Parade Scheduled for Friday Drama Group to Return to Autry House
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Seman 1 Dickens Against the Grain Gendered Spheres and Their Transgressors in Bleak House, Hard Times, and Great Expectations A
Seman 1 Dickens against the Grain Gendered Spheres and Their Transgressors in Bleak House, Hard Times, and Great Expectations A Thesis Presented to the Honors Tutorial College Ohio University In Partial Fulfillment of the Requirements for Graduation from the Honors Tutorial College with the Degree of Bachelor of Arts in English by Taylor J. Seman June 2011 Seman 2 This thesis has been approved by The Honors Tutorial College and the Department of English __________________________ Dr. Carey Snyder Associate Professor, English Thesis Advisor and Director of Studies ___________________________ Dr. Jeremy Webster Dean, Honors Tutorial College Seman 3 Table of Contents Introduction…………………………………………………………………………….4 Chapter One: Transgressive Characters………………………………………………..9 Chapter Two: Idealized Characters…………………………………………………...28 Chapter Three: Female Power in Unusual Places…………………………………….45 Conclusion…………………………………………………………………………....56 Bibliography…………………………………………………………………………..58 Seman 4 Introduction Charles Dickens certainly cannot be considered a participant in a precursory movement towards feminism; in fact, many of Dickens‘s novels uphold traditional ideas about femininity and punish the usurpation of male privilege. In Bleak House, Hard Times, and Great Expectations—the three novels that form the basis of this study—Dickens punishes characters who transgress gender norms (such as Mrs. Jellyby, Louisa, and Mrs. Joe) both through explicit condemnation by the narrator and the adversity that befalls them in the plot. These characters have been created to appear ridiculous, no matter their accomplishments in the community or in the world at large. Yet in these same novels, Dickens presents a socially relevant depiction of female power and agency that subverts the sexism he exhibits in the creation and punishment of other characters. -
Radio's War Lifeline News New Creative Radio Formats
1940s Radio’s War With the television service closed for the duration, it was radio’s war and the BBC nearly lost it in the opening skirmishes. Listeners wrote in to complain about the new Home Service, which had replaced the National and Regional programme services. There was criticism of too many organ recitals and public announcements. But the BBC had some secret weapons waiting in the wings. Colonel (‘I don’t mind if I do’) Chinstrap and Mrs (‘Can I do yer now, sir?’) Mopp were just of the two famous characters in Tommy Handley’s It’s That Man Again (ITMA) team. The comedian attracted 16 million listeners each week to the programme. This, and other popular comedy shows like Hi, Gang!, boosted morale during the war. Vera Lynn’s programme Sincerely Yours (dismissed by the BBC Board of Governors with the words: "Popularity noted, but deplored.") won her the title of "Forces’ Sweetheart”. In 1940 the Forces programme was launched for the troops assembling in France. The lighter touch of this new programme was a great success with both the Forces and audiences at home. After the war it was replaced by the Light Programme which was modelled on the Forces Programme. Distinguished correspondents, including Richard Dimbleby, Frank Gillard, Godfrey Talbot and Wynford Vaughan- Thomas, helped to attract millions of listeners every night with War Report, which was heard at the end of the main evening news. We shall defend our island, whatever the cost may be, we shall fight on the beaches, we shall fight on the landing grounds, we shall fight in the fields and in the streets…we shall never surrender. -
Broadcasting in the UK and US in the 1950S
Broadcasting in the UK and US in the 1950s Broadcasting in the UK and US in the 1950s: Historical Perspectives Edited by Jamie Medhurst, Siân Nicholas and Tom O’Malley Broadcasting in the UK and US in the 1950s: Historical Perspectives Edited by Jamie Medhurst, Siân Nicholas and Tom O’Malley This book first published 2016 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 © 2016 by Jamie Medhurst, Siân Nicholas, Tom O’Malley and contributors 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): 1-4438-8899-0 ISBN (13): 978-1-4438-8899-8 CONTENTS Contributors ............................................................................................... vii Editors ........................................................................................................ ix Acknowledgements .................................................................................... xi List of illustrations .................................................................................... xiii Chapter One ................................................................................................. 1 Introduction Jamie Medhurst and Tom O’Malley Chapter Two ............................................................................................... -
Brotherly Relations: Self and (M)Other in Conjoined Twin Films
Brotherly Relations: Self and (M)Other in Conjoined Twin Films Juliana de Nooy and Bronwyn Statham, University of Queensland, Australia; Griffith University, Australia Prompting fascination and fear since mythological times, twins continue to haunt our imagination. Identical, non-identical, conjoined, mutant, telepathic, homicidal, buddies, soul- mates or jealous rivals, twins feature in scores of films across a range of genres; comedy, drama, thriller, horror, sci-fi, action and auteur cinema. Amidst this apparently infinite variety, however, insistent patterns occur (De Nooy and Statham, 1998). In this paper we focus on a particular sub-set of twin films -- recent horror films featuring male conjoined twins -- to show some surprising regularities of representation. Specifically, these narratives of fraternal attachment and separation represent the twin relation as maternal. Our aim is twofold, to demonstrate this striking pattern (in our analysis of Dead Ringers, Basket Case I and II, an episode of The X-Files, and The Dark Half) and to account for it. We argue that existing work on the representation of the body in contemporary horror only partially explains the emergence of this phenomenon, and that the pattern needs to be understood as a highly specific configuration of genre (horror), gender (male) and topos (conjoined twins) that lends itself to the rehearsal of a cultural anxiety regarding gender (male maternity). The discursive power of this configuration is demonstrated in our reading of Twin Falls Idaho. This film is not in the horror genre, and it repeatedly uses the metaphor of marriage, rather than motherhood, to describe conjoined twins Francis and Blake’s relationship. -
Bbc Radio 4 - Contacts for Programme Ideas
BBC RADIO 4 - CONTACTS FOR PROGRAMME IDEAS LONDON DEPARTMENT NAME & JOB TITLE CONTACT DETAILS Factual (includes science Ruth Gardiner Room 7015, Old Broadcasting House, Portland Place, London, W1A 1AA programmes, 9 o’clock Head of Factual, R&M Production programmes, Woman’s Hour, [email protected] Saturday Live and other weekly factual programmes) Current Affairs and Hugh Levinson 04B NBH, New Broadcasting House, Portland Place, London, W1A 1AA Business Programmes Executive Editor [email protected] Rob Ketteridge Room 8015, Old Broadcasting House, Portland Place, London, W1A 1AA Arts & Documentaries Head of Arts, Documentaries & Drama [email protected] R&M Production Information on submitting original drama scripts can be found on the writersroom website. Drama If you would like to propose a programme idea, please see the individual contacts listed under “Regions”. Information on submitting original narrative comedy scripts can be found on the writersroom website. Comedy If you would like to propose a programme idea, please contact: Jonathan Coates Ist Floor Grafton House, 379-381 Euston Rd, London, NW1 3AU Production Management Assistant [email protected] Martin Rosenbaum BBC Westminster, 6th Floor, 4 Millbank Building West, SW1P 3JA Political Programmes Editor [email protected] Graeme Reid-Davies 1st floor, Quay House, MediaCityUK, Salford, M50 2LH Sport Executive Editor [email protected] Updated June 2015 (LL) 1 THE REGIONS REGION DEPARTMENT NAME & JOB TITLE CONTACT DETAILS Julian Hector Room 31, -
V1 Last Updated by LL 19.02.21 BBC Radio Commissioning Brief V1.1 2021 01 19
V1 last updated by LL 19.02.21 BBC Radio Commissioning Brief_v1.1_2021 01 19 CONTENTS SECTION A: RADIO 4 and DRAMA .................................................................................................. 3 SECTION B: COMMISSIONING OPPORTUNITIES .................................................................. 8 SECTION C: COMMISSIONING TIMETABLE ........................................................................... 15 SECTION D: COMMISSIONING PROCESS ............................................................................... 16 STAGE 1: SHORT PROPOSAL .................................................................................................. 16 STAGE 2: FULL PROPOSAL ...................................................................................................... 17 STAGE 3: CONDITIONAL COMMISSION AWARDED .......................................................... 20 2 of 21 BBC Radio Commissioning Brief_v1.1_2021 01 19 SECTION A: RADIO 4 and DRAMA Introduction Mohit Bakaya, Controller Another year, another commissioning round. Except, of course, it is not really like any other year. We go into this round in the midst of a global pandemic that has caused 100,000 deaths, dramatically altered our everyday lives and is forcing us to question many of our assumptions about the modern world and the way our society should work. Hopefully, by the time the ideas you pitch to us land in the schedule, we will be beyond the earth-shaking intensity of the virus but we will still be feeling the aftershocks. Then there -
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. -
Radio at Home: Drama and the Domestic Listener 1935-1942
RADAR Research Archive and Digital Asset Repository Alexandra A. Goody Radio At Home: BBC Drama and the Domestic Listener 1935-1942 Modernist Cultures, vol. 10, no. 1 (2015) Edinburgh University Press DOI: 10.3366/mod.2015.0098 This version is available: https://radar.brookes.ac.uk/radar/items/590c0f7b-6ec3-4ffa-923f-e1535af4135e/1/ Available on RADAR: 30.03.2016 Copyright © and Moral Rights are retained by the author(s) and/ or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This item cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder(s). The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. This document is the author's accepted version. WWW.BROOKES.AC.UK/GO/RADAR 1 Radio At Home: BBC Drama and the Domestic Listener 1935-1942. One of the most pressing challenges facing radio studies in the modernist period is the need to understand the radio event as a complex interface with, not just technical, textual and institutional processes, but also the circumstances of listenership. Rather than positioning the listener as a fixed site of reading she should be understood as an active and instantiated subjectivity who mobilises the meanings of radio. I am concerned here with understanding what kind of listening subjects there were for radio drama in Britain before and at the outbreak of the Second World War, how they intersected with contemporary conceptions of the listener, and what situations (both private and political) came to be meaningful in the event of listening. -
How to Write a Radio Serial Drama for Social Development
How To Write a Radio Serial Drama for Social Development A Script Writer’s Manual by Esta de Fossard Population Communication Services Center for Communic ation Programs The Johns Hopkins University School of Public Health This publication was edited, produced, and disseminated by Center Publications: Robert J. Riccio, Executive Editor and Kristina A. Samson, Research and Production Manager. Prepared for the Johns Hopkins Center for Communication Programs with primary support from the United States Agency for International Development under Population Communication Services Project, Cooperative Agreement DPE-3052-A-00-0014-00. Using This Book This book is a practical manual for script writers preparing radio serial dramas for development projects. It will be useful both for novices and experienced script writers who have not yet written drama that educates as well as entertains. So that this book can be used as a course manual, whether in a formal class or for independent study, each chapter begins with a study guide listing learning objectives and expected outcomes and a suggested exercise. How to Write a Radio Serial Drama for Social Development: A Script Writer’s Manual was originally designed to assist script writers working in projects supported by Johns Hopkins University Population Communication Services. For this reason, many of the samples and examples it contains relate to family planning and reproductive health; however, the script writing principles discussed and demonstrated here apply just as well to other development topics. The manual largely concentrates on the practical aspects of script writing, although a prologue summarizes relevant communication theory. For those writers who would like to learn more about theory, a bibliography/references at the end lists key books. -
Bbc-Sounds-Q2-2020.Pdf
QUARTER 2 2020 BETWEEN APRIL AND JUNE 2020, ON BBC SOUNDS WE HAD… 313 million plays of all content across radio, podcasts and music mixes, up 37m on the previous quarter. An average weekly audience of 3.4 million users across the app, website and voice activated devices A record 136 million plays to on-demand radio and podcast content in this quarter, up 13 million on Q1 20 2.7 million plays of music mixes, a 1.4m increased and over double the previous quarter. Source: BBC ATi, Q2: w/c 30/03/20 – w/c 22/06/20 inclusive 2 BBC SOUNDS HOW ARE AUDIENCES LISTENING? Live v On-demand (Hours) Live v On-demand (Plays) 35% 45% 55% 65% Live On-demand Source: BBC ATi, Q2: w/c 30/03/20 – w/c 22/06/20 inclusive BBC SOUNDS BBC SOUNDS – ON-DEMAND RADIO Top Ten OD Programmes: Plays – All Top Ten OD Programmes: Plays – U35 Top Ten OD Programmes: % – U35 skew 1 The Archers – R4 1 Radio 1's Dance Anthems – R1 1 Snoochie Shy – 1X 2 Drama – R4 2 Radio 1 Anthems – R1 2 Maya Jama – R1 3 Desert Island Discs – R4 3 The Archers – R4 3 Radio 1 Anthems – R1 4 Miss Marple – R4E 4 Elis James and John Robins – R5L 4 Nick Grimshaw – R1 5 GF Newman’s The Corrupted – R4 5 Desert Island Discs – R4 5 Radio 1 Breakfast with Greg James – R1 6 Old Harry’s Game – R4E 6 Radio 1's Dance Party with Annie Mac – R1 6 Kenny Allstar – 1X 7 Hercule Poirot – R4E 7 In Our Time – R4 7 Scott Mills – R1 8 Radio 1’s Dance Anthems – R1 8 Radio 1 Breakfast with Greg James – R1 8 1Xtra’s Rap Show With Tiffany Calver – 1X 9 In Our Time – R4 9 Old Harry’s Game – R4E 9 Radio 1’s Scott Mills Daily Podcast – R1 Radio 1’s Power Down Playlist with Annie Mac – 10 The News Quiz – R4 10 The Unbelievable Truth – R4 10 R1 %U35 filtered on min. -
The Quanderhorn Xperimentations Download Free
THE QUANDERHORN XPERIMENTATIONS Author: Rob Grant Number of Pages: 480 pages Published Date: 18 Aug 2020 Publisher: Orion Publishing Co Publication Country: London, United Kingdom Language: English ISBN: 9781473224032 DOWNLOAD: THE QUANDERHORN XPERIMENTATIONS The Quanderhorn Xperimentations PDF Book He describes the parts of each plant and their growth cycle. Mentoring-Coaching: A Guide for Education Professionals: A Handbook for Education ProfessionalsThis book explores the principles behind successful mentoring-coaching in education. The Update Pack 2016 is for those who have bought the Reeds Looseleaf Almanac in previous years and just want to update their information rather than buy the binder again. Kent, strategically located on the approach to London, had a long association with the armaments industries. The latest research on how baby's learn and whether digital devices help or hurt. An introduction contains footnoted critiques of the stories as well as background material on Schonwerth and his legacy. " The LineWhat does it take to make good people do bad things. Around Manchester in the 1950'sA treasure trove of fascinating trivia about the city that never sleeps Did you know: Grand Central Terminal is the largest railway station in the world. Throughout the text a range of learning features are employed to consolidate understanding and encourage application: 'thinking points' containing reflective and short answer questions, definition boxes, summary points, diagrams, and problemessay questions (with guidance on answering all questions on the accompanying Online Resource Centre). For teachers, group facilitators and community leaders, it presents organising principles, successful models, practical techniques and resources for involving young people in environmental projects. -
BBC's Woman's Hour 1946-1955 Name of Author
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Bournemouth University Research Online Title: Neither worker nor housewife but citizen: BBC’s Woman’s Hour 1946-1955 Name of author: Dr. Kristin Skoog Abstract: This article investigates BBC radio’s Woman’s Hour in the post-war period. It explores Woman’s Hour’s focus and insistence on educating women listeners about their role as citizens, and the tensions this caused particularly between broadcasters and different groups of women. The article documents the programme’s development of public and outward looking items, such as the reporting and covering of current affairs, public debates and national politics, women’s party political conferences, and further introducing women MP’s to the microphone. This gave the programme a public and arguably political dimension. The article thus places Woman’s Hour within the broader historiography of the women’s movement in this period, and illuminates the changing role and expectation of women, particularly the middle-class housewife. Biographical note of author: Kristin Skoog is a Senior Lecturer in Media Production and Assistant Director of Bournemouth University’s Centre for Media History, in the Faculty of Media and Communication, Bournemouth University, UK. She is interested in the social and cultural history of broadcasting and is currently researching radio and reconstruction in post-war Britain, and women’s radio and women broadcasters in Britain and Europe. Correspondence to: Dr Kristin Skoog, Faculty of Media and Communication, Bournemouth University, Weymouth House, Talbot Campus, Poole, Dorset, BH12 5BB, UK. Email: [email protected] Acknowledgements: The author would like to acknowledge and thank the staff at the BBC Written Archives Centre, Caversham Park, Reading, UK.