WGGB Annual Report 2014-15 General Secretary’S Report

Total Page:16

File Type:pdf, Size:1020Kb

WGGB Annual Report 2014-15 General Secretary’S Report Annual report 201 4 -15 www.writersguild.org.uk The Writers’ Guild of Great Britain is a trade union registered at 134 Tooley Street, London SE1 2TU Contents REGIONAL AND BRANCH REPORTS General Secretary’s report 3 East Midlands / London & 20 South East 5 Chair’s report North West (Merseyside 6 President’s report 21 & Manchester) / Scotland 8 Treasurer’s report 23 South West CRAFT COMMITTEE REPORTS 24 Wales 10 Books / Children’s 26 West Midlands 12 Film 28 Yorkshire & North East Radio 14 OBITUARIES 16 Television 29 Rememberin g WGGB members 18 Theatre 19 Videogames JOIN US CONTACT US If you are not a WGGB member, and would If you want to contact any of the WGGB like to join, you can do this online: officers, craft chairs or regional representatives featured in this annual report, you can find www.writersguild.org.uk their details on our website: Or by phone: 020 7833 0777 www.writersguild.org.uk/contact/ You can also follow us on Twitter: @TheWritersGuild Facebook: www.facebook.com/thewritersguild 2 WGGB annual report 2014-15 General Secretary’s report The Writers’ Guild of Great Britain (WGGB) is as strong as it has ever been – stronger, indeed. We have more members than ever. In a tough climate we continue We have a marvellous cohort of successful working to negotiate better minimum terms for writers who – somehow or other – find time in their busy lives to contribute to our negotiations, writers – in the past year, 6% on regional policies, events and debates. We are so lucky to theatre rates; 5% on ITV rates; above- have them. Please think about joining them! inflation increases for BBC TV, national theatres and independent theatres. I have been the General Secretary of WGGB for almost 15 years now, and I can honestly say I don’t We deal with scores of individual issues when our think we have ever been in better shape. members need help to sort out contract troubles, credit disputes, problems with producers and And it is going to get better. publishers. We almost always achieve an acceptable Our new membership system is consistently outcome – or better. recruiting and retaining more members than ever Then there are our events. The glittering annual before. Our amazing Twitter army of over 26,000 Writers’ Guild Awards ceremony, hosted this year followers is assuring us of global attention and in January 2015 by Sandi Toksvig at RIBA in central respect, as is our new logo and relaunched website. London, was described as the “best ever” by many Our reputation in the UK media has never been of those who attended. The unprecedented Archers higher. When WGGB speaks, the industry listens. event, organised by our West Midlands branch in We still need to recruit more writers to WGGB. Birmingham in March 2015, saw Archers writer and We still need to generate more revenues, so that WGGB Deputy Chair Tim Stimpson take questions we can employ more people to give more support on the controversial Ambridge floods storyline, to writers. which he wrote. Other events have taken place across Wales, Scotland, London and elsewhere. But brothers and sisters – we are on our way! We have considerable influence over politicians in In the digital world, content is king – and writers Westminster, Brussels, Holyrood and Cardiff Bay, are the people who provide the content. We and we maintain this with regular meetings. We are should be confident and ever more powerful. fully engaged with other writers’ guilds and unions Our future is in our own grasp. throughout the world – all over Europe, the USA, Canada, India, etc, etc. Bernie Corbett We remain on top of potential changes in copyright General Secretary and collective management, and we pursue these issues energetically through our affiliations with powerful international lobbying groups. We have been the moving spirit behind the establishment of Writers Digital Payments, which in 2015 has begun to distribute over £1 million to writers whose work has been viewed on internet catch-up services such as BBC iPlayer. www.writersguild.org.uk 3 WGGB wields influence in Westminster, Holyrood, Cardiff Bay, Brussels and beyond 4 WGGB annual report 2014-15 Chair’s report This is my final report as Chair. During my three years in post I have been impressed time and again by the dedication of Guild members who We need to continue to advise writers of their choose to work for our union. We have a rights, educate the industry on best practice and dedicated small team of staff working from warn writers against unscrupulous practices. our offices in London, but a great deal of The Guild is working across TV, film, radio, theatre, the Guild’s work is also undertaken by books, poetry, animation and videogames. We have writers who volunteer their time to help established branches in more parts of the UK than fulfil our union’s ambitions. ever before. The Guild is in good health, but my experience as an officer has taught me that the Writers take part in negotiations, lobby, manage Guild not only survives on the hard work of the committees and arrange events the length and staff and members but on the income we are able breadth of the country. We must remember that to generate. The majority of the Guild’s income our union was established by professional writers comes from member subscriptions and aside from and that writers continue to manage its affairs on raising the subscription rate the best way of a day-to-day basis. increasing our funds is by attracting new members. Writers in the UK have won many important We are members of our union, but we also have a battles. Some writers’ guilds around the world responsibility to communicate the importance aren’t acknowledged by broadcasters, they don’t of a strong union that is able to represent have minimum terms agreements or enjoy writers with one voice. employer-contribution pension plans. We enjoy The Guild’s new website and branding will help us these rights but we must also work to protect our communicate this message more effectively and interests in an ever-changing industry. I’m confident this resource will develop over the The Guild has been working for more than five next 12 months. years on ensuring that writers are paid when their I have enjoyed my work at the Guild despite the work is viewed online. I’m delighted that Writers headaches and surprises it has thrown up and I Digital Payments, a not-for-profit company set up would like to thank everyone who contributes to by the Guild and the Personal Managers’ its ongoing strength. Association, has recently made its first payments to writers. It’s initiatives like this that underline the Guild’s continued relevance. Roger Williams Chair Writers Digital Payments makes sure TV writers get properly paid when their work is shown online www.writersguild.org.uk 5 President’s report This has been a year of consolidation at the Writers’ Guild. Hovering for some years under the 2,000-member mark, this year we have settled just above it, making us the largest writers’ union in Europe. After moving office last year, staff have now MEMBER SUPPORT settled in to the excellent new premises We can all fall foul of contracts if we don’t read near London Bridge. A significant amount them carefully, and free contract vetting, support of our archive has found a home at the and advice is a benefit that all Guild members are University of Warwick, making it more eligible for. Guild staff have continued to provide accessible and saving us storage charges. members with invaluable support and advice over the past year, and members can now also consult And the pension scheme has moved from the newly-revamped ‘Rates and agreements’ and its previous management to within Aviva. ‘Resources’ sections of our smart-looking, relaunched website. The work of the Guild falls into three main areas: negotiations; helping individual members with contract problems and the like; events and awards. EVENTS AND AWARDS There have been numerous Guild events NEGOTIATIONS throughout the year, mostly organised by increasingly active regional branches – a special The business of negotiation is a continuous one, mention to Piers Beckley, Chair of the London and I applaud the members of the variou s Writers’ & South East branch, for reviving the London Guild craft committees who put so much effort area with the popular Meet the Agents gathering, into this incredibly important work – collective among others. bargaining on behalf of hundreds of freelance writers, who cannot possibly hope to stand up to The Guild gives a number of awards as part employers on their own. Whether Guild members of other events, including the BBC Audio Drama or not, all writers benefit from this work. So Awards and the British Comedy Awards. please, if you are a member and find yourself We also have our own Olwen Wymark Theatre working alongside other writers, do encourage Encouragement Awards, which give Guild members them to join. It works. the chance to thank those who have given them a positive experience in new writing in the past year. This year has seen a new negotiating partnership in the form of the Filmmakers’ Alliance, consisting Our annual Writers’ Guilds Awards evening, of the Writers’ Guild, Directors UK and Pact established in 1961, is undoubtedly a highpoint of (representing independent producers). The ‘locked our calendar. This year it was organised by a special box’ deal, negotiated by the Filmmakers’ Alliance Awards Working Party, plus a professional events with the British Film Institute (BFI), means that organiser, and was hosted by Sandi Toksvig on 19 writers, producers and directors all now get an January 2015 at RIBA on Portland Place, central equal share of recouped income from feature films London.
Recommended publications
  • Has TV Eaten Itself? RTS STUDENT TELEVISION AWARDS 2014 5 JUNE 1:00Pm BFI Southbank, London SE1 8XT
    May 2015 Has TV eaten itself? RTS STUDENT TELEVISION AWARDS 2014 5 JUNE 1:00pm BFI Southbank, London SE1 8XT Hosted by Romesh Ranganathan. Nominated films and highlights of the awards ceremony will be broadcast by Sky www.rts.org.uk Journal of The Royal Television Society May 2015 l Volume 52/5 From the CEO The general election are 16-18 September. I am very proud I’d like to thank everyone who has dominated the to say that we have assembled a made the recent, sold-out RTS Futures national news agenda world-class line-up of speakers. evening, “I made it in… digital”, such a for much of the year. They include: Michael Lombardo, success. A full report starts on page 23. This month, the RTS President of Programming at HBO; Are you a fan of Episodes, Googlebox hosts a debate in Sharon White, CEO of Ofcom; David or W1A? Well, who isn’t? This month’s which two of televi- Abraham, CEO at Channel 4; Viacom cover story by Stefan Stern takes a sion’s most experienced anchor men President and CEO Philippe Dauman; perceptive look at how television give an insider’s view of what really Josh Sapan, President and CEO of can’t stop making TV about TV. It’s happened in the political arena. AMC Networks; and David Zaslav, a must-read. Jeremy Paxman and Alastair Stew- President and CEO of Discovery So, too, is Richard Sambrook’s TV art are in conversation with Steve Communications. Diary, which provides some incisive Hewlett at a not-to-be missed Leg- Next month sees the 20th RTS and timely analysis of the election ends’ Lunch on 19 May.
    [Show full text]
  • Broadcasting in Wales
    House of Commons Welsh Affairs Committee Broadcasting in Wales First Report of Session 2016–17 HC 14 House of Commons Welsh Affairs Committee Broadcasting in Wales First Report of Session 2016–17 Report, together with formal minutes relating to the report Ordered by the House of Commons to be printed 13 June 2016 HC 14 Published on 16 June 2016 by authority of the House of Commons Welsh Affairs Committee The Welsh Affairs Committee is appointed by the House of Commons to examine the expenditure, administration, and policy of the Office of the Secretary of State for Wales (including relations with the National assembly for Wales.) Current membership David T.C. Davies MP (Conservative, Monmouth) (Chair) Byron Davies MP (Conservative, Gower) Chris Davies MP (Labour, Brecon and Radnorshire) Glyn Davies MP (Conservative, Montgomeryshire) Dr James Davies MP (Conservative, Vale of Clwyd) Carolyn Harris MP (Labour, Swansea East) Gerald Jones MP (Labour, Merthyr Tydfil and Rhymney) Stephen Kinnock MP (Labour, Abervaon) Liz Saville Roberts MP (Plaid Cymru, Dwyfor Meirionnydd) Craig Williams MP (Conservative, Cardiff North) Mr Mark Williams MP (Liberal Democrat, Ceredigion) The following were also members of the Committee during this inquiry Christina Rees MP (Labour, Neath) and Antoinette Sandbach MP (Conservative, Eddisbury) Powers The committee is one of the departmental select committees, the powers of which are set out in House of Commons Standing Orders, principally in SO No 152. These are available on the internet via www. parliament.uk. Publication Committee reports are published on the Committee’s website at www.parliament.uk/welshcom and in print by Order of the House.
    [Show full text]
  • Sector Skills Assessment for the Creative Media Industries in Wales
    Sector Skills Assessment for the Creative Media Industries in Wales January 2011 Contents Page Executive Summary........................................................................................................ 3 1. Introduction.............................................................................................................. 5 1.1 Aims and Objectives of a Strategic Skills Assessment ................................. 10 1.2 Policy Context ............................................................................................... 11 1.3 Research and Data ....................................................................................... 12 2. What Drives Skills Demand? ............................................................................ 14 2.1 Introduction ................................................................................................... 14 2.2 Employment Profile....................................................................................... 14 2.3 Economic Profile ........................................................................................... 20 2.4 Recruitment and Retention ........................................................................... 22 2.5 Factors Driving Skills Demand in Wales ....................................................... 27 3. Current Skills Needs.............................................................................................. 29 3.1 Introduction ..................................................................................................
    [Show full text]
  • Cultivating Culture Celebrating Local Arts in Birmingham
    CULTIVATING CULTURE CELEBRATING LOCAL ARTS IN BIRMINGHAM Happening all across the city! February 7th – March 18th WHAT IS CULTIVATING CULTURE? Cultivating Culture is a feast of arts! It celebrates the work of the Arts Champions and Local Arts Fora throughout February and March, offering a range of high quality arts experiences in your neighbourhood. See Birmingham Royal Ballet perform with youth dancers and Handsworth elders in Perry Barr; hear CBSO SO Vocal choir in Selly Oak's Art SOAK Festival; uncover the ‘HeritEDGE’ stories of Edgbaston and travel on an ‘Arts Buzz’; take your family to Hodge Hill for ‘Splosh’ or Griffin Day. You Handsworth Elders can get involved in artist led walks (some curated through the Still Walking Photo: Birmingham Royal Ballet festival); photography, storytelling, poetry, film, singing and dance sessions in libraries and shopping malls near you. See how Birmingham is an adventurous artistic city that is cultivating culture on your doorstep – for more information visit www.birminghamculture.org . Local Arts Development led by Birmingham City Council’s Culture Commissioning Service : Birmingham falls into ten districts, each with a population of 100,000 residents. The approach has been to create an infrastructure for culture by developing activities at a local level, responding to local priorities developed in partnership with residents. This is organised through a Local Arts Forum in each district, supported by the one of Birmingham’s arts major organisations (Arts Champions). This is the first month long celebration of work after three years of residency. Contributing to this, three cultural pilots (funded by Birmingham City Council and Arts Council England) have been testing ways of developing engagement in culture and capacity to co-design arts and cultural activities with local residents.
    [Show full text]
  • Market Analysis and Potential Interventions , File Type
    Commercial Property: Market Analysis and Potential Interventions A report to the Welsh Government March 2020 Commercial Property: Market Analysis and Potential Interventions Contents Executive Summary .................................................................................................................. i 1. Introduction .......................................................................................................................... 1 Part I: National Overview ......................................................................................................... 7 2. Policy context for intervention ........................................................................................... 8 3. Economic overview............................................................................................................ 14 4. Potential commercial property demand .......................................................................... 21 Part II: Regional Market Analysis ......................................................................................... 28 5. Regional market analysis: South East Wales ................................................................. 29 6. Regional market analysis: South West and Mid Wales .................................................. 41 7. Regional market analysis: North Wales........................................................................... 48 Part III: Addressing the Challenges ....................................................................................
    [Show full text]
  • 5G TV's Game Changer?
    April 2019 5G TV’s game changer? NEMI - POP NEMI (POP - UK) NEMI (POP - UK) MARK PETRIE - ORCHESTRAL MARK - ORCHESTRAL PETRIE FIND YOUR SOUND Discover high-quality, original music from renowned composers, respected singer-songwriters and successful commercial musicians. AVAILABLE FOR LICENCE AT AUDIONETWORK.COM CONTACT US TO FIND OUT MORE Rebecca Hodges [email protected] +44 (0)207 566 1441 NUTTY P - GRIME MAXIMUM IMPACT - EPIC ORCHESTRAL NEMI (POP - UK) NEMI (POP - UK) 0285-RTS-TelevisionMagAd-A4-3mmBleed.indd 7 18/02/2019 15:09 Journal of The Royal Television Society April 2019 l Volume 56/4 From the CEO It’s been an especially to all the jurors for their hard work. story of mobile media technology. stimulating few weeks I was fortunate to attend the Cardiff Also inside, Anne Dawson, the Soci- at the Society. The Creative Cities Convention, where ety’s bursaries administrator, provides glamorous RTS RTS Wales curated a terrific session in a revealing portrait of the experience Programme Awards which Kirsty Wark interviewed ITV of being a mentor and mentee. This is ceremony was an Studios’ Julian Bellamy. He delivered a an inspirational read. amazing occasion. resounding message about how much Last, but not least, I’d like thank the We had star power in abundance and creativity we are blessed with in our indefatigable Charles Byrne for his 29 well-deserved winners (full details nations and regions. achievements over two decades as are in this issue). I am delighted that we have in this Chair of RTS Republic of Ireland. There are so many people to thank issue both a report from the conven- Sadly, Charles is standing down.
    [Show full text]
  • AAHS FLIGHTLINE #187, 2Nd Quarter 2014
    AAHS FLIGHTLINE No. 187, Second Quarter 2014 American Aviation Historical Society www.aahs-online.org The Belgian air force participated with a number of General Dynamics F-16AMs as seen here with FA-127. (All photos by the author) Red Flag 14-2 by Wayne Minert Red Flag 14-2 was held March 3-14. Interdiction forces included F-15Es Highlights of What’s Inside This year’s event was only two weeks of the 4th FW, 366th FS from Seymour compared to the usual three, and there Johnson AFB, S.C., and B-52Hs from was a substantially different feeling to the 2nd BW, 96th BS based in Barksdale the event. The number of participants AFB, Louisiana. - Red Flag 14-2 was down from the last Red Flag. The Suppression of Enemy Air Defenses event almost had the feeling of a smaller (SEAD) provided an advantage for - Best of the Best expeditionary force, as opposed to the the interdiction force. This role was - AAHS-Online.org Update larger coalition force structure of the performed by F-16 CJs of the 20th FW, past. 77th FS from Shaw AFB, South Carolina. - Cindy Ann, WWII Aviation The participants who provided Red Naval aircraft from CAW 5, EAS 141 Tribute Air (the enemy) were members of the NAF Atsugi, Japan, fl ying EA-18Gs also 65th Aggressor squadron in F-15Cs and participated in the SEAD role. They the 64th Aggressor squadron in F-16s apparently were launching from Fallon Regular Sections based at Nellis AFB, Nev., that have NAS in northern Nevada.
    [Show full text]
  • AUDIENCE COUNCIL ENGLAND Minutes of Meeting Held on 13 October 2009, Peter Scott House, University of Birmingham
    CONFIDENTIAL AUDIENCE COUNCIL ENGLAND Minutes of meeting held on 13 October 2009, Peter Scott House, University of Birmingham IN ATTENDANCE: Alison Hastings Chair Belinda Channer Chair, West Midlands Christine Fanthome Chair, London Clarke Willis Chair, East Jill Hogan Chair, South East Ajit Singh representing Yorkshire RAC Phillippa Denton Chair, East Midlands Rob Fryatt Chair, South RAC Steve Marshall Chair, Yorkshire & Lincolnshire Stuart Paterson Chair, West Thelma Holland Chair, South West Hannah Eyres Chair, North East & Cumbria David Holdsworth Controller English Regions (by phone, item 3.3 only) Alan Ross Head of Technology English Regions Alix Pryde Controller, BBC Distribution Graham Plumb Head of Distribution Technology, BBC Distribution Steve Pollock Head of Audiences, BBC Trust Louise Hall Head of Governance & Accountability England Lydia Thomas Accountability Adviser, England Carol Cooke Public Accountability Manager, Yorkshire, Yorkshire & Lincolnshire, North East & Cumbria Russell Thomas Accountability Assistant, England APOLOGIES Elizabeth Peacock Chair, Yorkshire Taryn Rock Chair, North West 1. Apologies and announcements Alison Hastings welcomed Ajit Singh standing in for Elizabeth Peacock and noted apologies from Taryn Rock. 1 CONFIDENTIAL Alison informed members that the ACE Appointments Panel had received two nominations for the South East RAC; both had been approved. She also noted that members would be travelling on to the BBC Drama Village immediately after the meeting and thanked all those who were then travelling on to Salford to attend the Joint Audience Councils’ Conference; she gave her apologies for the dinner in Salford. 2. Minutes of previous meeting and matters arising 2.1 There was a reiteration of an amendment to the minutes which was accepted: North West corrected to South West on page 2.
    [Show full text]
  • Advisory Committee for Wales Response to Ofcom’S Call for Evidence: Review of Regional TV Production and Programming Guidance
    1 Ofcom Advisory Committee for Wales Response to Ofcom’s Call For Evidence: Review of Regional TV Production and Programming Guidance Introduction The Ofcom Wales Advisory Committee (ACW) believes that Ofcom’s proposed review of the guidance relating to the Made Out of London (MOL) quota is particularly timely, considering the extent to which the UK programme supply market has changed over the past few years. We believe that the following factors have had or are having a significant impact on network production sourced from Wales: • the introduction of the outside of England production quotas for Channel 4 in 2010 • establishing the BBC’s Roath Lock ‘Drama Village’ in Cardiff Bay07 • the creation of BBC Studios as a commercial entity • the removal of the BBC’s in-house guarantee • the BBC’s commitments, now included in the Operating Licence, to source 5% of its network productions from Wales (5% by spend and currently 4% by volume) • interventions by the Welsh Government to help develop and sustain TV and film production in Wales. • S4C’s role in developing and sustaining the independent production sector It is important to note the key role that S4C has played, after it first began broadcasting in 1982, in supporting and developing the independent production sector in Wales. Its investment, as a publisher broadcaster, has enabled the sector to grow significantly in Wales. For example two Wales based companies, Rondo Media and Tinopolis, feature this year in sixth and seventh place respectively in UK top 30 list of independent companies1. Both companies continue to be major programme suppliers for S4C, but have also increased their network supply output significantly.
    [Show full text]
  • Ash, William Franklin (1917-2014) (ASH)
    Ash, William Franklin (1917-2014) (ASH) ©Bishopsgate Institute Catalogued by Barbara Vasey, September 2016 1 ASH Ash, William Franklin (1917-2014) 1954-2014 Name of Creator: Ash, William Franklin ‘Tex’ (1917-2014) fighter pilot, writer, Marxist Extent: 31 boxes Administrative/Biographical History: Ash, William Franklin ‘Tex’ (1917-2014) fighter pilot, writer, Marxist was born in Dallas, Texas on 30 November 1917. His father was an unsuccessful door-to-door salesman. Ash attended Highland Park High School (class of 1934) and worked at a series of jobs until he saved up enough money to attend university. He gained a Liberal Arts BA degree from the University of Texas (Austin) in 1938, but work in Depression-era Texas was hard to come by so Ash became a migrant worker, travelling by railroad to wherever work could be found. At the outbreak of the Second World War in 1939, Ash crossed the US border into Canada so he could enlist with the Royal Canadian Air Force — a move which cost him his US citizenship. After training, Ash arrived in Britain in 1941 and saw action flying Spitfires over occupied France. Shot down in 1942, he was held prisoner for the next three years, during which time he made several escape attempts – leading him later to be identified as one of the inspirations for the character played by Steve McQueen in the 1963 film ‘The Great Escape’. Ash was awarded the MBE (military division) in 1946 and ended the war as a flight lieutenant. After the war he became a naturalised British citizen and went to Balliol College, Oxford, reading for a degree in PPE (Philosophy, Politics and Economics).
    [Show full text]
  • Art History and Visual Studies in Europe Brill’S Studies in Intellectual History
    Art History and Visual Studies in Europe Brill’s Studies in Intellectual History General Editor Han van Ruler, Erasmus University Rotterdam Founded by Arjo Vanderjagt Editorial Board C.S. Celenza, Johns Hopkins University, Baltimore M. Colish, Yale College J.I. Israel, Institute for Advanced Study, Princeton M. Mugnai, Scuola Normale Superiore, Pisa W. Otten, University of Chicago VOLUME 212 Brill’s Studies on Art, Art History, and Intellectual History General Editor Robert Zwijnenberg, Leiden University VOLUME 4 The titles published in this series are listed at brill.nl/bsih Art History and Visual Studies in Europe Transnational Discourses and National Frameworks Edited by Matthew Rampley Thierry Lenain Hubert Locher Andrea Pinotti Charlotte Schoell-Glass Kitty Zijlmans LEIDEN • BOSTON 2012 This book was supported by funds made available by the European Science Foundation (ESF), which was established in 1974 to provide a common platform for its Member Organisations to advance European research collaboration and explore new directions for research. This publication was supported by grants from the Aby Warburg-Stiftung and the Hamburgische Wissenschaftlich Stiftung, both in Hamburg. Cover illustration: Elliott Erwitt. Personal. 1996. © Elliott Erwitt/Magnum Photos. Library of Congress Cataloging-in-Publication Data Art history and visual studies in Europe : transnational discourses and national frameworks / edited by Matthew Rampley, Thierry Lenain, Hubert Locher, Andrea Pinotti, Charlotte Schoell- Glass, Kitty Zijlmans. pages cm. — (Brill’s studies in intellectual history, ISSN 0920–8607 ; v. 212. Brill’s studies on art, art history, and intellectual history ; v. 4) Includes bibliographical references and index. ISBN 978-90-04-21877-2 (hardback : alk. paper) — ISBN 978-90-04-23170-2 (e-book) 1.
    [Show full text]
  • Copyright by Richard James Gray II 2006
    Copyright by Richard James Gray II 2006 The Dissertation Committee for Richard James Gray II Certifies that this is the approved version of the following dissertation: FRENCH RADIO DRAMA FROM THE INTERWAR TO THE POSTWAR PERIOD (1922-1973) Committee: Seth Wolitz, Supervisor Mary J. Baker Jean-Pierre Cauvin Alexandra Wettlaufer Michael Kackman FRENCH RADIO DRAMA FROM THE INTERWAR TO THE POSTWAR PERIOD (1922-1973) by Richard James Gray II, B.A.; M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2006 Dedication To those whom I have lost. May you continue to live in my memory: Grandma and Grandpa Gray, Great Grandma Green, Grandma and Grandpa Knabusch. Acknowledgements I would like to extend my most heartfelt thanks to the members of my committee whose input was instrumental in the writing of this dissertation. I am especially indebted to Dr. Seth Wolitz, who encouraged me to choose a fresh, challenging subject of research, and who motivated me to reach the end. Without his support and his continued assurance, I may have never realized this study. I would also like to express my gratitude to the members of my family who have supported me in this endeavor. I would like to thank my parents, who have provided constant encouragement throughout my life and who gave to me the gift of a university education. To my sister, without whom I never would have been known as “Chauntel’s little brother.” Also, to my mother-in-law and father-in-law, who have helped my family in immeasurable ways.
    [Show full text]