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Scotland's 'Forgotten' Contribution to the History of the Prime-Time BBC1 Contemporary Single TV Play Slot Cook, John R
'A view from north of the border': Scotland's 'forgotten' contribution to the history of the prime-time BBC1 contemporary single TV play slot Cook, John R. Published in: Visual Culture in Britain DOI: 10.1080/14714787.2017.1396913 Publication date: 2018 Document Version Author accepted manuscript Link to publication in ResearchOnline Citation for published version (Harvard): Cook, JR 2018, ''A view from north of the border': Scotland's 'forgotten' contribution to the history of the prime- time BBC1 contemporary single TV play slot', Visual Culture in Britain, vol. 18, no. 3, pp. 325-341. https://doi.org/10.1080/14714787.2017.1396913 General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. Take down policy If you believe that this document breaches copyright please view our takedown policy at https://edshare.gcu.ac.uk/id/eprint/5179 for details of how to contact us. Download date: 26. Sep. 2021 1 Cover page Prof. John R. Cook Professor of Media Department of Social Sciences, Media and Journalism Glasgow Caledonian University 70 Cowcaddens Road Glasgow Scotland, United Kingdom G4 0BA Tel.: (00 44) 141 331 3845 Email: [email protected] Biographical note John R. Cook is Professor of Media at Glasgow Caledonian University, Scotland. He has researched and published extensively in the field of British television drama with specialisms in the works of Dennis Potter, Peter Watkins, British TV science fiction and The Wednesday Play. -
Mapping the British Biopic: Evolution, Conventions, Reception and Masculinities
Mapping the British Biopic: Evolution, Conventions, Reception and Masculinities Matthew Robinson A thesis submitted in partial fulfilment of the requirements of the University of the West of England, Bristol for the degree of Doctor of Philosophy Faculty of Arts, Creative Industries and Education, University of the West of England, Bristol June 2016 90,792 words Contents Abstract 2 Chapter One: Introduction 3 Chapter Two: Critical Review 24 Chapter Three: Producing the British Biopic 1900-2014 63 Chapter Four: The Reception of the British Biopic 121 Chapter Five: Conventions and Themes of the British 154 Biopic Chapter Six: This is His Story: ‘Wounded’ Men and 200 Homosocial Bonds Chapter Seven: The Contemporary British Biopic 1: 219 Wounded Men Chapter Eight: The Contemporary British Biopic 2: 263 Homosocial Recoveries Chapter Nine: Conclusion 310 Bibliography 323 General Filmography 355 Appendix One: Timeline of the British Biopic 1900-2014 360 Appendix Two: Distribution of Gender and Professional 390 Field in the British Biopic 1900-2014 Appendix Three: Column and Pie Charts of Gender and 391 Profession Distribution in British Biopics Appendix Four: Biopic Production as Proportion of Total 394 UK Film Production Previously Published Material 395 1 Abstract This thesis offers a revaluation of the British biopic, which has often been subsumed into the broader ‘historical film’ category, identifying a critical neglect despite its successful presence throughout the history of the British film industry. It argues that the biopic is a necessary category because producers, reviewers and cinemagoers have significant investments in biographical subjects, and because biopics construct a ‘public history’ for a broad audience. -
David Hayman
DAVID HAYMAN Film: Finding Your Feet Ted Richard Loncraine Eclipse Films Two Graves Tommy Gary Young Ida Rose Dirt Road To Lafayette Uncle John Kenneth Glenaan Dirt Road Viceroy's House Ewart Gurinder Chadha Anguille Productions Macbeth Lennox Justin Kurzel See- Saw Films Dartmoor Killing Tom Peter Nicholson Hummingbird Films Castles In The Sky Lindemann Gillies Macinnon Castles Film Ltd Queen And Country Clive Rohan John Boorman Merlin Films Jack Ryan Sergey Dostal Kenneth Branagh Paramount Pictures Screwed Keenan Reg Traviss Screwed Film Lord Of Darkness Sawney Ricky Wood T V P Film & Multimedia Ltd Birthday Prison Warden Alex Mccall Glasgow Films The Domino Effect Robert Paula Van Der Oest The Domino Effect B V Burke And Hare Danny Mctavish John Landis Ealing Studios The Boy In The Striped Pyjamas Pavel Mark Herman Miramax Films Flood General Ashcroft Tony Mitchell Power Small Engine Repair Jesse Gold Niall Heery Irish Film Board Avenger Zolton Zilic Robert Markowitz Warner Bros Speed Dating Dr Birmingham Tony Herbert System Forty Eight Ltd Rag Tale Geoff Randal Mary Mcguckian Carousel Picture Company Where The Truth Lies Reuben Atom Egoyan Serendipity Point Films Gladiatress General Rhinus Brian Grant Mission Pictures The Wild Dogs Victor Thom Fitzgerald Chum Television The Tailor Of Panama Luxmore John Boorman Sony Pictures Vertical Limit Frank ' Chainsaw' Williams Martin Campbell Columbia Last Great Wilderness Ruaridh David Mackenzie Monkey Puzzle Ordinary Decent Criminal Tony Brady Thaddeus O' Sullivan Littlebird Best Tommy Dougherty Mary Mcguckian Best Films The Match Scrapper Mick Davis Allan Scott Productions Legionnaire Recruiting Sgt Peter Macdonald Asa Productions Behind The Lines Maj. -
Attributions of National Character, Which May Address So Many Questions
29 The Scottish Dimension in Film and Television NEIL BLAIN LOCAL AND GLOBAL DOMAINS: ‘SCOTTISH’ FILM AND TELEVISION? The concepts of ‘Scottish’ film and ‘Scottish’ television provoke challenging questions about what constitutes the national dimension in culture. Attributions of national character bring complications, about history, society and culture, as well as economics, politics and psychology. This is why they tend to produce debate or dissent more often than consensus. Film and television extend further an older argument about the local traits of cultural output, such as literature and painting. For quite specific reasons it may be (even) harder to define the Scottishness of a film than the Scottishness of a novel. Many theoretical complications surround the notion of authorship as a general proposition, in all expressive forms, but particularly in film and television.1 Films are produced not only by a team of specialists (writers, directors, cinematographers and others) but also by an industrial infrastructure with determining influences on production. This ‘industrial’ aspect of film and television raises questions yet more awkward than those concerning the effects (for example) of the economics of publishing or exhibition upon the respective forms of writing or painting: ‘culture often depends on economics, and in no form of expression do money and art come closer than in cinema’.2 Determining the features of a cultural geography of film and television is in practice very difficult, even just at the literal level of mapping creative involvement; if indeed it is the creative dimension which determines ‘national’ identity. Judgments about the national dimension of a film can be made variously because of where it was shot; or financed; or by whom it was directed; or by whom it was written; or on what theme. -
Scottish Film Culture
Murray, Jonathan (2006) Local Heroics: Scottish cinema in the 1990s. PhD thesis http://theses.gla.ac.uk/6666/ Copyright and moral rights for this thesis are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Glasgow Theses Service http://theses.gla.ac.uk/ [email protected] Local Heroics: Scottish cinema in the 1990s Jonathan Murray A thesis submitted for examination for the degree of Doctor of Philosophy Departments of Scottish History and Theatre, Film & Television Studies April 2006 © Jonathan Murray 2006 For my belovedfather, James Patrick (Jim) Murray (1946 - 2003) My friend andfirst teacher 2 Abstract This thesis surveys Scottish cinema during the 1990s. It takes as its starting point the fact that this period witnes~ed easily the highest and most consistent levels of indigenous feature film production In the history of Scottish film culture. By the end of the 1990s, many observers proposed that it was for the first time possible to talk about the existence ofa 'Scottish cinema' and/or a 'Scottish film industry', where before only occasional Scottish films and/or Scottish filmmakers could be discerned. This thesis argues that the most important precipitant of Scottish cinema's unprecedented 1990s industrial expansion involved local filmmakers' pre-meditated, industrially aspirant adaptation of American cinematic precedents and working practices. -
Reminder List of Eligible Releases for Distinguished Achievements During 1997 A
Reminder List of Eligible Releases for Distinguished Achievements during 1997 A ABSOLUTE POWER Clint Eastwood. Gene Hackman. Ed Harris. Laura Linney. Scott Glenn. Dennis Haysbert. Judy Davis. E. G. Marshall. Melora Hardin. Ken Welsh. Penny Johnson. Richard Jenkins. ADDICTED TO LOVE Meg Ryan. Matthew Broderick. Kelly Preston. Tcheky Karyo. Maureen Stapleton. Nesbitt Blaisdell. Remak Ramsay. Lee Wilkof. Dominick Dunne. Susan Forristal. Larry Pine. Debbon Ayer. Maurizio Benazzo. Paolo Calamari. Helmar Augustus Cooper. Tom Forrest. Shoshanna Gleich. Jacqueline Heinze. Mike Hodge. Daniel Dae Kim. Bill Kux. Steve McAuliff. Conrad McLaren. Bill Timoney. AFTERGLOW Nick Nolte. Julie Christie. Lara Flynn Boyle. Jonny Lee Miller. AIR BUD Michael Jeter. Kevin Zegers. Wendy Makkena. Eric Christmas. Brendan Fletcher. Norman Browning. Bill Cobbs. Jay Brazeau. Nicola Cavendish. Stephen E. Miller. Shayn Solberg. Chris Turner. Christine Kennedy. Frank C. Turner. Marian Dodd. Ursula Martin. Kevin DiCicco. Jessebel Mather. Kati Mather. AIR FORCE ONE Harrison Ford. Gary Oldman. Glenn Close. Wendy Crewson. Liesel Matthews. Paul Guilfoyle. Xander Berkeley. William H. Macy. Dean Stockwell. Tom Everett. Jurgen Prochnow. Donna Bullock. Michael Ray Miller. Carl Weintraub. Elester Latham. Elya Baskin. Levani . David Vadim. Andrew Divoff. Ilia Volokh. Chris Howell. Spencer Garrett. Bill Smitrovich. Philip Baker Hall. Albert Owens. Willard Pugh. Michael Monks. Alan Woolf. Messiri Freeman. Thomas Crawford. Fenton Lawless. Dan Shor. David Gianopoulos. Glenn Morshower. Richard Doyle. Don R. McManus. Duke Miglin. Pavel D. Lychnikoff. Oleg Taktarov. Mario Roberts. Keith Woulard. J. Mark Donaldson. Bruce Holman. Brian Libby. Diana Bellamy. Thom Barry. Harry Hutchinson. E.E. Bell. Mark Thompson. ALBINO ALLIGATOR Matt Dillon. Faye Dunaway. Gary Sinise. William Fichtner. -
Viceroy's House Was Given Unprecedented Access to the Real
Presents VICEROY’S HOUSE Directed by GURINDER CHADHA/ In cinemas 18 MAY, 2017 Starring GILLIAN ANDERSON, HUGH BONNEVILLE, MANISH DAYAL, HUMA QURESHI PUBLICITY REQUESTS: Transmission Films / Amy Burgess / +61 2 8333 9000 / [email protected] IMAGES High res images and poster available to download via the DOWNLOAD MEDIA tab at: http://www.transmissionfilms.com.au/films/viceroys-house DistriButed in Australia by Transmission Films VICEROY’S HOUSE PRODUCTION NOTES Running time: 1 hour 45 minutes ABOUT THE PRODUCTION A PERSONAL HISTORY The 1947 Partition of India has always been part of Gurinder Chadha’s life. Though raised in West London, and born in Nairobi, Kenya 13 years after the controversial Mountbatten Plan struck a jagged line through the north-west of the freshly independent Union of India to create the Dominion of Pakistan, the British- Punjabi film-maker describes herself as someone who grew up “in the shadow of Partition”. Her ancestors lived in the foothills of the Himalayas, now on the Pakistani side of the border. Her grandparents lived through the tumultuous events which saw sectarian violence between India’s minority population of Muslims (many of whom craved their own homeland) and the Hindu and Sikh majority, bring about the greatest refugee crisis the world has ever seen; in a vast diaspora, an estimated 14 million people were displaced during Partition and up to a million died. An independent India was a cause for celebration, and the creation of Pakistan was equally a cause for celebration amongst many millions of Muslims. But the process by which this was achieved was what caused such terrible suffering for so many Hindus, Muslims and Sikhs.” As a writer-director, Chadha has repeatedly translated her personal experience as a Punjabi-British woman into uplifting, crowd- pleasing movies, from her ground-breaking 1993 debut Bhaji On The Beach to her box-office smash Bend It Like Beckham. -
Inspector Barnaby, Vera, Death in Paradise
Mord auf Shetland, Staffel 1 (inkl. Pilot-Folge) Genre: Krimi / Thriller Technische Details: (Serie) Anzahl Disk: 4x DVD9 Anzahl Folgen: 4 Art.-Nr.: 0210616ER2 Laufzeit: ca. 480 Min. EAN: 4029759106166 Sprache: Deutsch, Englisch UVP : 25,99 Bildformat: 16:9 Tonformat: Dolby Digital 2.0 / 5.1 Instore: 14.04.2017 FSK: ab 12 Die wichtigsten Facts: 4 spannende Krimis nach der gleichnamigen Romanreihe von Ann Cleeves, die auch die Buchvorlage zu Vera - Ein ganz spezieller Fall schrieb. Hochkarätig besetzt mit Douglas Henshall (bekannt aus Primeval und Outlander), 2014 für den BAFTA-Award als Bester Darsteller nominiert, sowie namhaften Gastdarstellern: Brian Cox (Troja, Bourne-Trilogie, Braveheart), John Lynch (The Fall – Tod in Belfast), Bill Paterson (Outlander, Law & Order: UK, Dr. Who), Alex Norton (Braveheart, Monte Christo, Fluch der Karibik 2) Top-Quoten in UK: über 6 Mio. / knapp 30 % MA TV: Deutsche Erstausstrahlung in Feiertagsprogrammierung um 21:45 im Ersten: 27.3. sowie 15. & 16.05.16 (Ostern und Pfingsten) Folge 4 am Ostermontag 2017 Erfolgreicher Deutschland-Start mit knapp 3 Mio. Zuschauern am Ostersonntag und deutlicher Steigerung zu Pfingsten: Folge 2: 3,5 Mio., Folge 3: 3,7 Mio. Filmpreise/ Auszeichnungen Nominiert für den Royal Television Society Craft & Design Award 2013: Beste Musik Nominiert für den BAFTA Scotland Award 2014: Bester Darsteller – Douglas Henshall Nominiert für den BAFTA Scotland Award 2015: Bestes TV-Drama Inhalt: Nach dem Tod seiner Frau will der gebürtige Shetlander Detective Inspector Jimmy Perez (Douglas Henshall) mit seiner Stieftochter Cassie einen Neuanfang wagen und kehrt zurück auf die Shetland-Inseln. Der ebenso kühle wie selbstbewusste Kommissar sieht das Leben auf der dünn besiedelten, nordatlantischen Inselgruppe nach Jahren auf dem Festland nun mit anderen Augen.