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Representations of British Probation
British Journal of Community Justice ©2012 Sheffield Hallam University, Sheffield ISSN 1475-0279 Vol. 10(2): 5-23 REPRESENTATIONS OF BRITISH PROBATION OFFICERS IN FILM, TELEVISION DRAMA AND NOVELS 1948-2012 Mike Nellis, Emeritus Professor of Criminal and Community Justice, School of Law, University of Strathclyde Abstract This paper offers an overview of representations of the British probation service in three fictional media over a sixty year period, up to the present time. While there were never as many, and they were never as renowned as representations of police, lawyers and doctors, there are arguably more than has generally been realised. Broadly speaking - although there have always been individual exceptions to general trends - there has been a shift from supportive and optimistic representations to cynical and disillusioned ones, in which the viability of showing care and compassion to offenders is questioned or mocked. This mirrors wider political attempts to change the traditionally welfare-oriented culture of the service to something more punitive. The somewhat random and intermittent production of probation novels, films and television series over the period in questions has had no discernible cumulative impact on public understanding of probation, and it is suggested that the relative absence of iconic media portrayals of its officers, comparable to those achieved in police, legal and medical fiction, has made it more difficult to sustain credible debates about rehabilitation in popular culture. Introduction One of the problems the Probation Service has is that it is not very photogenic. We live with an image driven media and society and unfortunately probation doesn’t present itself well, certainly on television. -
'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 -
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. -
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. -
Acting for Auntie: from Studio Realism to Location Realism in Bbc Television Drama, 1953-2008
ACTING FOR AUNTIE: FROM STUDIO REALISM TO LOCATION REALISM IN BBC TELEVISION DRAMA, 1953-2008 RICHARD HEWETT, MA Thesis submitted to the University of Nottingham for the degree of Doctor of Philosophy DECEMBER 2012 Abstract Acting for television has hitherto been a much-neglected field; by focusing solely on screen performance, usually via textual analysis, the small amount of work thus far conducted has largely ignored the various conditioning factors that combine to shape it. This thesis is designed to address that lack, drawing on a combination of archive research, original interviews and textual analysis to provide a multi-perspectival, historical overview of acting in British television drama, spanning the live era to the present day. The programmes selected as case studies herein derive from historically distinct production contexts: namely, the live drama of The Quatermass Experiment (BBC, 1953); the ‘as live’, pre-recorded videotape of Doctor Who (BBC, 1963-89); and the move to Outside Broadcast location work, utilising a ‘rehearse/record’ process, on the first series of Survivors (BBC, 1975-77). The fact that each programme has since been re-made in the 2000s allows for both a comparative study and a chronological development of television acting. The significance for acting of the shift from multi-camera studio to single camera location work is represented here by the models of studio realism and location realism. However, the physical site of performance is just one of several determinants that are examined throughout. Actor experience, technology, drama training and production process together comprise a complex set of variables that are in a constant state of flux.