The Lost Tapes : Classic Comedy from the Bbc Archives Pdf, Epub, Ebook
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Department of English and American Studies English Language And
Masaryk University Faculty of Arts Department of English and American Studies English Language and Literature Gabriela Gogelová The Home Guard and the French Resistance in Situation Comedies by David Croft Bachelor‟s Diploma Thesis Supervisor: Stephen Paul Hardy, Ph. D. 2015 I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography. …………………………………………… Author‟s signature I would like to thank my supervisor, Stephen Paul Hardy, Ph.D., for his professional advice, encouragement and patience. Table of Contents General Introduction 5 Chapter I: Situation Comedy and the BBC 8 Chapter II: Analysis of Dad’s Army 12 Description of the Characters 12 The British Home Guard vs. Croft and Perry‟s Dad’s Army 25 Chapter III: Analysis of ‘Allo ‘Allo! 30 Description of the Characters 30 The French Resistance vs. Croft and Lloyd‟s ‘Allo ‘Allo! 41 Conclusion 46 Works Cited 52 English Resume 55 Czech Resume 56 General Introduction The Second World War was undoubtedly the most terrible conflict of the twentieth century and one of the most destructive wars in history. It may therefore seem surprising that comedy writer David Croft chose exactly this period as a background for his most successful situation comedies. However, the huge success of the series Dad’s Army and ‘Allo ‘Allo! suggests that he managed to create sitcoms that are entertaining for wide audience and not offensive despite their connection to the Second World War. This thesis focuses on two of David Croft‟s sitcoms, Dad’s Army and ‘Allo ‘Allo!. The firstly mentioned sitcom was created in cooperation with Jimmy Perry and ran on BBC1 almost ten years from 1968 to 1977. -
Vf Dad's Army Programme.Pub
16 May 2016 1 £2 Welcome Welcome to our Spring 2016 Producon of Dad’s Army. I think we can guarantee you a laugh a minute as we present three of the original TV episodes ‐ “Deadly Aachment”, “Mum’s Army” and “The Godiva Affair”. We’re delighted to have a few new faces on stage and we’re sure you’ll give them a warm welcome. As you will know we are in the early stages of our “Big Project” which will see the theatre upgraded and improved. We will be addressing issues of accessibility, health and safety and extending use of the theatre within the community. As a first step we have been busy fundraising to help towards the costs associated with our Project. These costs include emergency repairs to the roof (which we have now completed) and detailed architect’s drawings. There is more informaon available in our “Big Project” leaflet and if you join our mailing/email list we’d be very happy to keep you informed about progress. We are also currently in the early stages of looking at Community Ownership which would see the building come into the ownership of The Barony Players (we current‐ ly lease the building from Falkirk Council). As you can imagine this ambious project will take some years to achieve and along the way we will need to raise considera‐ ble amounts of money. With the help of you our audience we’re confident we’ll get there. We have launched our new website and connue to use Social Media to extend our reach. -
BBC Script Agreement for Television and Online March 2017
SCRIPT AGREEMENT FOR TELEVISION AND ONLINE Memorandum of an Agreement made on 21st March 2017. Between The British Broadcasting Corporation whose principal office is at Broadcasting House Portland Place London W1A 1AA (the “BBC”, which term shall where the context so permits include the BBC’s assignees and successors in title including without limitation BBC Studios or any successor to BBC Studios, other production entity or co-producer, distributor, licensee or broadcaster) and The Personal Managers’ Association Limited whose registered office is at Summit House, 170 Finchley Road, London NW3 6BP (Company number 00487049) (the “PMA”) and The Writers’ Guild of Great Britain of First Floor 134 Tooley Street London SE1 2TU (the “WGGB”) establishing the minimum terms which shall be offered by the BBC on commissioning a Writer to write a Script for a television or online programme. 1 CONTENTS 1. Application of Agreement 2. Commissioning 3. Rights 4. Format Rights and Characters 5. Extracts 6. Script Payment and Secondary Channel Use 7. Repeat Fees on Primary Channels 8. Commercial Exploitation 9. Collective Administration 10. Miscellaneous Uses 11. Disputes Procedure 12. Regulation 13. Forum 14. Accounting 15. Publicity 16. Rewrites and Acceptance 17. Moral Rights and Alterations 18. Turnaround 19. Long Running Series 20. Credit 21. Copy of Programme 22. Attendance and Expenses 23. Confidentiality 24. Warranties and Indemnity 25. BBC’s Licensees 26. Term and Termination 27. Notices 28. Assignment 29. No Agency Partnership Joint Venture or Employment 30. Variation 31. Value Added Tax 32. Severability 33. Headings 34. Proper Law 35. Nature of the Agreement SCHEDULES 1. -
Ten Years Supporting, Delivering & Promoting the Whole Spectrum of Animation
TEN YEARS SUPPORTING, DELIVERING & PROMOTING THE WHOLE SPECTRUM OF ANIMATION Directors Message Wow – we made it to our 10th anniversary!! Who would have thought it? From very humble beginnings – our first festival in 2004 screened at the now-defunct Rupert Street Cinema in Piccadilly – to LIAF 2013, 10 days at 3 different venues. We have survived - sort of. Over 10 years we’ve received more than 12,000 entries, screened more than 2,500 films, and had some of the most talented animators in the world come and hang out with us. And we’ve had a ball on the way. It’s time to blow our own trumpet. As well as being the largest festival of it’s kind in the UK in terms of films and programmes screened, we have a substantial touring component and we run satellite events all year-round. We’ve screened at festivals, cinemas, theatres and colleges all around the world and in the UK and hopefully we have spread the word that animation is a valid artform that is only limited by the animator’s imagination. In short, our maxim is that in animation anything can happen. Long may this be. There are far too may people to thank here (hopefully you know who you are) but the guidance and immense work-rate of my co-Director Malcolm Turner has to be acknowledged. Way back when in our ground zero - actually in the year 1999 - I still vividly recall that very first meeting Malcolm and I had with our then-colleague Susi Allender in the back garden of our Melbourne flat. -
Initial Draft Ltr V1.Docx
23 January 2014 STUART MCINTOSH Alex Towers Group Director, Competition BBC Trust 180 Great Portland Street London W1W 5QZ Dear Alex, BBC Trust Significance Test – iPlayer catch-up window extension In accordance with the Terms of Reference of 29 October 2013 and the Addition to the Memorandum of Understanding regarding Significance Tests1, this letter sets out Ofcom’s views on the potential impact on others (“others” being providers or potential providers of alternative products and services) of the BBC Executive’s proposed changes to the BBC iPlayer (‘the Proposals’). We provide our views in order to inform the Trust’s decision on the significance of the Proposals. All aspects of the Proposals (including impact on users) are being considered by the Trust Unit and it is the Trust’s decision as to whether the Proposals are considered significant for the purposes of Clause 25 of the BBC’s Framework Agreement. The Proposals include extending the TV and radio catch-up window from seven to 30 days and removing series stacking from TV. Specifically we understand the Proposals are: To extend the TV catch-up window to enable audiences to stream or download BBC programmes for 30 days after they have been first broadcast rather than seven days; To extend the radio catch-up window to enable audiences to stream or DRM download BBC programmes on the Internet for 30 days after they have been first broadcast rather than seven days; and To remove series stacking for TV (that is, the ability for audiences retrospectively to download or stream multiple episodes of TV programmes). -
2 April 2021 Page 1 of 10 SATURDAY 27 MARCH 2021 Robin Was a Furniture Designer Best Known for His Injection Nali
Radio 4 Extra Listings for 27 March – 2 April 2021 Page 1 of 10 SATURDAY 27 MARCH 2021 Robin was a furniture designer best known for his injection Nali ...... Nina Conti moulded polypropylene stacking chair, of which over 20 million Libby ...... Sarah Kendall SAT 00:00 Dream Story by Arthur Schnitzler (m000tg86) have been manufactured. Joan ...... Sarah Thom Episode 5 The Days shared a vision of good, affordable design for all. Mrs Singh ...... Nina Wadia Having infiltrated a secret masked ball where the female Together they established themselves as Britain's most Cilla ...... Gbemisola Ikumelo revellers are naked, Fridolin is discovered and must face his celebrated post-war designer couple, often been compared to Zoanna ...... Gbemisola Ikumelo hosts. US contemporaries, Charles Eames and Ray Eames. Roland ...... Colin Hoult Read by Paul Rhys. But despite their growing fame in the 1950s and 60s they Producer: Alexandra Smith Published in 1926, Arthur Schnitzler’s ‘Dream Story’ was remained uncomfortable with the public attention they received. A BBC Studios production for BBC Radio 4 first broadcast in alternately titled ‘Rhapsody’ and, in the original German, They shared a passion for nature and spent more and more time November 2016. ‘Traumnovelle’. outdoors. Lucienne drew much of her inspiration from plants SAT 05:30 Stand-Up Specials (m000tcl3) Credited as the novella that inspired Stanley Kubrick's last film. and flowers and Robin was a talented and obsessive mountain Jacob Hawley: Class Act Translated by JMQ Davies. climber. Stevenage soft lad Jacob Hawley left his hometown behind a Producer: Eugene Murphy Wayne reflects on the many layers to Robin and Lucienne and, decade ago and has ascended Britain's social class system, Made for BBC7 and first broadcast in September 2003. -
On Demand Programme Services: Access Services Report 2016
On demand programme services: Access services report 2016 Publication date: 6 April 2017 On demand programme services: access services report 2016 About this document This report sets out the extent to which on demand programmes services (ODPS) carried subtitles, audio description or signing during the period from April 2015 to March 2016. It allows Ofcom, consumers, industry, and Government to measure progress in making ODPS accessible to people with hearing and/or visual impairments. On demand programme services: access services report 2016 Contents Section Page 1 Summary 1 2 Report on ODPS accessibility 3 3 Ofcom response and next steps 9 Annex 1 Information required 11 2 List of providers required to respond 12 3 Subtitling by service and outlet 13 4 Interactive table of accessibility by service and outlet 14 On demand programme services: access services report 2016 Section 1 1 Summary 1.1 Ofcom regulates a wide range of on demand programme services (“ODPS”), ranging from public service broadcasters’ catch-up services and film services to local TV archives and ‘adult’ websites. 1.2 There is currently no statutory requirement on providers of ODPS to make their services accessible to people with hearing and/or visual impairments. This differs from the situation with broadcast television services, where broadcasters must achieve specific accessibility targets. However, Ofcom does have a statutory duty to encourage providers of ODPS to ensure that their services are progressively made more accessible. Providers can do this by making their programmes available with subtitles, signing and/or audio-description1 (collectively, “access services”). 1.3 Ofcom believes that consumers with hearing and/or visual impairments should have increased access to on demand television, in common with the access they currently have to broadcast television. -
Roy Williams Has Been Quoted in the Guardian Saying: "We Only Ever Get
Comedy, drama and black Britain – An interview with Paulette Randall Eva Ulrike Pirker British theatre director Paulette Randall once said about herself and her work, "I'm not a politician, and I never set out to be one. What I do believe is that if we are in the business of theatre, of art, of creating, then that has to be at the forefront. The product, the play, has to be paramount."1 A look at her creative output, however, shows her political engagement in place – not so much in the sense of taking a proffered side, but certainly in the sense of insisting on participation in the public debate. To name just a few of her recent projects: Her 2003 production of Urban Afro Saxons at the Theatre Royal Stratford East was a timely intervention in the public debate about Britishness. The staging of James Baldwin's Blues for Mr Charlie (2004) at the Tricycle Theatre provided a thought-provoking viewing experience for a British audience in the wake of the Stephen Lawrence Inquiry. For the Trycicle and Talawa Theatre Company, Randall has staged four of August Wilson's plays. Her most recent theatre project was a production of Mustapha Matura's adaptation of Chekhov's Three Sisters at the Birmingham Repertory Theatre in 2006.2 However, Paulette Randall also has a professional life outside the theatre, where she makes her impact on the landscape of British sitcoms as a television producer. The following interview focuses not so much on specific productions, but more generally on her views on television, Britain's theatre culture, and the representations of Britain's diverse society. -
Mention the War: British Sitcoms and Military Masculinity
93 ANETTE PANKRATZ Mention the War: British Sitcoms and Military Masculinity 1. Introduction "Military virtues such as aggression, strength, courage and endurance have repeatedly been defined as the natural and inherent qualities of manhood" and "the soldier has become the quintessential figure of masculinity" (Dawson 1994, 1; cf. Braun 1996, 180; Connell 2005, 73, 213). Despite the assertive tone of these statements, military masculinity is fraught with contradictions and paradoxes. Soldiering, especially the killing of people in combat, can be seen as morally ambiguous (Braun 1996, 180). More importantly, the ideal type of military masculinity can never be reached and is enmeshed in a "dense web of double binds" (Belkin 2012, 4), that is, in disciplinary rituals that address soldiers as "girls" or "poofs" or in exercises that infantilise and feminise them (Belkin 2012, 33). Since the abolishment of National Service in 1961, serving in the army has become a very specialised occupation for a minority of the population in Britain and the warrior hero has been superseded by figures such as the "entrepreneurial individual" (Connell 2005, 254). (British) situation comedies featuring soldiers, from The Army Game (ITV, 1957- 1966) to Bluestone 42 (BBC, 2013-2015), broach this field of tensions with comic intent. They operate with incongruity between the exemplary figure of the warrior hero and its real-life performance, either by turning the norm upside down or by exaggerating and stereotyping it. The implicit juxtaposition of the ideal and its comic Other also puts into play different versions of masculinity, from the anxiously overt or the supposedly 'normal' to the deficient or explicitly dissident. -
Dads Army: Complete Radio Series Two Pdf, Epub, Ebook
DADS ARMY: COMPLETE RADIO SERIES TWO PDF, EPUB, EBOOK Jimmy Perry,David Croft,Arthur Lowe,John Le Mesurier,Full Cast | 1 pages | 14 Dec 2016 | BBC Audio, A Division Of Random House | 9781471366604 | English | London, United Kingdom Dads Army: Complete Radio Series Two PDF Book Mainwaring teaches the men to use the public telephone system as emergency communication. I love it. Audio Software icon An illustration of a 3. Episode list Missing episodes Radio episodes. Some actors can end up feeling resentful when a role comes to define them, but Lavender has no such reservations. Private Pike's mother agrees to take in a child evacuee, but Wilson misunderstands her and believes she is pregnant. By the third episode, screened on 14 August, the critics were catching up with public enthusiasm. They seem unlikely to win and their chances worsen when Jones has a bout of malaria. Cancel Save. Frazer's increasingly dictatorial manner soon alienates the platoon. Mainwaring is charged with showing a light and taken to court by a gleeful Hodges. Swallow's Bank takes a direct hit during an air-raid, but the bomb fails to explode, leaving Mainwaring and Wilson stuck in the vault with it. The Day the Balloon Went Up. Mainwaring spots an unexploded bomb caught in the wires. Namespaces Article Talk. One section, though, mistakes the other for the enemy. Ten Seconds From Now. From Wikipedia, the free encyclopedia. After Frazer moans about Mainwaring wasting his time with irrelevant lectures, he allows Frazer become Captain for a couple of days - but the power goes to his head. -
April 2013 V4
April 2013 Josh Hindle ———- Helen Atkinson ————— David Smith and Liz Rowell all set for action at the filming in Towneley Hall Pretty as a Picture The magnificent Regency Room at Towneley Hall became a film set for the movie scenes of the Theatre Company’s latest production ‘Singin in the Rain’. Visitors to the Hall, on a rather snowy Sunday afternoon, thought they had stepped back in time as they gazed on the fabulous scene of ladies and gentlemen in full court dress. Only the cameras of our intrepid film crew John and Margaret Morgan gave away the fact that this was a film set and they had not been transported in a time warp. With a full entourage of Director, Wardrobe, Wigs and Musical Director in attendance visitors to the Hall may have been forgiven for thinking that our Company members were a professional film crew. But unfortunately no one dared ask the stars for their autographs!!! Lights, Camera, ACTION! 2 Booking WARDROBE REPORT 2012 Arrangements for ALL Pendle Hippodrome Shows DISCOVER PENDLE Boundary Mill Stores The Monday Night Wardrobe Team Pam Irene Jen Barbara Margaret Vivary Way Colne Pat Marilyn Florence Just call in to book your seats Or ring 01282 856186 Once again our Wardrobe team have had Open daily 10 am to 8 pm a very busy and successful year. The Sundays 11 am to 5 pm ladies enjoy their weekly wardrobe £1 per Booking - Fee Applicable sessions, it is their fund raising effort for Theatre plan available the Theatre, and they are pleased to report that from January to December ONLINE 2012 they made £8000 for Theatre funds. -
Comedy Is a Serious Business
Comedy is a Serious Business ROBERT Wn..JTER' In Lecture form this paper was illustrated with video clips. These are noted beLow in boxes in the text. The actors' banter in Plautus' time has changed little over the centuries. Asides to the audience continue to be used in Shakespeare. In 1938 Rogers and Hart used the Comedy of Errors as a basis for the musical The Boys from Syracuse. The asides to the audience as a theme was repeated in the popular Frankie Howard series Up Pompeii, UK of the 1970s. In comedy, the continuity of tradition and content is possibly clearer than in any other theatrical form since it can be demonstrated not only in terms of plot and literary influence, but also in theatrical practice. The Oxford dictionary defines comedy as a Stage Play of light, amusing and often satirical character, chiefly representing everyday life, with a happy ending. A great deal of stress can be laid on 'timing' - the ability to know how long an audience can be kept waiting. Add to this the actors' gift to a 'live audience' which can direct the audience to anticipate the funny side of any given situation with gestures, emphasis on certain words and pacing, and is under the control of the actors. It is here that you have a very important ingredient for success in a stage production. Film and television have to have different base lines, since the judgement of how funny a scene is or could be is a very subjective matter, primarily because the director and editor essentially control * Robert Winter has worked as an editor with Eating Studios and Yorkshire TeLevision, and has enjoyed an extensive career in film and television.