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Drama and the Politics of Professionalism in England C. 1600
Drama and the Politics of Professionalism in England c.1600-1640 Martin Steward Ph.D. University College London University of London “And Pharaoh said unto Joseph, Forasmuch as God hath shewed thee all this, there is none so discreet and wise as thou art: Thou shalt be over my house, and according unto thy word shall all my people be ruled: only in the throne shall I be greater than thou.” Genesis 41:39-40 ProQuest Number: U642701 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. uest. ProQuest U642701 Published by ProQuest LLC(2015). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. Microform Edition © ProQuest LLC. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 Abstract The project was conceived as a cultural-studies contribution to the debate around the “causes of the English Civil War”. The “silences of conciliation” emphasized by “revisionist” historians concealed an unwillingness to entertain a theory of sovereignty, despite Tudor administrative centralization. Understanding this unwilhngness helps explain how conciliation could be a preface to civil war. The answer lies partly in the way professional constituencies divided up the action of government. This did not prevent dissension, because these competing claims upon power perpetuated precisely those divisions which concepts of sovereignty were designed to overcome. -
Special Issue
ISSUE 750 / 19 OCTOBER 2017 15 TOP 5 MUST-READ ARTICLES record of the week } Post Malone scored Leave A Light On Billboard Hot 100 No. 1 with “sneaky” Tom Walker YouTube scheme. Relentless Records (Fader) out now Tom Walker is enjoying a meteoric rise. His new single Leave } Spotify moves A Light On, released last Friday, is a brilliant emotional piano to formalise pitch led song which builds to a crescendo of skittering drums and process for slots in pitched-up synths. Co-written and produced by Steve Mac 1 as part of the Brit List. Streaming support is big too, with top CONTENTS its Browse section. (Ed Sheeran, Clean Bandit, P!nk, Rita Ora, Liam Payne), we placement on Spotify, Apple and others helping to generate (MusicAlly) love the deliberate sense of space and depth within the mix over 50 million plays across his repertoire so far. Active on which allows Tom’s powerful vocals to resonate with strength. the road, he is currently supporting The Script in the US and P2 Editorial: Paul Scaife, } Universal Music Support for the Glasgow-born, Manchester-raised singer has will embark on an eight date UK headline tour next month RotD at 15 years announces been building all year with TV performances at Glastonbury including a London show at The Garage on 29 November P8 Special feature: ‘accelerator Treehouse on BBC2 and on the Today Show in the US. before hotfooting across Europe with Hurts. With the quality Happy Birthday engagement network’. Recent press includes Sunday Times Culture “Breaking Act”, of this single, Tom’s on the edge of the big time and we’re Record of the Day! (PRNewswire) The Sun (Bizarre), Pigeons & Planes, Clash, Shortlist and certain to see him in the mix for Brits Critics’ Choice for 2018. -
Mastermind and Celebrity Mastermind Invitation to Tender
BBC’s Mastermind and Celebrity Mastermind Invitation To Tender (ITT) 10 September 2018 Production of Mastermind and Celebrity Mastermind Contract for 2 years commencing with delivery in July 2019 ITT SUMMARY1 The BBC is inviting producers to tender for the production of Mastermind and Celebrity Mastermind. Mastermind and Celebrity Mastermind are long-running, successful BBC series at the heart of the BBC Two and BBC One schedules. The contract to produce Mastermind and Celebrity Mastermind is offered on a work-for-hire basis and all IP remains with the BBC. The contract, including 31 episodes of Mastermind and 10 episodes of Celebrity Mastermind per year, is for 2 years commencing with delivery in July 2019. John Humphrys will continue to present both shows. The current tariff for Mastermind and Celebrity Mastermind is an average of £36,0412 per episode or £2,955,362 for both series across the 2 years, funded by the BBC public service. The Production must remain Out of London, with a preference for one of the BBC’s centres for quiz content in Salford, Scotland or Northern Ireland. Schedule of key stages* ITT Published 10 September 2018 Tender eligibility closes 21 September 2018 Longlist notified 5 October 2018 Face to face meeting 19 October 2018 Tender submissions 14 November 2018 Shortlist notified 3 December 2018 Interviews 17 December 2018 TUPE Conversations 10 January 2019 Award decision announced 14 February 2019 Transmission from August 2019 * all dates are subject to change and Tenderers will be notified of any changes Tender eligibility Producers bidding on their own or in partnership will be considered. -
Report on Future Funding of Public Service Broadcasting
Tithe an Oireachtais An Comhchoiste um Chumarsáid, Gníomhú ar son na hAeráide agus Comhshaol Tuarascáil ón gComhchoiste maidir leis Craoltóireacht Seirbhíse Poiblí a Mhaoiniú sa Todhchaí A leagadh faoi bhráid dhá Theach an Oireachtais 28 Samhain 2017 Houses of the Oireachtas Joint Committee on Communications, Climate Action and Environment Report of the Joint Committee on the Future Funding of Public Service Broadcasting Laid before both Houses of the Oireachtas 28 November 2017 32CCAE002 Tithe an Oireachtais An Comhchoiste um Chumarsáid, Gníomhú ar son na hAeráide agus Comhshaol Tuarascáil ón gComhchoiste maidir leis Craoltóireacht Seirbhíse Poiblí a Mhaoiniú sa Todhchaí A leagadh faoi bhráid dhá Theach an Oireachtais 28 Samhain 2017 Houses of the Oireachtas Joint Committee on Communications, Climate Action and Environment Report of the Joint Committee on the Future Funding of Public Service Broadcasting Laid before both Houses of the Oireachtas 28 November 2017 32CCAE002 Report on Future Funding of Public Service Broadcasting TABLE OF CONTENTS Brollach .............................................................................................................. 3 Preface ............................................................................................................... 4 1. Key Issue: The Funding Model – Short Term Solutions .......................... 6 Recommendation 1 - Fairness and Equity ............................................................ 6 Recommendation 2 – All Media Consumed ........................................................... -
Radio 4 Listings for 2 – 8 May 2020 Page 1 of 14
Radio 4 Listings for 2 – 8 May 2020 Page 1 of 14 SATURDAY 02 MAY 2020 Professor Martin Ashley, Consultant in Restorative Dentistry at panel of culinary experts from their kitchens at home - Tim the University Dental Hospital of Manchester, is on hand to Anderson, Andi Oliver, Jeremy Pang and Dr Zoe Laughlin SAT 00:00 Midnight News (m000hq2x) separate the science fact from the science fiction. answer questions sent in via email and social media. The latest news and weather forecast from BBC Radio 4. Presenter: Greg Foot This week, the panellists discuss the perfect fry-up, including Producer: Beth Eastwood whether or not the tomato has a place on the plate, and SAT 00:30 Intrigue (m0009t2b) recommend uses for tinned tuna (that aren't a pasta bake). Tunnel 29 SAT 06:00 News and Papers (m000htmx) Producer: Hannah Newton 10: The Shoes The latest news headlines. Including the weather and a look at Assistant Producer: Rosie Merotra the papers. “I started dancing with Eveline.” A final twist in the final A Somethin' Else production for BBC Radio 4 chapter. SAT 06:07 Open Country (m000hpdg) Thirty years after the fall of the Berlin Wall, Helena Merriman Closed Country: A Spring Audio-Diary with Brett Westwood SAT 11:00 The Week in Westminster (m000j0kg) tells the extraordinary true story of a man who dug a tunnel into Radio 4's assessment of developments at Westminster the East, right under the feet of border guards, to help friends, It seems hard to believe, when so many of us are coping with family and strangers escape. -
The Role of Irish-Language Film in Irish National Cinema Heather
Finding a Voice: The Role of Irish-Language Film in Irish National Cinema Heather Macdougall A Thesis in the PhD Humanities Program Presented in Partial Fulfillment of the Requirements for the degree of Doctor of Philosophy at Concordia University Montreal, Quebec, Canada August 2012 © Heather Macdougall, 2012 ABSTRACT Finding a Voice: The Role of Irish-Language Film in Irish National Cinema Heather Macdougall, Ph.D. Concordia University, 2012 This dissertation investigates the history of film production in the minority language of Irish Gaelic. The objective is to determine what this history reveals about the changing roles of both the national language and national cinema in Ireland. The study of Irish- language film provides an illustrative and significant example of the participation of a minority perspective within a small national cinema. It is also illustrates the potential role of cinema in language maintenance and revitalization. Research is focused on policies and practices of filmmaking, with additional consideration given to film distribution, exhibition, and reception. Furthermore, films are analysed based on the strategies used by filmmakers to integrate the traditional Irish language with the modern medium of film, as well as their motivations for doing so. Research methods included archival work, textual analysis, personal interviews, and review of scholarly, popular, and trade publications. Case studies are offered on three movements in Irish-language film. First, the Irish- language organization Gael Linn produced documentaries in the 1950s and 1960s that promoted a strongly nationalist version of Irish history while also exacerbating the view of Irish as a “private discourse” of nationalism. Second, independent filmmaker Bob Quinn operated in the Irish-speaking area of Connemara in the 1970s; his fiction films from that era situated the regional affiliations of the language within the national context. -
Understanding Irish Spelling
Understanding Irish Spelling A Handbook for Teachers and Learners Nancy Stenson and Tina Hickey Understanding Irish Spelling A Handbook for Teachers and Learners Nancy Stenson and Tina Hickey i © Stenson and Hickey 2018 ii Acknowledgements The preparation of this publication was supported by a grant from An Chomhairle um Oideachas Gaeltachta agus Gaelscolaíochta, and we wish to express our sincere thanks to COGG, and to Muireann Ní Mhóráin and Pól Ó Cainín in particular. We acknowledge most gratefully the support of the Marie Skłodowska-Curie Fellowship scheme for enabling this collaboration through its funding of an Incoming International Fellowship to the first author, and to UCD School of Psychology for hosting her as an incoming fellow and later an as Adjunct Professor. We also thank the Fulbright Foundation for the Fellowship they awarded to Prof. Stenson prior to the Marie Curie fellowship. Most of all, we thank the educators at first, second and third level who shared their experience and expertise with us in the research from which we draw in this publication. We benefitted significantly from input from many sources, not all of whom can be named here. Firstly, we wish to thank most sincerely all of the participants in our qualitative study interviews, who generously shared their time and expertise with us, and those in the schools that welcomed us to their classrooms and facilitated observation and interviews. We also wish to thank the participants at many conferences, seminars and presentations, particularly those in Bangor, Berlin, Brighton, Hamilton and Ottawa, as well as those in several educational institutions in Ireland who offered comments and suggestions. -
Adding Value Report Vol.1
ADDING VALUE a report by Northern Ireland Screen NORTHERN BOOSTING CELEBRATING ENHANCING CONTENTS THE THE THE IRELAND OUR OUR OUR CHILDREN'S ECONOMIC CULTURAL EDUCATIONAL SCREEN ECONOMY CULTURE EDUCATION VALUE VALUE VALUE 08 Large-scale Production 44 Writers 84 Creative Learning Centres 18 Independent Film 46 Short Film 90 Moving Image Arts (MIA) 22 Animation 48 ILBF / CCG 92 After School FilmClub 26 Factual / Entertainment 56 USBF 30 Television Drama 64 Film Culture 34 Gaming and Mobile 74 Heritage and Archive 38 Skills Development 78 Awards 04 05 INTROduCTION As the government-backed lead Of course certain activity intersects In a similar vein, the work of the agency in Northern Ireland for the film, more than one area and the inter- Education Department, with regard to television and digital content industry, connectivity of the agency’s work will its intervention through FilmClub, has Northern Ireland Screen is committed become apparent. For example, the value in both education and culture; as to maximising the economic, cultural development and production funding for children learn through film in a pure and educational value of the screen indigenous projects made in Northern educational sense as well as gain a wider industries for the benefit of Northern Ireland by Northern Ireland film-makers appreciation of film culture and of the Ireland. This goal is pursued through our and shown at a Northern Ireland festival, culture of Northern Ireland through mission to accelerate the development will have value in all areas. An obvious watching content-relevant films. of a dynamic and sustainable screen case in point is the feature film Good industry and culture in Northern Ireland. -
The Chase Australia Is Produced by ITV Common Enemy, the Chaser, a Supremely, Studios Australia and Is Based on the Self-Confident Quiz Genius
The Chase is on… Seven’s all-new general Four contestants will face a sequence of knowledge game show is starting Monday quick-fire and multiple-choice question September 14 at 5pm. rounds to build up their cash pot, but if they allow the Chaser to catch up to them, The Chase is a race where players must they’re out of the game. ensure they stay one step ahead of the Chaser, some of the finest quiz brains in Working as a team, players who make it Australia. The Chasers are: The Governess, through to the Final Chase then unite one Supernerd, The Shark and Goliath. more time before their common enemy: the Chaser. Hosted by Andrew O’Keefe, contestants must answer general knowledge questions Stay ahead of the Chaser and they share the and play their tactics right in order to get cash pot. Get caught and they lose the lot! themselves in the Final Chase, where they could win thousands of dollars. Have they got what it takes to beat the Chaser? However, standing in their way is their The Chase Australia is produced by ITV common enemy, the Chaser, a supremely, Studios Australia and is based on the self-confident quiz genius. They will chase popular UK version of The Chase which is contestants down the board in a tense and now in it’s eighth series. thrilling test of knowledge to try to catch them and throw them out of the game. HOST ANDREW O’KEEFE Andrew is co-host of Australia’s favourite In 2013, Andrew took to the stage playing weekend breakfast show Weekend Sunrise, the role of King Herod in the Australian as well as the host of The Chase Australia. -
KC Lights Bio 2018
KC Lights In what may seem like overnight, Glasgow’s multitalented DJ/musician/producer KC Lights has broken out as one of the fastest-rising acts in the global dance music scene. Undoubtedly one of the brightest hopes to come out of Glasgow, Scotland, he’s evolved his expansive production range and uplifting DJ style in the studio and on the road, with fans touting his unique take on house music. KC Lights finished his degree in music and initially intended to write electro acoustic compositions, along with exploring his interest in jazz and classical music. After working more closely with electronic sounds, he also ventured out on holiday to Ibiza. The trip, along with the music and energy, inspired him. His new sounds incorporated layers of lush melodies with powerful piano chords, bass, and uplifting strings behind hypnotic vocals atop a framework of soulful, driving house. The official debut of KC Lights came in 2013 via the Sweet Step EP on Cheap Thrills. The EP set off a chain reaction of subsequent hit singles and releases. The 2015 single, “Lose It All,” was his first release to gain major traction within the electronic world, with house music heavyweights Rudimental, MK, and Danny Howard all singing its praises. It was his following single, “No No No,” that became KC Lights’ breakthrough track and a definitive Ibiza anthem of 2015. The song hit #3 on the BBC Radio 1 Dance Charts and reached the Top 10 on the Shazam UK Dance Chart. Influential BBC Radio 1 DJ/host Annie Mac championed the track and included it on her Annie Mac Presents 2015 compilation released through Virgin EMI Records. -
Report 2008 Annual
Annual Report 2008 CONteNts TG4’s Mission, Vision and Values 2 TG4’s Commitments for 2008 4 TG4’s Performance in 2008 9 The Board of Teilifís na Gaeilge and other information 12 Chairman's Report 15 Chief Executive’s Report 21 Corporate Governance 38 Financial Review 41 Financial Statements 45 Annual Report 1 MIssION, VISION AND COre VALUes {Cúla 2 Annual Report 4 MIssION, VISION AND COre VALUes ’TG4’s mission is to provide an attractive and innovative television and content service in Irish, that celebrates Irish creativity and identity – language, culture, music and sport, packaged and presented to be accessible and appealing in order to connect to audiences in Ireland and worldwide”. TG4’s vision is “To continue to promote successfully Irish language and culture using television and web content so as to ensure a central place in Irish people’s lives, both in Ireland and abroad”. While TG4’s vision and mission set-out what the organisation will achieve and the strategies it will use to deliver on its public service objects, TG4’s values influence the way in which they will be achieved, the manner in which it works with its key stakeholders and overall, reflect the principles which are the founding characteristics of the organisation. The culture of the TG4 organisation is built on these values. It is expected that each TG4 employee “lives” these values day-to-day and uses them as their guiding principles to inform and direct their on-the-job behaviours. TG4 Core Values Connection: • To provide a daily link for the Irish Language to every household in the country. -
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