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The Future of The
The Future of Public Service Broadcasting Some thoughts Stephen Fry Before I can even think to presume to dare to begin to expatiate on what sort of an organism I think the British Broadcasting Corporation should be, where I think the BBC should be going, how I think it and other British networks should be funded, what sort of programmes it should make, develop and screen and what range of pastries should be made available in its cafés and how much to the last penny it should pay its talent, before any of that, I ought I think in justice to run around the games field a couple of times puffing out a kind of “The BBC and Me” mini‐biography, for like many of my age, weight and shoe size, the BBC is deeply stitched into my being and it is important for me as well as for you, to understand just how much. Only then can we judge the sense, value or otherwise of my thoughts. It all began with sitting under my mother’s chair aged two as she (teaching history at the time) marked essays. It was then that the Archers theme tune first penetrated my brain, never to leave. The voices of Franklin Engelman going Down Your Way, the women of the Petticoat Line, the panellists of Twenty Questions, Many A Slip, My Word and My Music, all these solid middle class Radio 4 (or rather Home Service at first) personalities populated my world. As I visited other people’s houses and, aged seven by now, took my own solid state transistor radio off to boarding school with me, I was made aware of The Light Programme, now Radio 2, and Sparky’s Magic Piano, Puff the Magic Dragon and Nelly the Elephant, I also began a lifelong devotion to radio comedy as Round The Horne, The Clitheroe Kid, I’m Sorry I’ll Read That Again, Just A Minute, The Men from The Ministry and Week Ending all made themselves known to me. -
Transatlantic Spaces: Production, Location and Style in 1960S-1970S Action- Adventure TV Series
Transatlantic spaces: production, location and style in 1960s-1970s action- adventure TV series Article Accepted Version Bignell, J. (2010) Transatlantic spaces: production, location and style in 1960s-1970s action-adventure TV series. Media History, 16 (1). pp. 53-65. ISSN 1469-9729 doi: https://doi.org/10.1080/13688800903395460 Available at http://centaur.reading.ac.uk/17666/ It is advisable to refer to the publisher’s version if you intend to cite from the work. See Guidance on citing . To link to this article DOI: http://dx.doi.org/10.1080/13688800903395460 Publisher: Taylor & Francis All outputs in CentAUR are protected by Intellectual Property Rights law, including copyright law. Copyright and IPR is retained by the creators or other copyright holders. Terms and conditions for use of this material are defined in the End User Agreement . www.reading.ac.uk/centaur CentAUR Central Archive at the University of Reading Reading’s research outputs online Transatlantic spaces: Production, location and style in 1960s-70s Action-Adventure TV Series Jonathan Bignell Abstract This article argues that transatlantic hybridity connects space, visual style and ideological point of view in British television action-adventure fiction of the 1960s-70s. It analyses the relationship between the physical location of TV series production at Elstree Studios, UK, the representation of place in programmes, and the international trade in television fiction between the UK and USA. The TV series made at Elstree by the ITC and ABC companies and their affiliates linked Britishness with an international modernity associated with the USA, while also promoting national specificity. To do this, they drew on film production techniques that were already common for TV series production in Hollywood. -
TV Series Bibles
This is a repository copy of Tablets of Stone or DNA? TV series bibles. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/125213/ Version: Accepted Version Article: Macdonald, IW (2018) Tablets of Stone or DNA? TV series bibles. Journal of Screenwriting, 9 (1). pp. 3-23. ISSN 1759-7137 https://doi.org/10.1386/josc.9.1.3_1 © 2018 Intellect Ltd. This is an author produced version of a paper published in Journal of Screenwriting. Uploaded in accordance with the publisher's self-archiving policy. Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ 1 Tablets of Stone or DNA? TV series Bibles. Ian W. Macdonald University of Leeds © 2017 Introduction: What is a Bible? ‘What is a TV Bible’ is a question rarely addressed by screenwriting manuals, and answered only sparingly. Dave Trottier says it is ‘a printed guide that sets forth the rules of the show, including character sketches, and information on what’s forbidden and what they’re looking for’ (1998: 280). -
Hail to the Chief of Land Court
SATURDAY, JULY 13, 2019 By Bella diGrazia Swampscott resident ITEM STAFF SWAMPSCOTT — While loud noises annoy making noise about noise some, it’s different for Neil Donnenfeld. The sounds are excruciatingly painful for him. Donnenfeld’s hearing troubles began about sev- en years ago, after he lost a third of his hearing. He was diagnosed with acous- tic neuroma, a benign brain tumor that sits on the hearing nerves. Treat- ment included radiation. His world turned upside down, which is why he left his beloved corporate job and dedicated his time to researching noise pol- lution. His goal? To raise awareness about the in- door and outdoor sounds that hurt people with hearing disabilities. “Noise was off my radar and irrelevant to my life until six years ago,” he said. “The effects of noise State Land Court Chief Justice for me throughout the day ITEM PHOTO | SPENSER HASAK are cumulative and there’s Gordon H. Piper swore in Christi- A motorcycle drives past Neil Donnenfeld’s house on Humphrey Street in a certain amount I can na Geaney of Lynn as Land Court Swampscott. Donnenfeld, who is noise disabled, wants to start raising aware- handle before I experience Chief Title Examiner. ness about the environmental hazards of loud noises, especially for people with hearing disabilities. SWAMPSCOTT, A3 Hail to By Bridget Turcotte ITEM STAFF Nahant ready for a the chief of NAHANT — Rowers will party like it’s 1971 on Saturday with a longtime Grand (Pram) old time Land Court tradition created for the fun and companionship of Lynn’s Christina Geaney is the new chief the town. -
En Garde 3 50 Cents
EN GARDE 3 50 CENTS ®Z7\ ER ED THREE T-o^yneny "R/cc-er <dc-e R h a magazine of personal opinions, natter and comment - especially about Diana Rigg, Patrick MacNee and THE AVENGERS CONTENTS: TACKING ..........................an editorial .... ,pg.U by ye editor HIOFILE ON DIANA RIGG pg,? by warner bros. IROFIIE ON PATRICK MACNEE •pg.11by warner bros. THE AVENGERS ....... .a review • .......................... pg«l£ by gary crowdus TWO SEASONS - AND A HAIF ... a listing pg ,22 by ye ed TO HONOR HONOR ... .a section for honor, , pg,33 compiled by ed YOU HAVE JUST BEEN MURDERED , ,a review ........................... pg.U8 by rob firebaugh NEWS AND NOTES , , . « • .various tidbits. , • • • • pg .50 by ye editor Front Cover shows a scene from Art Credits; "The Master Minds" , 1966 show. Bacover shows sequence cut out "Walt" • , pages 11 and lb for Yankee audience. R. Schultz . , . pages 3, U, 7, 15, 18, 19,22, 35, E2, and $0 This magazine is irregularly published by: Mr, Richard Schultz, 19159 Helen, Detroit, Michigan, E823E, and: Mr. Gary Crowdus, 27 West 11th street New York City, N.Y., 10011 WELKCMMEN First off, let me apologize for the unfortunate delay in bringing out this third issue* I had already planned to bring this fount of Rigg-oriented enthusiasm out immediately after the production of #2. Like, I got delayed. Some things were added to #3, some were unfortunately dropped, some never arrived, and then I quickly came down with a cold and broke a fingernail* Have you ever tried typing stencils with a broken fingernail? Combined with the usual lethargy, this was, of course, very nearly disastrous* But, here it is* ' I hope you like it. -
Celluloid Television Culture the Specificity of Film on Television: The
ORBIT-OnlineRepository ofBirkbeckInstitutionalTheses Enabling Open Access to Birkbeck’s Research Degree output Celluloid Television Culture The Specificity of Film on Television: the Action-adventure Text as an Example of a Production and Textual Strategy, 1955 – 1978. https://eprints.bbk.ac.uk/id/eprint/40025/ Version: Full Version Citation: Sexton, Max (2013) Celluloid Television Culture The Speci- ficity of Film on Television: the Action-adventure Text as an Example of a Production and Textual Strategy, 1955 – 1978. [Thesis] (Unpublished) c 2020 The Author(s) All material available through ORBIT is protected by intellectual property law, including copy- right law. Any use made of the contents should comply with the relevant law. Deposit Guide Contact: email Celluloid Television Culture The Specificity of Film on Television: the Action-adventure Text as an Example of a Production and Textual Strategy, 1955 – 1978. Max Sexton A thesis submitted for the Degree of Doctor of Philosophy, Birkbeck, University of London, 2012. Declaration I hereby declare that the thesis presented by me for examination of the PhD degree is solely my own work, other than where I have clearly indicated. Birkbeck, University of London Abstract of Thesis (5ST) Notes for Candidate: 1. Type your abstract on the other side of this sheet. 2. Use single-spacing typing. Limit your abstract to one side of the sheet. 3. Please submit this copy of your abstract to the Research Student Unit, Birkbeck, University of London, Registry, Malet Street, London, WC1E 7HX, at the same time as you submit copies of your thesis. 4. This abstract will be forwarded to the University Library, which will send this sheet to the British Library and to ASLIB (Association of Special Libraries and Information Bureaux) for publication to Index to Theses . -
Filmed Across the World, Made at Elstree’: How Television Made at Elstree in the 1960S and 70S Brought a Global Experience to the Small Screen
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Hertfordshire Research Archive ‘Filmed Across the World, Made at Elstree’: How television made at Elstree in the 1960s and 70s brought a global experience to the small screen The various studios of Elstree and Borehamwood were, in the 1960s and 70s, home to globetrotting adventurers including The Saint, Department S, Jason King, Danger Man, and The Baron. While many of the shows made featured the globetrotting exploits of their leading characters – Simon Templar, international playboy; Jason King, Interpol agent and novelist; and John Drake, spy and fixer for international organisations – the production crew rarely, if ever, left the confines of the TV sound stages and backlot, except for a brief dash down Borehamwood high street or into rural Hertfordshire. This paper will discuss the operations and technical methodologies used on a weekly basis by production crews in their attempts to recreate Rome, Paris, Madrid and even the Sahara Desert on small budgets, using stock footage and with limited materials. During the 1960s, the studios of Elstree and Borehamwood produced some of the most adventurous and prolific television productions in the UK. Three major studio sites (all of them actually in Borehamwood, not in Elstree) – MGM British Studios, Associated British Productions (ABPC) and ATV Studios – were all producing television content 52 weeks of the year. “Elstree’s” output during this time was at its peak. Production crews at Elstree were able to make shows with an international flavour, while barely leaving the studio. -
Thetidesoftime
The Oxford University Doctor Who Society Mag azine TThhee TTiiddeess ooff TTiimmee Issue 29 Easter Vacation 2004 BUFFY AND THE BRITISH Star Trek The Prisoner The career of Brian Clemens … …and something called Doctor Who , apparently. The Tides of Time 29 • 36 • Easter Vacation 2004 The Tides of Time 29 • 1 • Easter Vacation 2004 the difference between people and objects. The Tides of Time Shorelines When Lamia presents Grendel with her android copy of Romana, a primitive device More shorelines IIIIIIIssssssssuuueee 222999 EEEaaasssstttteeerrrr VVVaaaccccaaattttiiiiiiiooonnn 222000000444 By the Editor Well, that’s about it for now. Thank you to everyone intended to kill the Doctor, Grendel exclaims that it is a killing machine, and that he would for getting this far; unless you have started at this Editor Matthew Kilburn end of the magazine, in which case, welcome to Turn of the Tide? marry it. In doing so he discloses his [email protected]@history.oxford.ac.ukoxford.ac.uk This issue of The Tides of Time is being issue 29 of The Tides of Time ! I said a few years ago, published within a few weeks of the understanding of power, that it comprises the when I cancelled my own zine, The Troglodyte , after SubSubSub-Sub ---EditorEditor Alexandra Cameron cancellation of Angel by the WB ability to kill people. Grendel is a powerful one issue, that having got a job as an editor I didn’t Executive Editor Matthew Peacock network in the USA. The situation may man, in his own society, and at least recognises think that editing in my spare time would have much Production Associate Linda Tyrrell have moved on by the time that you the Doctor as another man of power; but the appeal. -
Doctor Who 1 Doctor Who
Doctor Who 1 Doctor Who This article is about the television series. For other uses, see Doctor Who (disambiguation). Doctor Who Genre Science fiction drama Created by • Sydney Newman • C. E. Webber • Donald Wilson Written by Various Directed by Various Starring Various Doctors (as of 2014, Peter Capaldi) Various companions (as of 2014, Jenna Coleman) Theme music composer • Ron Grainer • Delia Derbyshire Opening theme Doctor Who theme music Composer(s) Various composers (as of 2005, Murray Gold) Country of origin United Kingdom No. of seasons 26 (1963–89) plus one TV film (1996) No. of series 7 (2005–present) No. of episodes 800 (97 missing) (List of episodes) Production Executive producer(s) Various (as of 2014, Steven Moffat and Brian Minchin) Camera setup Single/multiple-camera hybrid Running time Regular episodes: • 25 minutes (1963–84, 1986–89) • 45 minutes (1985, 2005–present) Specials: Various: 50–75 minutes Broadcast Original channel BBC One (1963–1989, 1996, 2005–present) BBC One HD (2010–present) BBC HD (2007–10) Picture format • 405-line Black-and-white (1963–67) • 625-line Black-and-white (1968–69) • 625-line PAL (1970–89) • 525-line NTSC (1996) • 576i 16:9 DTV (2005–08) • 1080i HDTV (2009–present) Doctor Who 2 Audio format Monaural (1963–87) Stereo (1988–89; 1996; 2005–08) 5.1 Surround Sound (2009–present) Original run Classic series: 23 November 1963 – 6 December 1989 Television film: 12 May 1996 Revived series: 26 March 2005 – present Chronology Related shows • K-9 and Company (1981) • Torchwood (2006–11) • The Sarah Jane Adventures (2007–11) • K-9 (2009–10) • Doctor Who Confidential (2005–11) • Totally Doctor Who (2006–07) External links [1] Doctor Who at the BBC Doctor Who is a British science-fiction television programme produced by the BBC. -
The Role of Media and Popular Culture in the Mis/Education of Adults
Kansas State University Libraries New Prairie Press Adult Education Research Conference 2008 Conference Proceedings (St. Louis, MO) The Role of Media and Popular Culture in the Mis/Education of Adults Elizabeth J. Tisdell Penn State Harrisburg Patricia M. Thompson Penn State Harrisburg Talmadge C. Guy The University of Georgia Jennifer Sandlin Arizona State University Robin Redmon Wright University of Texas, San Antonio, [email protected] See next page for additional authors Follow this and additional works at: https://newprairiepress.org/aerc Part of the Adult and Continuing Education Administration Commons This work is licensed under a Creative Commons Attribution-Noncommercial 4.0 License Recommended Citation Tisdell, Elizabeth J.; Thompson, Patricia M.; Guy, Talmadge C.; Sandlin, Jennifer; and Wright, Robin Redmon (2008). "The Role of Media and Popular Culture in the Mis/Education of Adults," Adult Education Research Conference. https://newprairiepress.org/aerc/2008/symposia/2 This is brought to you for free and open access by the Conferences at New Prairie Press. It has been accepted for inclusion in Adult Education Research Conference by an authorized administrator of New Prairie Press. For more information, please contact [email protected]. Author Information Elizabeth J. Tisdell, Patricia M. Thompson, Talmadge C. Guy, Jennifer Sandlin, and Robin Redmon Wright This is available at New Prairie Press: https://newprairiepress.org/aerc/2008/symposia/2 The Role of Media and Popular Culture in the Mis/Education of Adults Elizabeth J. Tisdell and Patricia M. Thompson, Penn State Harrisburg Talmadge C. Guy, The University of Georgia Jennifer Sandlin, Arizona State University Robin Wright, University of Texas, San Antonio Keywords: critical media literacy, popular culture, critical public pedagogy Abstract: The purpose of this symposium is to explore multiple perspectives on the role of media in the education and mis-education of adults, and to consider how educators might draw on media in developing a critical public pedagogy. -
Citation: Freeman, Sophie (2018) Adaptation to Survive: British Horror Cinema of the 1960S and 1970S
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Northumbria Research Link Citation: Freeman, Sophie (2018) Adaptation to Survive: British Horror Cinema of the 1960s and 1970s. Doctoral thesis, Northumbria University. This version was downloaded from Northumbria Research Link: http://nrl.northumbria.ac.uk/39778/ Northumbria University has developed Northumbria Research Link (NRL) to enable users to access the University’s research output. Copyright © and moral rights for items on NRL are retained by the individual author(s) and/or other copyright owners. Single copies of full items can be reproduced, displayed or performed, and given to third parties in any format or medium for personal research or study, educational, or not-for-profit purposes without prior permission or charge, provided the authors, title and full bibliographic details are given, as well as a hyperlink and/or URL to the original metadata page. The content must not be changed in any way. Full items must not be sold commercially in any format or medium without formal permission of the copyright holder. The full policy is available online: http://nrl.northumbria.ac.uk/policies.html ADAPTATION TO SURVIVE: BRITISH HORROR CINEMA OF THE 1960S AND 1970S SOPHIE FREEMAN PhD March 2018 ADAPTATION TO SURVIVE: BRITISH HORROR CINEMA OF THE 1960S AND 1970S SOPHIE FREEMAN A thesis submitted in partial fulfilment of the requirements of the University of Northumbria at Newcastle for the degree of Doctor of Philosophy Research undertaken in the Faculty of Arts, Design & Social Sciences March 2018 Abstract The thesis focuses on British horror cinema of the 1960s and 1970s. -
'Went the Day of the Daleks Well?' an Investigation Into the Role Of
Tony Keen ‘Invasion narratives in British television Science Fiction’ ‘Went the Day of the Daleks well?’ An investigation into the role of invasion narratives in shaping 1950s and 1960s British television Science Fiction, as shown in Quater- mass, Doctor Who and UFO If the function of art is to hold a mirror up to society, then science fiction (sf), through the distorted reflection it offers, allows the examination of aspects of society that might otherwise be too uncomfortable to confront. This essay aims to look at how invasion narratives, stories concerned with the invasion of Britain from outside, shaped three British science fiction series, and how those series interro- gated the narratives. The series will primarily be examined through aesthetic and social ap- proaches. Particular areas to be explored include the embracing and subverting of common assumptions about Britain’s attitude to invasion, and the differing attitudes to the military displayed. Introduction As an island nation, the prospect of invasion has always occupied a prominent place in the British popular imagination. According to Sellar and Yeatman, the two memorable dates in history are 55 BC and 1066, the dates of the invasions of Julius Caesar and William the Con- queror.1 Subsequent events such as the Spanish Armada of 1588 are also well-known mo- ments in history. It is inevitable that the prospect of invasion should produce speculative literature. Some works appeared around the time of Napoleon’s threatened invasion of 1803,2 but ‘invasion literature’ as a literary genre emerged out of the growing market for novels and short-story magazines, and is generally considered to have begun with the appearance of George Tomp- kyns Chesney’s 1871 story ‘The Battle of Dorking’,3 a story of the German conquest of Eng- land, prompted by the German victory in the Franco-Prussian War of 1871.