest LLC 2014. Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 British Library of Political and Economic Science ABSTRACT. Most of the literature on police culture has concentrated on the culture of lower rank uniformed officers, often referred to as 'cop culture'. This thesis addresses the issue of whether there is a distinctive 'management culture' in the higher levels of police forces. Quite clearly, the concept of management culture generally in organisations and specifically in the police service is a recognised and accepted one. However, the relationship between cop culture and management culture is an uncertain one. The thesis is based on interviews with 51 superintending rank officers from eleven Forces. This data is used to analyse the content and dynamics of senior police management culture. Over the last three decades the police service has implemented a number of changes in its structure and management style. -
British Television by Keith G
British Television by Keith G. Howes Encyclopedia Copyright © 2015, glbtq, Inc. Entry Copyright © 2002, glbtq, Inc. Reprinted from http://www.glbtq.com Television has been inadequately rendered as part of gay and lesbian artistic and cultural history. Many important milestones continue to be dismissed or ignored by lesbian and gay academics and cultural commentators. Unlike the study of gay and lesbian cinema, the discussion of television is predicated on ill- informed and historically naïve viewpoints that would be unacceptable if applied to other art forms. Early Television History A large proportion of early television productions in Britain (1936-1960) no longer exists, and what remains is often imperfectly preserved on crude technology. However, this does not mean either that gays and lesbians were not represented in the ebb and flow of programming during this time or that fugitive details of their existence are not available. Until September 1955 there was only one channel: the license-funded, politically neutral British Broadcasting Corporation (BBC), or "Aunty" as she was affectionately or slightingly known. The BBC offered a relatively broad-based range of choices: while stuck in traditional, white, middle-class values, the Corporation employed enough oddballs and eccentrics to spice up the most conservative fare. Carrying on the quality-first philosophy of the Corporation's first director-general, John Reith, the BBC believed in diversity: of talent, culture, geography, and even--though this had to be masked--of sexuality. In glorious fuzzy black and white, with frequent breaks in transmission and hilarious glitches because most of the shows went out "live," British television provided a number of regular "queer" sightings in the 1950s: a "mannish" policewoman, based on a real lesbian police officer, and an intellectual tramp disowned by his family in the enormously popular bobby-on-the-beat drama series Dixon of Dock Green. -
The Thin Blurred Line: Reality Television and Policing Abstract
The British Criminology Conference: Selected Proceedings. Volume 5. Papers from the British Society of Criminology Conference, Keele, July 2002. This volume published August 2003. Editor: Roger Tarling. ISSN 1464-4088. See end of file for copyright and other information. The Thin Blurred Line: Reality Television and Policing Paul Mason Abstract Factual, fictional and factional representations of policing are, for a large proportion of the British public, the most significant source of information concerning law and order. In recent years there has been a blurring of the boundaries between these three media depictions of policing. The growth of faction or infotainment, through the hybridisation of factual programming, in particular, has significant implications for media constructed images of policing. This paper seeks to explore three aspects of such police depictions. Firstly, the construction of a police reality through reality television shows such as Police, Camera, Action! and the US show COPS in which police-media relations collude to produce a unified crime fighter image of policing. Secondly, the legal implications of using police and surveillance footage without suspects permission. In particular, the potential breaches of the Contempt of Court Act 1981 and questions of breach of privacy under Human Rights Act 1998 and the common law. Thirdly, some theoretical perspectives are proposed on the use of surveillance footage. The CCTV footage in reality police shows suggest a further development of Foucault's account of panopticism as proposed by Lyon, Haggerty & Ericson and Armstrong among others. Matthiesen's work on the synopticon and the consequent impact on police accountability is also discussed. Introduction Successive sweeps of the British Crime Survey reveal that the public are unacquainted with numerous aspects of the criminal justice system ( Chapman et al, 2002 ) and rely on the media for their information. -
The Age of Television Innovative TV and Radio Formats
1950s The age of television In 1950 there were 12 million radio-only licences and only 350,000 combined radio and TV licences.The budget for BBC Television was a fraction of the Radio budget. But a single event transformed the popularity of television. This was the Coronation of Queen Elizabeth II on June 2, 1953 in Westminster Abbey. Permission had never been given before for television cameras in the Abbey. Some even felt it was wrong for people to watch such a solemn occasion while drinking tea in their front rooms. An estimated 20 million TV viewers saw the young Queen crowned, most of them outside their own homes. This was a turning point and the first time that a television audience exceeded the size of a radio audience. So today The Queen will ascend the steps of her throne… in the sight today of a great multitude of people. Richard Dimbleby, Coronation commentary By 1954 there were well over three million combined sound and vision licences. The television age had arrived and in 1955 the Queen broadcast her Christmas Message on television for the first time. The mid-Fifties introduced some major TV names of the future, including David Attenborough (Zoo Quest 1954), Eamonn Andrews (This Is Your Life 1955) and Jack Warner (Dixon of Dock Green 1955). Drama successes such as The Quatermass Experiment and the controversial adaptation of Nineteen Eighty Four became talking points all over the country. In September 1955 the BBC’s broadcasting monopoly came to an end when ITV was launched. The impact of competition had an instant impact on BBC Television and its share of the audience fell as low as 28% in 1957. -
Itinéraires, 2014-3 | 2015 Structures of Authority: Post-War Masculinity and the British Police 2
Itinéraires Littérature, textes, cultures 2014-3 | 2015 Le polar en Europe : réécritures du genre Structures of Authority: Post-war Masculinity and the British Police Gill Plain Electronic version URL: https://journals.openedition.org/itineraires/2613 DOI: 10.4000/itineraires.2613 ISSN: 2427-920X Publisher Pléiade Electronic reference Gill Plain, “Structures of Authority: Post-war Masculinity and the British Police”, Itinéraires [Online], 2014-3 | 2015, Online since 25 September 2015, connection on 21 September 2021. URL: http:// journals.openedition.org/itineraires/2613 ; DOI: https://doi.org/10.4000/itineraires.2613 This text was automatically generated on 21 September 2021. Itinéraires est mis à disposition selon les termes de la licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. Structures of Authority: Post-war Masculinity and the British Police 1 Structures of Authority: Post-war Masculinity and the British Police Gill Plain The idea of a policeman conjures up different impressions in different countries. In New York, it is of an Irishman, quick-tempered and somewhat threatening; in Paris, it is of a gesticulating figure, fussy about minor regulations; in London, it is of someone rather slow, very solid, but essentially good-humoured. There is no accident about these different national characteristics. They spring directly from the conception which each country has of what its police ought to be. In Britain, the basic conception is that police are civilians whose job is to protect and to help their fellow-citizens. (Martienssen [1951] 1953: 14)1 [P]olicing is always also … a cultural institution and performance, producing and communicating meaning about the nature of order, authority, morality, normality, subjectivity, and the like. -
Channel 4'S 25 Year Anniversary
Channel 4’s 25 year Anniversary CHANNEL 4 AUTUMN HIGHLIGHTS Programmes surrounding Channel 4’s anniversary on 2nd November 2007 include: BRITZ (October) A two-part thriller written and directed by Peter Kosminsky, this powerful and provocative drama is set in post 7/7 Britain, and features two young and British-born Muslim siblings, played by Riz Ahmed (The Road to Guantanamo) and Manjinder Virk (Bradford Riots), who find the new terror laws have set their altered lives on a collision course. LOST FOR WORDS (October) Channel 4 presents a season of films addressing the unacceptable illiteracy rates among children in the UK. At the heart of the season is a series following one dynamic headmistress on a mission to wipe out illiteracy in her primary school. A special edition of Dispatches (Why Our Children Can’t Read) will focus on the effectiveness of the various methods currently employed to teach children to read, as well as exploring the wider societal impact of poor literacy rates. Daytime hosts Richard and Judy will aim to get children reading with an hour-long peak time special, Richard & Judy’s Best Kids’ Books Ever. BRITAIN’S DEADLIEST ADDICTIONS (October) Britain’s Deadliest Addictions follows three addicts round the clock as they try to kick their habits at a leading detox clinic. Presented by Krishnan Guru-Murphy and addiction psychologist, Dr John Marsden, the series will highlight the realities of addiction to a variety of drugs, as well as alcohol, with treatment under the supervision of addiction experts. COMEDY SHOWCASE (October) Channel 4 is celebrating 25 years of original British comedy with six brand new 30-minute specials starring some of the UK’s best established and up and coming comedic talent. -
Forget Dixon of Dock Green and Z-Cars
Name of feature “ Regan. The cop who won’t cop out. No matter how many rules he breaks. Or people” - THE Thames Television press release, 1974. angsters, Strangers, The Professionals, Hazell, Target, Shoestring, The Chinese Detective, Bergerac, Dempsey and Makepeace, Bulman… all 1970s-1980s crime shows, all involving plenty of action, and all made entirely on film, or with a high ratio of location filming in urban settings. By the time Inspector Morse and A Touch of Frost arrived on screen at the end of the 1980s, the template was set for British crime shows, now devolved to the provinces, to be made solely on film. The series that had set this whole revolution in TV crime fiction in motion – and, ultimately, TV production generally, as over the last forty years British TV drama as a whole has gradually transferred to a film-making model – was Euston Films’The Sweeney (1975-78), run by Lloyd Shirley and George Taylor as an offshoot of Thames Television. SWEENEY Named after the Cockney rhyming-slang for the Flying Squad – ‘The Sweeney Todd’ – the colourful argot also delivered such evocative terms as ‘poppy’ (money), ‘bottle’ (courage) and ‘grass’ (informer), slang which has remained part of British TV’s fictional criminal landscape ever since. Currently being repeated in the afternoon on ITV 4, with Minder (1979-1994) and The Forget Dixon of Dock Professionals (1977-1983) (and what a great three hours that is for men of a certain age), Z-Cars - it’s remarkable to see how many firsts there are in The Sweeney. -
From Dock Green to Docusoap
From Dock Green to docusoap: decline and fall in TV Copland From caring copper to corruption and conspiracy, Frank Leishman and Paul Mason chart the changes in public attitude embodied by the British television policeman. ollowing his untimely murder in the 1950 fictional British cop show landscape forever was J C Ealing film The Blue Lamp, PC George Wilsher's Between the Lines (1992 - 4), which FDixon was famously resurrected by the BBC inspired a new breed of 'hybrid' police procedurals in 1956, to continue as the central character in the where cop culture, corruption and conspiracy have TV police drama Dixon of Dock Green. For twenty become embedded features. No longer is police further years Dixon served the citizenry, latterly as deviance portrayed in terms of 'one rotten apple', or a saintly, septuagenarian station sergeant. the single clean apple in an otherwise rotten barrel, Anachronistic, incongruous and too good to be true but rather as an 'apple crumble' effect. In today's he may well have become, but iconic he remains: a TV Copland, under a crumbling facade of police potent point of reference in contemporary debates propriety, good apples and bad apples coexist in a about a return to neighbourhood beat patrols, mix, and are not always easily distinguished one from prompting recent headlines such as "Dixon with a another: 'good cops' are very often bad people. The Mobile Phone". Contrast this with the fate in focus on tight teams of three or four main characters February 2005 of another long-running TV cop show working in a specialist area of policing has become character, PC Jim Carver of The Bill.