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Etditaxmurnats. ~THE JOURNAL of the BRITISH MEDICAL ASSOCIATION
THE ritishJ eTdiTaXMurnaTS. ~THE JOURNAL OF THE BRITISH MEDICAL ASSOCIATION. EDITED BY NORMAN GERALD HORNER, M.A., M.D. VOLUME 1, 1932 JANUARY TO JUNE I PRINTED AND PUBLISHED AT THE OFFICE OF THE BRITISH MEDICAL ASSOCIATION, TAVISTOCK SQUARE, LONDON, W.C.1. [Thu Bama-- J"A.-JUNE, I932j 1MXUDAL JOURNAL KEY TO DATES AND PAGES THE following table, giving a key to the dates of issue and the page numbers of the BRITISH MEDICAL JOURNAL and SUPPLEMENT in the first volume for 1932, may prove convenient to readers in search of a reference. Serial Date of Journal Supplement No. Issue. Pages. Pages. 3704 Jan. 2nd 1- 44 1- 8 3705 9th 45- 84 9- 12 3706 16th 85- 128 13- 20 3707 23rd 129- 176 21- 28 3708 30th 177- 222 29- 36 3709 Feb. 6th 223- 268 37- 48 3710 ,, 13th 269- 316 49- 60 3711 ,, 20th 317- 362 61- 68 3712 ,, 27th 363- 410 .69- 76 3713 March 5th 411- 456 ......77- 84 3714 12th 457- 506 ......85- 92 3715 19th 507- 550 93 - 104 3716 26th 551- 598 .105- 112 3717 April 2nd 599i.- 642 .113- 120 3718 9th 643- 692 .121 - 132 3719 ,, 16th 693- 738 .133- 144 3720 23rd 739- 784 .145- 160 3721 30th 785- 826 .161 - 208 3722 May 7th 827- 872 .209- 232 *3723 ,, 14th 873- 918 3724 21st 919- 968 .233 - 252 3725 , 28th 969- 1016 .253 - 264 3726 June 4th 1017 - 1062 .265 - 280 3727 11th 1063 - 1110 .281 - 288 3728 , 18th 1111 - 1156 .289- 312 3729 Pt 25th 1157 - 1200 .313- 348 * This No. -
Thin Blue Lines: Product Placement and the Drama of Pregnancy Testing in British Cinema and Television
BJHS 50(3): 495–520, September 2017. © British Society for the History of Science 2017. This is an Open Access article, distributed under the terms of the Creative Commons Attribution licence (http://creativecommons.org/licenses/by/4.0/), which permits unrestricted re-use, distribution, and reproduction in any medium, provided the original work is properly cited. doi:10.1017/S0007087417000619 Thin blue lines: product placement and the drama of pregnancy testing in British cinema and television JESSE OLSZYNKO-GRYN* Abstract. This article uses the case of pregnancy testing in Britain to investigate the process whereby new and often controversial reproductive technologies are made visible and normal- ized in mainstream entertainment media. It shows how in the 1980s and 1990s the then nascent product placement industry was instrumental in embedding pregnancy testing in British cinema and television’s dramatic productions. In this period, the pregnancy-test close- up became a conventional trope and the thin blue lines associated with Unilever’s Clearblue rose to prominence in mainstream consumer culture. This article investigates the aestheticiza- tion of pregnancy testing and shows how increasingly visible public concerns about ‘schoolgirl mums’, abortion and the biological clock, dramatized on the big and small screen, propelled the commercial rise of Clearblue. It argues that the Clearblue close-up ambiguously concealed as much as it revealed; abstraction, ambiguity and flexibility were its keys to success. Unilever first marketed the leading Clearblue brand of home pregnancy test in the mid- 1980s. Since then home pregnancy tests have become a ubiquitous and highly familiar reproductive technology and diagnostic tool. -
Hw Biography 2021
HUGH WOOLDRIDGE Director and Lighting Designer; Visiting Professor Hugh Wooldridge has produced, directed and devised theatre and television productions all over the world. He has taught and given master-classes in the UK, Europe, the US, South Africa and Australia. He trained at the London Academy of Music and Dramatic Art (LAMDA) and made his West End debut as an actor in The Dame of Sark with Dame Celia Johnson. Subsequently he performed with the London Festival Ballet / English National Ballet in the world premiere production of Romeo and Juliet choreographed by Rudolph Nureyev. At the age of 22, he directed The World of Giselle for Dame Ninette de Valois and the Royal Ballet. Since this time, he has designed lighting for new choreography with dance companies around the world including The Royal Ballet, Dance Theatre London, Rambert Dance Company, the National Youth Ballet and the English National Ballet Company. He directed the world premieres of the Graham Collier / Malcolm Lowry Jazz Suite Under A Volcano and The Undisput’d Monarch of the English Stage with Gary Bond portraying David Garrick; the Charles Strouse opera, Nightingale with Sarah Brightman at the Buxton Opera Festival; Francis Wyndham’s Abel and Cain (Haymarket, Leicester) with Peter Eyre and Sean Baker. He directed and lit the original award-winning Jeeves Takes Charge at the Lyric Hammersmith; the first productions of the Andrew Lloyd Webber and T. S. Eliot Cats (Sydmonton Festival), and the Andrew Lloyd Webber / Don Black song-cycle Tell Me 0n a Sunday with Marti Webb at the Royalty (now Peacock) Theatre; also Lloyd Webber’s Variations at the Royal Festival Hall (later combined together to become Song and Dance) and Liz Robertson’s one-woman show Just Liz compiled by Alan Jay Lerner at the Duke of York’s Theatre, London. -
Oxford Lecture 1 - Final Master
OXFORD LECTURE 1 - FINAL MASTER HOW TO GROW A CREATIVE BUSINESS BY ACCIDENT The legendarily bullish film director Alan Parker once adapted Shaw's famous dictum about the academic profession - "those who can, do. Those who can't teach." So far so familiar. And to many in this room, no doubt, so annoying. But he went on: "those who can't teach, teach gym. And those who can't teach gym, teach at film school." I appreciate that Oxford is not a film school, though it has a more distinguished record than any film school for supplying the talent that has fuelled the British film and TV industries for almost a century - on and off camera. Writers like Richard Curtis, who brought us 4 Weddings and a Funeral, Love Actually, The Vicar of Dibley and Blackadder; or The Full Monty and Slumdog Millionaire scribe Simon Beaufoy; directors of the diversity of Looking for Eric's Ken Loach and 24 Hour Party People's Michael Winterbottom; writer/directors like Monty Python's Terry Jones and the Thick of It's Armando Iannucci; actors and performers ranging from Hugh Grant to Rowan Atkinson; and broadcasting luminaries like the BBC's Director General Mark Thompson and News International's very own Rupert Murdoch. So, Oxford has been a pretty efficient film and TV school, without even trying. And perhaps that is Parker's point. Can what passes for creativity in film and TV ever really be taught? But here in my capacity as News International Visiting Professor of Broadcast Media (or if you prefer an acronym, NIVPOB - the final M is silent) I may be even further down Parker's food chain. -
Ebook Download Ashes to Ashes Ebook Free Download
ASHES TO ASHES PDF, EPUB, EBOOK Tami Hoag | 593 pages | 01 Aug 2000 | Bantam Doubleday Dell Publishing Group Inc | 9780553579604 | English | New York, United States Ashes to Ashes PDF Book Greil Marcus. Save Word. This site uses cookies and other tracking technologies to assist with navigation and your ability to provide feedback, analyse your use of our products and services, assist with our promotional and marketing efforts, and provide content from third parties. Ashes to ashes , funk to funky. See how we rate. Hunt's grass 'Rock Salmon' Doyle is murdered after divulging an upcoming heist, which Alex Steve Silberman and David Shenk. Share reduce something to ashes Post the Definition of reduce something to ashes to Facebook Share the Definition of reduce something to ashes on Twitter. User Reviews. The exploits of Gene Hunt continue in the hit drama series. Gene distrusts two former colleagues claiming to have travelled from Manchester on the hunt for an aged stand-up comedian who has allegedly stolen cash from the Police Widows' Fund. I hope that we find out a lot more about this compelling character in the future. Muse, Odalisque, Handmaiden. While the hard science of memorial diamonds is fascinating—a billion years in a matter of weeks! Creators: Matthew Graham , Ashley Pharoah. Queen: The Complete Works. When a violent burglary occurs at Alex's in-laws' house, she encounters their year-old son Peter - the future father of Molly. Learn More about reduce something to ashes Share reduce something to ashes Post the Definition of reduce something to ashes to Facebook Share the Definition of reduce something to ashes on Twitter Dictionary Entries near reduce something to ashes reducer sleeve reduce someone to silence reduce someone to tears reduce something to ashes reducible polynomial reducing agent reducing coupling. -
Do You Think You're What They Say You Are? Reflections on Jesus Christ Superstar
Journal of Religion & Film Volume 3 Issue 2 October 1999 Article 2 October 1999 Do You Think You're What They Say You Are? Reflections on Jesus Christ Superstar Mark Goodacre University of Birmingham, [email protected] Follow this and additional works at: https://digitalcommons.unomaha.edu/jrf Recommended Citation Goodacre, Mark (1999) "Do You Think You're What They Say You Are? Reflections on Jesus Christ Superstar," Journal of Religion & Film: Vol. 3 : Iss. 2 , Article 2. Available at: https://digitalcommons.unomaha.edu/jrf/vol3/iss2/2 This Article is brought to you for free and open access by DigitalCommons@UNO. It has been accepted for inclusion in Journal of Religion & Film by an authorized editor of DigitalCommons@UNO. For more information, please contact [email protected]. Do You Think You're What They Say You Are? Reflections on Jesus Christ Superstar Abstract Jesus Christ Superstar (dir. Norman Jewison, 1973) is a hybrid which, though influenced yb Jesus films, also transcends them. Its rock opera format and its focus on Holy Week make it congenial to the adaptation of the Gospels and its characterization of a plausible, non-stereotypical Jesus capable of change sets it apart from the traditional films and aligns it with The Last Temptation of Christ and Jesus of Montreal. It uses its depiction of Jesus as a means not of reverence but of interrogation, asking him questions by placing him in a context full of overtones of the culture of the early 1970s, English-speaking West, attempting to understand him by converting him into a pop-idol, with adoring groupies among whom Jesus struggles, out of context, in an alien culture that ultimately crushes him, crucifies him and leaves him behind. -
A Review of New Historical Drama from the BBC
Eras Edition 9, November 2007 – http://www.arts.monash.edu.au/eras ‘Time-warp Television’ – A review of new historical drama from the BBC: Life on Mars, created by Mathew Graham, Tony Jordan and Ashley Pharoah, BBC, 2006. Robin Hood, created by Foz Allan and Dominic Minghella, BBC, 2006. Torchwood, created by Russell T. Davies, BBC, 2006. Robin Hood in an anorak and touting an anti-war message? Costume drama in the gritty back streets of 1970s Manchester? Clearly this is not your father’s BBC. While there is still plenty of Austen and Dickens for the purist, the BBC, long the home of waistcoats, mutton chops and empire waists, has breathed some new life into the historical drama with two series that seem to engage as much with the way we respond to history as to the historical setting itself. A cult and critical hit, Life on Mars, follows Manchester Police Detective Sam Tyler (played by John Simm) who is ‘transported’ back to 1973 after being hit by a car. Used to being a Detective Chief Inspector with expensive digs, a well-cut suit, and police-work governed by political correctness and computers, Sam finds himself demoted, dressed in a leather jacket, living in a dingy room with a Murphy-bed, and working with DCI Gene Hunt. Hunt, played with joyful relish by Philip Glenister, is the very antithesis of modern policing. He is unabashedly racist, sexist, homophobic and not above bashing the uncooperative suspect mid-interview. All guts and reaction, he is the ying to Sam’s yang, as it becomes clear that DI Tyler has lost the ability to trust his instincts. -
Sarah Esdaile Director
Sarah Esdaile Director Sarah graduated in English and Drama from Goldsmiths College in 1991. Whilst at London University and subsequently, she worked with many producers and theatres including Bill Kenwright, Robert Fox and Theatre Royal Brighton. In 1996 she was one of twelve invited on the first Directors’ Course run by the National Theatre Studio. She was previously Associate Director at the West Yorkshire Playhouse. Agents Nicki Stoddart [email protected] +44 (0) 20 3214 0869 Dan Usztan Assistant [email protected] Charlotte Edwards 0203 214 0873 [email protected] 0203 214 0924 Credits In Development Production Company Notes CALL THE MIDWIFE 11 BBC 1 / Neal Street Productions 1 episode 2021 Television Production Company Notes EASTENDERS BBC Continuing Drama 20 episodes and strands in a 16-episode silo 2019 - 2021 block United Agents | 12-26 Lexington Street London W1F OLE | T +44 (0) 20 3214 0800 | F +44 (0) 20 3214 0801 | E [email protected] Theatre Production Company Notes ABIGAIL’S PARTY ATG UK tour by Mike Leigh; starring Jodie Prenger 2019 DESIGN FOR LIVING LAMDA by Noel Coward 2018 SCRATCH NIGHT & FERTILITY Bush Theatre As part of Fertility Fest 2018 FIGHT CLUB TALK 2018 DANCING AT LUGHNASA BADA 2018 LAMDA SHOWCASE Trafalgar Studios 2018 THE SPOTLIGHT PRIZE The Under Globe Director 2017 ABIGAIL'S PARTY by Mike Leigh Theatre Royal Bath Tour 2017 Productions WALKING ON EGG SHELLS by as part of Fertility Fest Curated by Jessica Hepburn at Amy Rosenthal Birmingham Repertory Theatre and 2016 Park Theatre - May/June 2016 FIVE WOMEN WEARING THE LAMDA Linbury Studio SAME DRESS by Alan Ball 2016 TESTING THE ECHO by David Show curated by Director of David Edgar piece with Edgar Emma Manton Juliet Stevenson & Zubin Varla for 2016 MOVING STORIES Charity event at the National Theatre 14th Feb 2016 fundraiser for the United Nations Refugee Agency THE BFG adapted by David Octagon Theatre. -
The Rebel Flesh
THE REBEL FLESH (DOCTOR WHO) by Matthew Graham Representing writers and rights ____ Valerie Hoskins Telephone +44 (0) 207 637 4490 Facsimile +44 (0) 207 637 4493 Valerie Hoskins Associates 20 Charlotte Street London W1T 2NA www.vhassociates.co.uk DW11-2 EPISODE 5 THE REBEL FLESH By Matthew Graham Pre-Shooting UNPROOFED, 16.11.10 ii. Ep 5 -"The Rebel Flesh", Pre-Shooting - 16.11.10 page 1 1 EXT. ISLAND - MONASTERY - ESTABLISHER - DAY 1 [13:00] 1 A ROCKY ISLAND in the midst of a CRASHING SEA. Upon its peak - A MONASTERY of stone towers - buttresses - encircled by a wall. We may be forgiven for thinking we have pitched up in Medieval Times but we would be wrong --- CUT TO: 2 INT. MONASTERY - CORRIDOR - DAY 1 [13:01] 2 * Gloomy - dank - dripping - serenaded by the mournful howl of a lonely wind and by the distant chiming of a pious bell. From the darkness we hear the steady STOMP STOMP of metal upon stone - the sound (we perceive) of several ARMOURED KNIGHTS marching towards us. And here they come - THREE METAL-CLAD FIGURES - partially hidden by the deep shadows. They halt with a clank of steel and an almost military finality. A beat -- JIMMY (Scot) What?! You’re havin’ a laugh, aren’t you? Lights! LIGHTS! (to Buzzer) Give her a good old kick -- BUZZER (Lancashire) I’ll give her a good old kick -- BUZZER gives the wall circuits a boot. Overhead sodiums flutter on. And now we can see the three people - JIMMY, BUZZER and JENNIFER [ALL PHASE 3]. -
John Yorke Interview Part 1.Pdf
INTERVIEW: JOHN YORKE J Friedmann The Yorkie bar kid JohnYorke When the BBC announced two years ago that John Yorke had developing younger-skewing drama series and serials. been appointed Controller of In-House Drama, Alan Yentob, Nicolas Brown would join BBC In-House Drama in the the Director of Drama, Entertainment and Children's, said that newly-created role of Director of Drama Production and Sally the move would bring together all BBC England In-House Woodward Gentle would become Creative Director in charge Drama Production into a single department. Yorke would have of all development in the department. special responsibility for continuing drama series and sin- Alan Yentob said: 'The new department will become the gles and would be joined by Kate Harwood, Executive largest developer and producer of drama in the UK with the Producer, EastEnders, as Head of Series and Serials. broadest range of output and best array of talent.' Diederick Santer was subsequently appointed Executive So, two years later, ScriptWriter magazine asked John Yorke Producer, EastEnders, with additional responsibility for what it was like coming back to the BBC after being at Channel 4. March 2007 39 INTERVIEW: JOHN YORKE John Yorke: Coming back was very writer - an incredibly experienced writer - encourage them, you’re going to find exciting. Channel 4 is a fantastic place to Tony McHale, who is absolutely in charge yourself in a real hole eventually. work but you don't get to make very of the entire direction of the show. On much. So I went from a team of eight EastEnders we created a core writing JF: So what you are saying is that you are people making 26 hours of drama a year group of twelve writers who each write allowing a group of writers to have much to a team of about 300 people making twelve episodes a year and it is they who more hands-on control: you have your 400 hours of drama. -
Fantastika Journal
FANTASTIKAJOURNAL After Bowie: Apocalypse, Television and Worlds to Come Andrew Tate Volume 4 Issue 1 - After Fantastika Stable URL: https:/ /fantastikajournal.com/volume-4-issue-1 ISSN: 2514-8915 This issue is published by Fantastika Journal. Website registered in Edmonton, AB, Canada. All our articles are Open Access and free to access immediately from the date of publication. We do not charge our authors any fees for publication or processing, nor do we charge readers to download articles. Fantastika Journal operates under the Creative Commons Licence CC-BY-NC. This allows for the reproduction of articles for non-commercial uses, free of charge, only with the appropriate citation information. All rights belong to the author. Please direct any publication queries to [email protected] www.fantastikajournal.com Fantastika Journal • Volume 4 • Issue 1 • July 2020 AFTER BOWIE: APOCALYPSE, TELEVISION AND WORLDS TO COME Andrew Tate Let’s start with an image or, more accurately, an image of images from a 1976 film. A character called Thomas Jerome Newton is surrounded by the dazzle and blaze of a bank of television screens. He looks vulnerable, overwhelmed and enigmatic. The moment is an oddly perfect metonym of its age, one that speaks uncannily of commercial confusion, artistic innovation and political inertia. The film is Nic Roeg’s The Man Who Fell to Earth – an adaptation of Walter Tevis’ 1963 novel – and the actor on screen is David Bowie, already celebrated for his multiple, mutable pop star identities in his first leading role in a motion picture. In an echo of what Nicholas Pegg has called “the ongoing sci-fi shtick that infuses his most celebrated characters” – including by this time, for example, Major Tom of “Space Oddity” (1969), rock star messiah Ziggy Stardust and the post-apocalyptic protagonists of “Drive-In Saturday” (1972) – he performs the role of an alien (Kindle edition, location 155). -
TIM PALMER, BSC Director of Photography
(6/9/21) TIM PALMER, BSC Director of Photography www.timpalmerdp.com FILM & TELEVISION DIRECTOR COMPANIES PRODUCERS “FLOWERS IN THE ATTIC Declan O’Dwyer Lifetime Zoe Rocha PREQUEL” Ruby Rock Pictures (Series) “THE LAST KINGDOM” Andy Hay Netflix Stephen Butchard (Series, Seasons 4 & 5) Carnival Film & TV Nigel Marchant “UNSAID STORIES: I DON’T Koby Adom Greenacre Films Madonna Baptiste WANT TO TALK ABOUT THIS” (Mini-Series) “LINE OF DUTY 6” Daniel Nettheim BBC Ken Horn (Mini-Series) Garreth Bryn World Productions “THE NEST” Simen Alsvik BBC One Clare Kerr (Series, 2 Episodes) Studio Lambert Simon Lewis “INVISIBLE” Richard Senior Mammoth Screen Robert Murphy (Series, 1 Episode) ITV Studios “DUBLIN MURDERS” Saul Dibb Element Pictures Kate Harwood (Series) Euston Films Sarah Phelps “MOTHERFATHERSON” Charles Sturridge BBC Tom Rob Smith (Series, 1 Episode) Hilary Salmon “STRIKE BACK” Paul Wilmshurst Cinemax Lawrence Cochran (Season 7) Left Bank Pictures Nuala O’Leary Richard Burrell “DOCTOR WHO” Sallie Aprahamian BBC One Alex Mercer (Season 11, 2 Episodes) “STAN LEE’S LUCKY MAN” Philip John Carnival Film & TV Richard Fell (Season 3, 2 Episodes) Sky 1 Ken Horn “KILLING EVE” Jon East Sid Gentle Films Phoebe Waller-Bridge (Mini-Series, 3 Episodes) BBC America Sally Woodward-Gentle “LIVING THE DREAM” Philippa Langdale Big Talk Productions Luke Alkin (Series) Saul Metzstein Matthew Justice “BABS” Dominic Leclerc BBC Tony Jordan (TV Movie) Red Planet Pictures “TINA AND BOBBY” John McKay ITV Studios Kieran Roberts (Mini-Series) (cont.) SANDRA MARSH