DOCSLIB.ORG

Is Afternoon at Scottish Rite Former Students Attend College in South

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Is Afternoon at Scottish Rite Former Students Attend College in South Party Given Senior Students Must File Night Tomorrow NYA Applications IOSERTA Newman Club At With College Deans SDAI SAN JOSE, CALIFORNIA, rOL loax FRIDAY, MARCH 7, 1941 Number 100 41 Duke 01. nen's he. Fund 1Y, Student l'Shake-Down' Party 131 night TOMORROW NOON be of the N.Y.A. DEADLINE Y White as APPLICATION FOR LOANS Tomorrow noon is the dead- MAGIC SHOW, ACTION, ted it" line for men NYA students to make applications for Lynn Gni, IN work next ACCEPTED DEAN'S quarter, ord, tree. announces Mrs. Louise REFRESHMENTS PROMISED s. gaud. Ralph, secretary in the dean of men's office. for eleven OFFICE THIS QUARTER ill he heit Wednesday is the last day that SENIORS TOMORROW women may apply for Knights as renewal Students who desire to make application for a loan from the Cali- slips for NYA work, according to e fraterroq Free refreshments, dancing, bowling, billiards and ping pong will of Parents and Teachers loan fund should see Dean of Women Helen Dirnmick. eel, at 1:15. Iola Congress Mrs. provide seniors with plenty of action at their "Bail Out-Shake Down" Any applications made after this be se Ralph in room 16 before the end of this quarter, it was en- party tomorrow night placed u date will be placed only if there in the Newman club, from 8:30 to 12 o'clock. A and sedum nead yesterday. are vacancies. specialty magician act by Ormond McGill, action pictures of the y part of ke are made for the purpose of allowing students Loans, which to Fresno football game, and "enlightening hints" about contents of the jobs Old .ramm 'rue their college education, are not to exceed $150. The money high and mighty's ill done, as. final examinations will be added highlights to the Is to be repaid within three years evening, planned by committee after the students get jobs. There heads. the pledge Former Students is no interest charge. Those making arrangements for , downtown PE Majors Senior Dean Paul Pitman stated that the KSJS Presents quarter festivities terminating seniors' ac. students who desire the loan Attend College no. winter quarter activities are: Le- Receive Annual should consult with him or Mrs. roy Hill, Stan Murdock and Jus Radio Drama gel', Hosts Ralph next week as signatures In South America Lundquist, entertainment heads; Th earth) 'Taylor must be secured from their home Eva Seko, refreshments; Bob is Afternoon Payne, Bea kmorial Award towns, and he believes the vaca- college men, who withdrew Payne, checkroom; Walt Mazzone, , Brwe Mr. from this institution :n Burmeister and Genevieve tion period would be a good time a month ago, doormen, and Billie Starrett, pa- "The city of masterful men 4, and Jim are aboard the Japanese ,rd, senior Physical Educe- to get the signatures. No co- liner trons. will take a master; signers are Heiyo Maru en route to Bogota .00rs, were announced as necessary, however, he Dr. and Mrs. James DeVoss and There will be shouting then, Knights university in Colombia, South Am- art opients of the annual Alice emphasized. Applications must be Mr. and Mrs. James Stevenson of blood after." ns for erica, according to an Associated the Memorial Award at a re- given to the P.T.A. by April 15. the faculty are patrons and pa- The ghostly voice of a dead scheduled Press report received here yester- for 'fleeting of the P.E. Majors' "I don't believe in students go- tronesses for the affair. woman warns inhabitants of a :dub April le ing into debt," Pitman said, "but day. mystical ,ccording to Dr. Viola Palm- "Uncle Jimmy" DeVoss threat- city of an impending dan- .irman of he if one has to borrow, I don't know Ernest Thorson, sophomore en- ger. This at of the women's Physical ens "dire results to senior quali- action occurs in the I states the of an easier way to get the money rolled in Junior college, was work- presentation lion department. fications" for fourth-year men and of "The Fall of the ampus bands than from this loan fund." ing for an A.B. in economics, and City" given award, which was $30 for women who are "conspicuous by today by new mem- 1 to play 1.. Students who have had one loan Dwight Culver, freshman, was a bers of .sident, previously has been their absence" at the event. KSJS, Radio Speaking ffair are also eligible for another. The four-year biology major. Culver, society. only one person each is set at ten cents loan is not available to freshmen of Palo Alto, and Thorson, of Admission The Archibald MacLeish radio rile Ressler fund was es- seniors and an ac- and sophomores, however. Menlo Park, are both 19 years old per person for drama will be presented in the Lit- d in memory of Miss guest. Juniors are in- Requirements for the loan are and were honor students at Se- companying tle theater at 2 o'clock. All stu- ledges Ressler, P.E. instructor at at the price of that the student must have a quoia High school. vited to the party dents and faculty members are in- :rum 1904 until 1933. When Harry good scholastic average, satisfac- "We chose Bogota because Co- $1 per head, according to vited to attend. iiessler joined the State col- president. This At tory character, sensible education- lombia is one of the few South Saunders, class The play has for its theme a :wilily during the era of haircut, the al or vocational objective, must be American republics which do not price includes a free powerful plea for militant democ- ri skirts and when physical unmarried, not more than 24 have exchange arrangements with prexy exclaims. racy. It points out the stupidity 'ion meant a course in physi- night years old, and a resident of Cal- colleges in the United States," of advocates of passive resistance. ..ture and a devotion to Swe- ifornia. Culver offered by way of explana- ""` "The Fall of the City", which for the avt- zmnastics, she was the in- urchesis Group Both men and as OIllefl may se- tion, "and we are therefore pi- was written in 1937 by MacLeish, e entertained ion’s only Physical Education PrIman said. oneers." poet and present librarian of Con- e Methodar .netor, cure the loan, Dean Invited To Attend meets at be Arrangements were made six gress, might very well be a fore- Ressler passed away short- hurch at weeks ago with the Colombian cast of what has happened in pres- herr her retirement in 1933 and consul, who sent letters of intro- Stanford Program sic of tonight's ent day Europe, Raymond Irwin, Wood was established front her Freshman, Varsity duction to officials of the univer- lament sill be Members of Orchesis, honorary Speech instructor and adviser of sity and prominent residents of dance society, have been invited KSJS, states. aalla Phi II' ’ttoint,teie:Tizier:i(uran.;. Debate Teams Plan Bogota. to attend a Studio program pre- The setting of the play is in :ally to a senior P.E. major on A t sented by the Stanford-university ancient pagan times, but modern Doris Bogen. te teals of scholarship, skill in dance group on Wednesday, March problems are dealt with. The city Aare Burt Astral c ive Week-End activities, professional at- 12, on the Stanford campus, ac- is invaded by a dictator and at the 3etty Roblin Ilk, extra Sophomore Dance -curricular activities, Varsity debaters will participate cording to Miss Marjorie Lucas, critical moment believers of three lane Thelma sicharacter and personality. The in a radio debate and freshmen adviser. schools of thought disagree as to adys Una %era are selected by two rac- Set For April 4 will conduct a "double feature The State organization has also how the invader shall be treated. len liselima. k members and a representa- been invited to participate in an One of the most important roles , Jean Ma hot the P.E. Majors' club over the week:end. and At Scottish Rite exchange program with the Stan- in the play is that of an announc- leis ks Gamma, the honorary wom- Tom Griffin and Joe Stockey ford society on April 8. At the ex- er. It will be portrayed by Joe saddles 14 Is PE. society. Students will board the "U.S.S. will take part in a radio debate , groups will Juracich. Harriet Sandifer will be rack Blii401. '43" docked at the Scottish Rite change program the Stanford university students I the heard as the voice of the dead tette Abbott with Temple April 4 when the Sopho- discuss the choreography of dance created by woman; Winifred Doolittle, as a Shirley fa. Biology on station KSFO tomorrow at 1:30 mores present their annual spring "Hollow Men", St udents and based on voice in the crowd; Allen Schroed- o'clock. informal dance. Orchesis members poem by T. S. Eliot. This er, as the first messenger; John lanf Oak Tree The varsity debate team mom- Bids for the hop will sell for the Shepherd, as the second messen- will go on sale the first dance was first presented at the bers will take the affirmative side $1.10 and ger and a deep voice; Dean Paizis announced Orchesis recital and at a dance n IIPP ceremony,, week of next quarter, as an orator, and Loren Nickolsen ion .-1 tan oak d : a of the question, "Resolved, That af- symposium at Mills College. t ree, donated and Ed SinftlicY. chairman of the is a general.
Load more

Recommended publications
  • The Visual Staging of Audio Plays
    Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2016 The Visual Staging of Audio Plays Alex P. Burkart Virginia Commonwealth University Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the Acting Commons, and the Other Theatre and Performance Studies Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/4106 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. The Visual Staging of Audio Plays A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in Theatre at Virginia Commonwealth University by Alex Paul Burkart BFA, Webster University, 2008 MFA, Virginia Commonwealth University David Emerson Toney Assistant Professor/Artistic Director, Department of Theatre Virginia Commonwealth University School of the Arts Virginia Commonwealth University Richmond, VA April 18, 2016 Acknowledgment Special thanks to my incredible mentors at TheatreVCU: David Emerson Toney, Dr. Noreen Barnes, David Leong, Ron Keller, and Thomas Cunningham Susan Schuld for giving me the opportunity to stage my first radio play. My family: Emily A. Fisher, Paul and Susan Burkart, Nathan, Tyler, Meg, and Jess My past mentors, who ignited my love for theatrical performance: Doug Finlayson, Kat Singleton, Byron Grant, Steven Woolf, Josh Burton, and Edie Baran Ken Regez for sharing your voice and blazing passion for nostalgia My fellow graduate students, for being the sturdiest of sounding boards.
    [Show full text]
  • Media Announcement
    MEDIA ANNOUNCEMENT FOR IMMEDIATE RELEASE BAY AREA RADIO HALL OF FAME ANNOUNCES FIRST CLASS OF HONOREES San Francisco (October 4, 2006) — The Bay Area Radio Museum is proud to announce the first group of inductees into the Bay Area Radio Hall of Fame. The selections were made following a year of study during which input from broadcast professionals, fans and historians was weighed to establish criteria and nominees for enshrinement. Among the first inductees are pioneers from the earliest period of local radio development nearly a century ago, as well as popular personalities from the modern era. Many of the names, such as Don Sherwood and Tom Donahue, may be instantly recognizable. Others, such as Colin B. Kennedy and Harrison Holliway, may be less so. In either case, it is hoped that the creation of the Hall of Fame will help to honor the men and women who have made Bay Area radio so popular over the years, and will make their names and accomplishments known for generations to come. For the near future, the Bay Area Radio Hall of Fame will exist primarily on the Internet at www.barhof.com, although a permanent exhibit is planned at the old KRE radio studios in Berkeley, which are being refurbished by the California Historical Radio Society (CHRS). The Bay Area Radio Hall of Fame is spearheaded by the Bay Area Radio Museum, which is an affiliate of the Broadcast & Newspaper Museum of Northern California consortium, which also includes CHRS and the Broadcast Legends. The radio museum was founded in 2005, and currently presents archival broadcast recordings, photographs, documents and historical essays on its website at www.bayarearadio.org.
    [Show full text]
  • The Rise of Talk Radio and Its Impact on Politics and Public Policy
    Mount Rushmore: The Rise of Talk Radio and Its Impact on Politics and Public Policy Brian Asher Rosenwald Wynnewood, PA Master of Arts, University of Virginia, 2009 Bachelor of Arts, University of Pennsylvania, 2006 A Dissertation presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy Department of History University of Virginia August, 2015 !1 © Copyright 2015 by Brian Asher Rosenwald All Rights Reserved August 2015 !2 Acknowledgements I am deeply indebted to the many people without whom this project would not have been possible. First, a huge thank you to the more than two hundred and twenty five people from the radio and political worlds who graciously took time from their busy schedules to answer my questions. Some of them put up with repeated follow ups and nagging emails as I tried to develop an understanding of the business and its political implications. They allowed me to keep most things on the record, and provided me with an understanding that simply would not have been possible without their participation. When I began this project, I never imagined that I would interview anywhere near this many people, but now, almost five years later, I cannot imagine the project without the information gleaned from these invaluable interviews. I have been fortunate enough to receive fellowships from the Fox Leadership Program at the University of Pennsylvania and the Corcoran Department of History at the University of Virginia, which made it far easier to complete this dissertation. I am grateful to be a part of the Fox family, both because of the great work that the program does, but also because of the terrific people who work at Fox.
    [Show full text]
  • British Radio Drama and the Avant-Garde in the 1950S
    British radio drama and the avant-garde in the 1950s Hugh Chignell 1 Bournemouth University, UK Correspondence: Professor Hugh Chignell, Faculty of Media and Communication, Bournemouth University, Poole, Dorset, BH12 5BB, UK. +44 (0)1202 961393 Email: [email protected] 1 British radio drama and the avant-garde in the 1950s Abstract The BBC in the 1950s was a conservative and cautious institution. British theatre was at the same time largely commercial and offered a glamorous distraction from wider social and political realities. During the decade, however, new avant-garde approaches to drama emerged, both on the stage and on radio. The avant-garde was particularly vibrant in Paris where Samuel Beckett was beginning to challenge theatrical orthodoxies. Initially, managers and producers in BBC radio rejected a radio version of Beckett’s, Waiting for Godot and other experimental work was viewed with distaste but eventually Beckett was accepted and commissioned to write All That Fall (1957), a masterpiece of radio drama. Other Beckett broadcasts followed, including more writing for radio, extracts from his novels and radio versions of his stage plays as well as plays by the experimental radio dramatist, Giles Cooper. This article examines the different change agents which enabled an initially reluctant BBC to convert enthusiastically to the avant-garde. A networked group of younger producers, men and women, played a vital role in the acceptance of Beckett as did the striking pragmatism of senior radio managers. A willingness to accept the transnational cultural flow from Paris to London was also an important factor. The attempt to reinvent radio drama using ‘radiophonic’ sound effects (pioneered in Paris) was another factor for change and this was encouraged by growing competition from television drama on the BBC and ITV.
    [Show full text]
  • BEFORE TELEVISION the Radio Years Glenhall Taylor
    BEFORE TELEVISION The Radio Years Glenhall Taylor 1111111111_11111111111. sommommum _L 1 $12.00 (Continued from front flap) If you're not old enough to have Before Television heard and enjoyed radio programs like "Burns and Allen," "Duffy's Tavern," The Radio Years "The College of Musical Knowledge," "Fibber McGee and Molly," "Silver GLENHALL TAYLOR Theater," "Hollywood Hotel," and "The Adventures of Sherlock Holmes," Before Television: The Radio Years this book may help "bridge the genera- is both informative and entertaining. tion gap" by giving you something to Its narrative spans over three decades of talk about with your parents and grand- radio as an entertainment medium, tak- parents—and have fun doing so. ing the reader from the days of primi- tive "cat whisker" crystal-receiver sets to the advent of network television. The author was actively engaged in the medium from the early 1920s until he made the transition to television in the 1950s. Even after that, he found him- self involved in radio drama's resur- gence in the 1970s. "But"—as he states in the opening chapter of the book— "this is not a history of broadcasting. Rather, it is acollage of anecdotes and reminiscences. .. " The reader will learn about the be- ginnings of radio and will be treated to intimate glimpses of the greats of that entertainment world. Their humor— sometimes hilarious, sometimes off-color, often shamelessly bawdy—is delightful, and the book abounds with chuckles and even a few belly laughs. Between the covers are encounteia with Fred Allen, Jack Benny, George Burns, Nigel Bruce, Jimmy Durante, Clark Gable, Kay Kyser, Dorothy La- mour, Carole Lombard, Basil Rathbone, Will Rogers, Rosalind Russell, and Paul Whiteman.
    [Show full text]
  • Radio Drama for Speaking Practice
    JONATHAN MAIULLO United States Radio Drama for Speaking Practice hen I was teaching in Thailand, my students readily admitted that they tended to favor the receptive skills of listening W and reading over the active skills of speaking and writing. In cultures where there is a danger of losing face by making a mistake, students prefer activities in which their errors may not be so apparent. According to Brown (2007, 324), “our job as teachers is to provide the kind of warm, embracing climate that encourages students to speak, however halting or broken their attempts may be.” This article illustrates a drama activity that creates the kind of “warm, embracing climate” Brown recommends for English learners—an activity that is also engaging. In order to promote a relaxing environment, of speaking in front of their classmates. over five class periods students work in Apparently, speaking without being observed groups and have time to revise and edit their lowered the students’ affective filter, making it work before speaking in front of the class. easier for them to articulate their thoughts. With ample preparation time, students are able to practice speaking with minimal But recording their speech alone was not errors and embarrassment. The product of enough. I wanted to encourage students to the speaking activity serves as an engaging engage in reciprocal communication, which, listening activity and as a prompt for authentic according to Saville-Troike, “requires learners speaking activities in following classes. to listen as well as to speak, and to collaborate in the negotiation of meaning” (2006, 166). I BACKGROUND wanted students to engage in a task in which they would be active participants, not merely Early in the semester, I asked my third-year reciters, speaking in the flat, stilted way that university students to record themselves can be heard in English classes the world over.
    [Show full text]
  • Commissioning Brief
    RADIO COMMISSIONING Commissioning Brief Commissioning Brief No. 31242 Drama on 3 For BBC Radio 3 April 2022 to March 2023 (and some editions commissioned ahead for April 2023 onwards) BBC Radio Commissioning Brief_ V2.2_2021_May CONTENTS SECTION A: EDITORIAL OPPORTUNITY ........................................................................................... 3 1. About BBC Radio 3 ....................................................................................................................... 4 2. The Editorial Opportunity .......................................................................................................... 5 3. Key Deliverables ......................................................................................................................... 13 4. Success Measures ...................................................................................................................... 13 SECTION B: PROCESS, ASSESSMENT & EVALUATION ............................................................ 14 1.The Three Stages……………….…………………………………………………………..…… 14 SECTION C: THE COMMISSIONING TIMETABLE ......................................................................... 16 SECTION D: FULL PROPOSALS AND REFERENCE INFORMATION ...................................... 17 APPENDIX 1: Diversity & Inclusion ................................................................................................... 18 2 of 18 BBC Radio Commissioning Brief_ V2.2_2021_May SECTION A: EDITORIAL OPPORTUNITY Commissioning Brief ID / Title:
    [Show full text]
  • The Third Programme a Literary History
    The Third Programme A Literary History KATE WHITEHEAD CLARENDON PRESS OXFORD 1787 Oxford Uniirrsify Press, lYblton Street, Oxford 0x2 ~DP Oxjord New lbrk Toronto I>elhi Bonr1)ay Calcutta hfadras Karachi Acknowledgements Petaling Jaya .Tingapore Hong Kong Tokyo Nairobi Var es .Sa/aant Cape ?bwn Melbourne Auckland and associated companies in I would like to thank the following people for their kind Bzrlin Ibadan assistance during my research: the late Douglas Cleverdon and Oxford is a trade mark of Oxford Uniuersifj Press John Lehmann, Patric Dickinson, Harman Grisewood, Professor Peter Laslett, Ludovic Kennedy, Ian MacIntyre, Leonard Miall, Published in the United .States P. H. Newby, Piers Plowright, Harry Ritchie, Rosaly Roffman. Iy Oxfork Uniuersify Press, U.TA Dr Michael Weaver supervised the thesis on which this mono- 0 Kate Whitehead 1989 graph is based, and was helpful and enthusiastic throughout. The staff at the BBC Written Archives Centre provided . All rights reserved. No part of this publication nray be reproduced, stored in a retrieval system, or transnritted, in any form or by any means, invaluable assistance during three years' regular attendance and rlectronic, mechanical, photocopying, recording, or otherwise, without enquiry. I must also thank the staff of the Society of Authors, the the prior permission of Oxford Uniuersio Press National Sound Archive, and the Bodleian and Christ Church British Library Cataloguing in Publication Data Libraries for all their help. The Department of Education and W'hitehead, Kate. Science was generous in providing me with special travel grants The Third Progranrnre: a literary histov. and allowances, as was Christ Church and the English Faculty of - (Oxford English monographs).
    [Show full text]
  • The Arts of Amnesia: the Case for Audio Drama, Part One
    RadioDoc Review Volume 3 Issue 1 Article 5 January 2017 The Arts of Amnesia: The Case for Audio Drama, Part One Neil Verma North-Western University, Chicago Follow this and additional works at: https://ro.uow.edu.au/rdr Part of the Audio Arts and Acoustics Commons, Digital Humanities Commons, Radio Commons, and the Theatre and Performance Studies Commons Recommended Citation Verma, Neil, The Arts of Amnesia: The Case for Audio Drama, Part One, RadioDoc Review, 3(1), 2017. doi:10.14453/rdr.v3i1.5 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] The Arts of Amnesia: The Case for Audio Drama, Part One Abstract This article examines what the relationship between audio drama and radio drama might illuminate about both forms. Drawing on some 40 podcasts and other audio forms that take a serial structure, I explore the rise of audio drama podcasts since 2015 and situate them in both a more recent historical context since the late 1990s and in a broader history stretching back to the first Golden Age of adio.r By listening closely to key works on Serendipity, Homecoming and other podcasts, I argue that contemporary audio has profound potential to change both how we listen and how we relate to the sound media of the past. This is Part One of a two-part series. Keywords Radio Drama, Audio Drama, Homecoming, Serendipity, Radio History, Podcasting This article is available in RadioDoc Review: https://ro.uow.edu.au/rdr/vol3/iss1/5 The Arts of Amnesia: The Case for Audio Drama, Part One By Neil Verma, Northwestern University Audio Drama / Radio Drama No genre stirs dust into the shafts of sunlight in the attic of media history quite like radio drama, so it is no surprise that the recent rise of fiction among podcasters has clouded a problem that has been vexing critical and historical thought that surrounds the medium.
    [Show full text]
  • The Dramatic World Harol I Pinter
    THE DRAMATIC WORLD HAROL I PINTER RITUAL Katherine H. Bnrkman $8.00 THE DRAMATIC WORLD OF HAROLD PINTER By Katherine H. Burkman The drama of Harold Pinter evolves in an atmosphere of mystery in which the surfaces of life are realistically detailed but the pat­ terns that underlie them remain obscure. De­ spite the vivid naturalism of his dialogue, his characters often behave more like figures in a dream than like persons with whom one can easily identify. Pinter has on one occasion admitted that, if pressed, he would define his art as realistic but would not describe what he does as realism. Here he points to what his audience has often sensed is distinctive in his style: its mixture of the real and sur­ real, its exact portrayal of life on the surface, and its powerful evocation of that life that lies beneath the surface. Mrs. Burkman rejects the contention of some Pinter critics that the playwright seeks to mystify and puzzle his audience. To the contrary, she argues, he is exploring experi­ ence at levels that are mysterious, and is a poetic rather than a problem-solving play­ wright. The poetic images of the play, more­ over, Mrs. Burkman contends, are based in ritual; and just as the ancient Greeks at­ tempted to understand the mysteries of life by drawing upon the most primitive of reli­ gious rites, so Pinter employs ritual in his drama for his own tragicomic purposes. Mrs. Burkman explores two distinct kinds of ritual that Pinter develops in counter­ point. His plays abound in those daily habit­ ual activities that have become formalized as ritual and have tended to become empty of meaning, but these automatic activities are set in contrast with sacrificial rites that are loaded with meaning, and force the charac­ ters to a painful awareness of life from which their daily routines have served to protect them.
    [Show full text]
  • By Diana R. Combe, B. Soc. Stud. (Hons), University of Sydney
    The Radio Serial Industry in Australia. An historical study of the production of serials in Australia, and the influence of the industry in the development of commercial radio. By Diana R. Combe, B. Soc. Stud. (Hons), University of Sydney. Thesis in fulfilment of Doctor of Philosophy Degree, 1992. Department of History, Philosophy and Politics, Macquarie University. MACQUARIE UNIVERSITY HIGHER DEGREE THESIS (PhD) AUTHOR^S CONSENT This is to certify that I , ... ................................. being a candidate for the degree of Doctor of Philosophy am aware of the policy of the University relating to the retention and use of higher degree theses as contained in the University’s PhD Regulations generally, and in particular. Regulation 21(2). In the light of this policy and the provisions of the above Regulations, I agree to allow a copy of my thesis to be deposited in the University Library for consultation, loan and photocopying forthwith. ; ------------ Signature of I^Wtaess Signature of Candidate Dated this day of . ^ The Academic Senate on 30 November 1993 resolved that the candidate had satisfied requirements for admission to this degree. This thesis represents a major part of the prescribed program of study. DeclaraHon. I hereby declare that this thesis is all my own work and has not been submitted for a higher degree to any other university or institution. Diana Combe 28 September 1992 Table of Contents Acknowledgements 1 Synopsis 2 Abbreviations 3 Introduction 4 Chapter 1. The Development of Serial Drama: 24 The beginning of radio drama: Britain and the USA; Radio drama in Australia; Plays, variety and serial drama; What the sponsors sought; The 'real' serial; Australian radio drama; A federal network; Creating a station image.
    [Show full text]
  • BBC Radio Drama Agreement Writersguild.Org.Uk
    BBC radio drama agreement writersguild.org.uk The Writers’ Guild of Great Britain is a trade union registered at 134 Tooley Street, London SE1 2TU 28.9.15 Amendments August 2015 RADIO DRAMA SCRIPT COMMISSIONING AGREEMENT Memorandum of an Agreement made the Ninth day of November 2005 BETWEEN THE BRITISH BROADCASTING CORPORATION whose principal office is at Broadcasting House, Portland Place, London W1A 1AA (“the BBC”) AND the Writers’ Guild of Great Britain of 15 Britannia Street, London, WC1X 9JN (the “WGGB”) AND the Society of Authors of 84 Drayton Gardens, London SW10 9SB (“the Society”) AND the Personal Managers’ Association Limited whose registered office is at 83 Ebury Street, London SW1 9QY (“the PMA”) creating a model for good practice in the relations of the BBC with writers. CONTENTS 1. Definitions 24. Copy of Final Script 2. Application of Agreement 25. Attendance and Expenses 3. Script Commissions and Uncommissioned 26. Confidentiality Scripts 27. Warranties and Indemnity 4. Rights 28. BBC’s Licensees 5. Ancillary Rights 29. Term and Termination 6. Script Commissioning Fees 30. Notices 7. Payment of Script and Series Fees 31. Assignment 8. Repeat Fees 32. No Agency Partnership Joint Venture or 9. Payments For Commercial Exploitation Employment 10. Collective Administration 33. Variation 11. Miscellaneous Uses 34. Value Added Tax and Receipt of Payment 12. Disputes Procedure 35. Severability 13. Regulation and Radio Forum 36. Headings 14. Accounting 37. Proper Law 15. Publicity 16. Rewrites and Acceptance SCHEDULES 17. Moral Rights and Alterations 18. Reversion of Rights 1. Minimum Fees 19. Long Running Series 2. Repeat Fees 20.
    [Show full text]