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': the Making and Mauling of Churchill's People (BBC1, 1974-75)
Williams J, Greaves I. ‘Must We Wait 'til Doomsday?’: The Making and Mauling of Churchill's People (BBC1, 1974-75). Historical Journal of Film, Radio and Television 2017, 37(1), 82-95 Copyright: This is an Accepted Manuscript of an article published by Taylor & Francis in Historical Journal of Film, Radio and Television on 19th April 2017, available online: http://www.tandfonline.com/10.1080/01439685.2016.1272804 DOI link to article: http://dx.doi.org/10.1080/01439685.2016.1272804 Date deposited: 31/12/2016 Embargo release date: 19 October 2018 This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International licence Newcastle University ePrints - eprint.ncl.ac.uk ‘MUST WE WAIT 'TIL DOOMSDAY?’: THE MAKING AND MAULING OF CHURCHILL’S PEOPLE (BBC1, 1974-75) Ian Greaves and John Williams Correspondence: John Williams, 12 Queens Road, Whitley Bay NE26 3BJ, UK. E-mail: [email protected] In 1974, the lofty ambition of a BBC drama producer to manufacture a ‘prestige’ international hit along the lines of Elizabeth R (BBC2, 1971) came unstuck. In this case study, the authors consider the plight of Churchill’s People (BBC1, 1974-75) during a time of economic strife in the UK and industrial unrest at the BBC, and ask how a series which combined so many skilled writers, directors and actors could result in such a poorly-received end product. Churchill’s People is also placed in a wider context to assess its ‘neglected’ status, the authors drawing parallels with other historical drama of the era. The series’ qualification for being ‘forgotten’ is considered in relation to its struggle in the ratings against strong competition, the ‘blacking out’ by unions of production at the BBC for eight weeks and the subsequent pressures on transmission times, prompting the authors’ consideration of a more qualified definition of ‘lost’ drama, i.e. -
Drama Co- Productions at the BBC and the Trade Relationship with America from the 1970S to the 1990S
ORBIT - Online Repository of Birkbeck Institutional Theses Enabling Open Access to Birkbecks Research Degree output ’Running a brothel from inside a monastery’: drama co- productions at the BBC and the trade relationship with America from the 1970s to the 1990s http://bbktheses.da.ulcc.ac.uk/56/ Version: Full Version Citation: Das Neves, Sheron Helena Martins (2013) ’Running a brothel from inside a monastery’: drama co-productions at the BBC and the trade relationship with America from the 1970s to the 1990s. MPhil thesis, Birkbeck, University of Lon- don. c 2013 The Author(s) All material available through ORBIT is protected by intellectual property law, including copyright law. Any use made of the contents should comply with the relevant law. Deposit guide Contact: email BIRKBECK, UNIVERSITY OF LONDON SCHOOL OF ARTS DEPARTMENT OF HISTORY OF ART AND SCREEN MEDIA MPHIL VISUAL ARTS AND MEDIA ‘RUNNING A BROTHEL FROM INSIDE A MONASTERY’: DRAMA CO-PRODUCTIONS AT THE BBC AND THE TRADE RELATIONSHIP WITH AMERICA FROM THE 1970s TO THE 1990s SHERON HELENA MARTINS DAS NEVES I hereby declare that this is my own original work. August 2013 ABSTRACT From the late 1970s on, as competition intensified, British broadcasters searched for new ways to cover the escalating budgets for top-end drama. A common industry practice, overseas co-productions seems the fitting answer for most broadcasters; for the BBC, however, creating programmes that appeal to both national and international markets could mean being in conflict with its public service ethos. Paradoxes will always be at the heart of an institution that, while pressured to be profitable, also carries a deep-rooted disapproval of commercialism. -
Building Public Value: Renewing the BBC for a Digital World
DP1153 BPV Frontcover.qxd 6/25/04 2:52 PM Page 1 Building public value Renewing the BBC for a digital world CONTENTS Chairman’s prologue 3 Overview and summary 5 PART I: The BBC’s purpose, role and vision 1 Why the BBC matters 25 2 Changing media in a changing society 48 3 Building public value in the future 60 4 Demonstrating public value 83 5 The breadth of BBC services 89 6 Renewing the BBC 98 7 Paying for BBC services 112 PART II: Governing the BBC 123 Conclusion 135 1 2 Chairman’s prologue The BBC does not have a monopoly on wisdom about its own future. This is a contribution to the debate over Charter renewal, not the last word. I look to a vigorous and informed public debate to produce the consensus about the future size, shape and mission of the BBC. This document is itself a consensus, arrived at after a vigorous debate inside the BBC, and represents the considered views of Governors and management. Part II – our proposals on governance – is, of course, entirely the responsibility of the Governors. At the heart of Building public value is a vision of a BBC that maintains the ideals of its founders, but a BBC renewed to deliver those ideals in a digital world. That world contains the potential for limitless individual consumer choice. But it also contains the possibility of broadcasting reduced to just another commodity, with profitability the sole measure of worth. A renewed BBC, placing the public interest before all else, will counterbalance that market-driven drift towards programme-making as a commodity. -
The Hobbledehoy's Choice
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2005 The hobbledehoy's choice: Anthony Trollope's awkward young men and their road to gentlemanliness Mark King Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the English Language and Literature Commons Recommended Citation King, Mark, "The hobbledehoy's choice: Anthony Trollope's awkward young men and their road to gentlemanliness" (2005). LSU Doctoral Dissertations. 3930. https://digitalcommons.lsu.edu/gradschool_dissertations/3930 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. THE HOBBLEDEHOY S CHOICE: ANTHONY TROLLOPE S AWKWARD YOUNG MEN AND THEIR ROAD TO GENTLEMANLINESS A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of English by Mark King B.S., Towson State University, 1983 M.A., DePaul University, 1998 May 2005 Dedication To Bear and all the other women who never lost faith in their hobbledehoys. ii Acknowledgements The author gratefully acknowledges the contributions of the following organizations and individuals without whose generous support and kind help this work would not have been possible: the staff of the Hill Memorial Library at Louisiana State University in Baton Rouge, the staff of the John Forster collection at the Victoria and Albert Museum in London, the staff of the Interlibrary Loan Office of the Troy Middleton Library at Louisiana State University in Baton Rouge, the staff of the Rare Books Room of the British Library in London, Dr. -
The Duke's Children, Notes on Selected Restored Passages
The Duke’s Children, Notes on Selected Restored Passages | Amarnick, last revised April 9, 2017 CHAPTER 1 1) When this sad event happened he had ceased to be Prime Minister just two years. Those who are conversant with the political changes which have taken place of late in the government of…yet returned to office. Trollope provides reassurance that we don’t need to remember, or even to have read, the earlier novels in the series; he will tell us what we must know to become “conversant.” On the other hand, he also offers incentives to acquaint or re-acquaint ourselves with those earlier books. As he had written in An Autobiography about the Duke and the Duchess (originally Plantagenet Palliser and Glencora M‘Cluskie) immediately before he wrote The Duke’s Children in 1876: That the man’s character should be understood as I understand it—or that of his wife, the delineation of which has also been a matter of much happy care to me—I have no right to expect, seeing that the operation of describing has not been confined to one novel, which might perhaps be read through by the majority of those who commenced it. It has been carried on through three or four, each of which will be forgotten even by the most zealous reader almost as soon as read. In The Prime Minister, my Prime Minister will not allow his wife to take office among, or even over, those ladies who are attached by office to the Queen’s Court. “I should not choose,” he says to her, “that my wife should have any duties unconnected with our joint family and home.” Who will remember in reading those words that in a former story, published some years before, he tells his wife, when she has twitted him with his willingness to clean the Premier’s shoes, that he would even allow her to clean them if it were for the good of the country? And yet it is by such details as these that I have, for many years past, been manufacturing within my own mind the characters of the man and his wife. -
Dissent Women in Anthony Trollope's Fiction: a Sympathetic Portrayal
UNLV Retrospective Theses & Dissertations 1-1-1993 Dissent women in Anthony Trollope's fiction: A sympathetic portrayal Elisabeth Morton McLaren University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/rtds Repository Citation McLaren, Elisabeth Morton, "Dissent women in Anthony Trollope's fiction: A sympathetic portrayal" (1993). UNLV Retrospective Theses & Dissertations. 2982. http://dx.doi.org/10.25669/uqts-wcbg This Dissertation is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Dissertation has been accepted for inclusion in UNLV Retrospective Theses & Dissertations by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced frommicrofilm the master, UMI film s the text directly from theoriginal or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent uponq u a lity theof the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandardmargins, and improper alignment can adversely afreet reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. -
INVESTIGATING the STYLE, FORM and GENRE of PERIOD DRAMA in 2010S BRITISH TELEVISION
A thesis submitted to the Victoria University of Wellington in fulfilment of the requirements for the degree of Doctor of Philosophy December 2020 HERITAGE AND POST-HERITAGE: INVESTIGATING THE STYLE, FORM AND GENRE OF PERIOD DRAMA IN 2010s BRITISH TELEVISION WILL STANFORD This image is unavailable. Please consult reference on page ii for further information. ABBISS ii ABSTRACT This project analyses six period drama productions in British television of the 2010s, expanding Claire Monk’s term of ‘post-heritage’ into a critical framework. Its case studies establish a cycle of progressive representations of the past in recent television drama, which operate against the assumptions of ‘heritage’ nostalgia forwarded by earlier scholars. The post-heritage framework consists of five guiding elements: interrogation, subversion, subjectivity, self-consciousness and ambiguity. These inform the analysis of the project’s case studies, while also allowing the existence of post-heritage elements to be recognised in earlier period drama productions. The thesis is split into three distinct parts, which allow the heritage and post-heritage elements of the case studies to be associated with the characteristics and theoretical concepts of television drama. The first chapter of each part evaluates the institutional context of its case study, identifying its impact upon production through textual examples from the programme. The second chapter of each part focuses on close analysis, demonstrating the extent to which post- heritage elements can assist innovation in television drama. Part I focuses on televisual style, identifying the naturalist, realist and modernist aesthetics of television drama. Scholarly sources are used to connect these with periods of British television history. -
The Classic Serial on Television and Radio Also by Robert Giddings
The Classic Serial on Television and Radio Also by Robert Giddings SCREENING THE NOVEL (with Keith Selby and Chris Wensley) THE WAR POETS 1914–18 IMPERIAL ECHOES ECHOES OF WAR WHO WAS WHO IN FICTION (with Alan Bold) THE CHANGING WORLD OF CHARLES DICKENS THE TRADITION OF SMOLLETT THE AUTHOR, THE BOOK AND THE READER FROM PAGE TO SCREEN (with Erica Sheen) YOU SHOULD SEE ME IN PYJAMAS (autobiography) Also by Keith Selby HOW TO STUDY A DICKENS NOVEL SCREENING THE NOVEL (with Robert Giddings and Chris Wensley) HOW TO STUDY TELEVISION (with Ron Cowdery) EVERYBODY’S GRAMMAR (with James Sale) The Classic Serial on Television and Radio Robert Giddings and Keith Selby © Robert Giddings and Keith Selby 2001 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No paragraph of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, 90 Tottenham Court Road, London W1P 0LP. Any person who does any unauthorised act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The authors have asserted their rights to be identified as the authors of this work in accordance with the Copyright, Designs and Patents Act 1988. First published 2001 by PALGRAVE Houndmills, Basingstoke, Hampshire RG21 6XS and 175 Fifth Avenue, New York, N. Y. 10010 Companies and representatives throughout the world PALGRAVE is the new global academic imprint of St. -
Political and Household Governance in Anthony Trollope's Palliser Novels
A “WOMAN’S BEST RIGHT”—TO A HUSBAND OR THE BALLOT?: POLITICAL AND HOUSEHOLD GOVERNANCE IN ANTHONY TROLLOPE’S PALLISER NOVELS LINDA C. MCCLAIN ABSTRACT The year 2020 marks the one hundredth anniversary of the ratification of the Nineteenth Amendment to the U.S. Constitution. In 2018, the United Kingdom marked the one hundredth anniversary of some women securing the right to vote in parliamentary elections and the ninetieth anniversary of women securing the right to vote on the same terms as men. People observing the Nineteenth Amendment’s centenary may have difficulty understanding why it required a lengthy campaign of nearly a century to secure the right of women to vote. One influential rationale in both the United Kingdom and the United States was domestic gender ideology about men’s and women’s separate spheres and destinies. This ideology included the societal premise where the husband was the legal and political representative of the household and extending women’s rights—whether in the realm of marriage or of political life—would disrupt domestic and political order. This Article argues that an illuminating window on how such gender ideology bore on the struggle for women’s political rights is the mid-Victorian British author Anthony Trollope’s famous political novels, the Palliser series. These novels overlap with the pioneering phase of the women’s rights campaign in Britain and a key period of legislative debates over Robert Kent Professor of Law, Boston University School of Law. Thanks very much to Kimberley Bishop, Collin Grier, Chase Shelton, and and the editors of the Boston University Law Review for their careful editing of this Article. -
Radio 4 Quarter 1
Drama Drama Saturday Play – Mary Poppins The radio play draws on previously undramatised Saturday 3 January, 2.30pm adventures involving Mary Poppins and her young charges, Jane and Michael Banks.The production features original music specially composed by David Chilton. Joining Juliet Stevenson are Andrew Sachs as Mr Turvey, David Timson as Mr Banks with Jonathan Bee and Sophie Stuckey as the children, Michael and Jane. Producer/David Ian Neville Classic Serial – The Pilgrim’s Progress Sunday 4 January, 3.00pm Three parts L-R: Juliet Stevenson, Jonathan Bee,Andrew Sachs and Sophie Stuckey bring Mary Poppins to radio for the first time Juliet Stevenson stars as Mary Poppins in the first- ever radio dramatisation of PL Travers’s classic story. BBC Radio 4’s Mary Poppins is a treat for young and old with magic, mystery and adventures galore. Poised, punctilious and “practically perfect in every way”, Mary Poppins never explains herself or any of the things that happen to her or the children. Like PL Travers herself, she refuses to teach the children anything directly and instead helps them to make up their own minds by hints and suggestions. Anton Rodgers plays Bunyan in The Pilgrim’s Progress PL Travers never saw her Mary Poppins as Anna Massey, Neil Dudgeon and Anton Rodgers saccharine and sweet but as a much darker, more lead the cast in a new dramatisation by Brian Sibley abrasive and sometimes even frightening character, of John Bunyan’s classic 17th-century work. tinged as she was with a touch of magic and wonder. She believed that childhood was a This religious poem of epic proportions concerns “sorrowful time” and that imagination was often the adventures of a Christian pilgrim and his the only form of escapism open to children. -
The Journal of The
THE JOURNAL OF THE Number 107 ~ Summer 2017 Trollope’s Legal Mistakes in ‘The Great Orley Farm Case’ – Can You Forgive Him? Todd Shields EDITORIAL ~ 1 Contents Editorial Number 107 ~ Summer 2017 FEATURES e are delighted to include in this edition of Trollopiana an interview with actress Susan Hampshire, famous amongst 2 An Interview with Susan Hampshire Trollopians for her roles as Lady Glencora and Madeline Actress Susan Hampshire talks about her career and specifically about W playing Lady Glencora and Madeline Neroni in BBC adaptations of Neroni in BBC adaptations of Trollope’s novels. Susan has long been Trollope’s novels. a supporter of the Society and has recently agreed to become on of our Vice Presidents, so the interview, with insights into her experiences 8 Trollope’s Legal Mistakes in ‘The Great Orley Farm playing these roles, is timely. Case’ – Can You Forgive Him? Todd Shields We are also very pleased to include two further items from the Texas based lawyer Todd Shields has been a devoted Trollopian since meeting in London last year which focussed on Trollope and the the early 1990s. He considers whether criticism of Trollope’s treatment Law. Society member Todd Shields, a practising lawyer from the of the law in Orley Farm was justified. United States provides a spirited defence of Trollope’s depiction of his profession in Orley Farm, which provoked outraged criticism from 20 What Muriel Rose Remembered - Part Three lawyers not just at the time of its publication in 1862 but also when it Trollope Society Chair, Michael Williamson, explores more of what Muriel Rose, Anthony Trollope’s grand-daughter remembered. -
1. INTRODUCTION Bt Steven Amarnick
1 1. INTRODUCTION by Steven Amarnick Originally published in 2015 as part of the Commentary to the First Complete Edition of the extended version of ‘The Duke’s Children’ by the Folio Society, in two limited fine edition formats. NOTES ON THE CUTS “But now I will accept that as courage which I before regarded as arrogance.” With that sentence, The Duke’s Children comes to an abrupt end. Except not quite. Sixty-four words follow in the manuscript—words that Anthony Trollope had intended to publish but reluctantly left out. Preceding this sentence are some 65,000 other words that were cut—over twenty-two per cent of the manuscript. Now in 2015, in the two hundredth year of Trollope’s birth, The Duke’s Children can be read in full for the first time. By restoring his cuts, we restore his original vision, and present the book in a version that is as close as possible to the one he would have sanctioned had he been able to publish it in his typical fashion. It is only in The Duke’s Children (1880), the sixth and final novel of the Palliser series, that the Pallisers actually dominate the narrative. One of the two “her”s in Can You Forgive Her? (1864) is Alice Vavasor, who after much vacillation finally marries. The eponymous hero of Phineas Finn (1869) is a young Irishman who moves to London and fails to marry—though not for lack of trying. He does succeed, at first brilliantly, as a politician, but at the end he returns to the girl waiting for him back home in Killaloe.