DOCSLIB.ORG

Sweeney Todd: the Demon Barber of Fleet Street What an Absolute Treat of Theatre We Have in Store for You Now!

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Sweeney Todd: the Demon Barber of Fleet Street What an Absolute Treat of Theatre We Have in Store for You Now! WAOS presents Music and Lyrics by STEPHEN SONDHEIM Book by HUGH WHEELER Rhoda McGaw Theatre Woking Tuesday to Saturday 10th to 14th November 2015 Programme £2.50 Affiliated to the National Operatic and Dramatic Association Presented by arrangement with JOSEF WEINBERGER LIMITED on behalf of MUSIC THEATRE INTERNATIONAL of New York A Message From the Chairman Good afternoon / evening to you, one and all! So…here we are again at the lovely Rhoda McGaw. It has already been six months since our ground breaking production of Bernard J Taylor’s musical adaptation of Emily Brontë’s Wuthering Heights in May. And in Sweeney Todd: The Demon Barber of Fleet Street what an absolute treat of theatre we have in store for you now! Widely regarded as Stephen Sondheim’s masterpiece, Sweeney Todd has been part of standard repertoire for both professionals and amateurs since its premiere in 1979, interestingly being produced at various times throughout those 36 years both as a Broadway / West End style musical and as an opera. In fact, this year alone has seen productions both by the English National Opera – with Emma Thompson and Bryn Terfel as Mrs Lovett and Sweeney Todd – and, currently, by the Welsh National Opera, featuring Janis Kelly and David Arnsperger in the roles originally created on stage by Angela Lansbury and Len Cariou. So…a genuine ‘cross-over’ piece of theatre. Elsewhere in this programme you will see our Director James Fortune’s notes in which, amongst other observations, he makes reference to Sondheim’s approach when first starting work on the piece in the 1970s. As Chairman it is with great pleasure that I extend my thanks to James and to our Musical Director Ian Peters, our rehearsal accompanists Adam Blosse, Bob Good and Jonathan Rhodes-Smith, the hard working members of my Management Committee, the strikingly talented cast and chorus – with possibly one exception, but I’ll do my best! – our tireless and good humoured crew led by Jennifer Bye, our wonderfully imaginative set designer Mike Bartlett, and all associated volunteers, for the countless hours they have all put in to present to you this spellbinding Sondheim take on the famous legend (or is it?!) that first saw light of day in a Victorian ‘penny dreadful’ (cheap popular serial literature produced during the 19th century) called The String of Pearls: A Romance, published in 1846 and ’47. The story became a staple of Victorian melodrama and London urban legend and has been retold many times since…culminating in Sondheim and Wheeler’s Tony award-winning musical / opera. Claims that Sweeney Todd was a real-life person are strongly disputed by scholars, although some admit that historical prototypes possibly did exist…either way, it is an enormously powerful story of an ordinary man driven to murderous insanity by vicious injustice and an all-consuming hunger for vengeance. And what with Sondheim’s notoriously complex, demanding and dramatically illustrative score, it has been a hugely challenging but ultimately highly rewarding project for all of us. I would like to thank all of our sponsors, advertisers and benefactors who have assisted with such generous support for this show: without them, it would simply not be economically viable to stage a production such as this. We have two productions planned in this theatre in the first ½ of next year: in February (23rd to 27th) we will be performing an English translation of Mozart’s Die Zauberflöte (The Magic Flute); then in May (3rd to 7th), the hilarious musical farce by Lisa Lambert, Greg Morrison, Bob Martin and Don McKellar, The Drowsy Chaperone. We hope to see you again at both. Finally, I’d like to thank you, our supportive public, and the Life Members and Patrons of Woking Amateur Operatic Society. Now sit back, and “attend the tale of Sweeney Todd!”…if you dare! Lee Power, Chairman, Woking Amateur Operatic Society, October 2015 A Bit About WAOS Woking Amateur Operatic Society (WAOS) is the premier non-professional musical theatre company in this part of Surrey and Sweeney Todd: The Demon Barber of Fleet Street marks the 82nd production since its formation more than 40 years ago. Most of these have been staged here at the 200+ seating Rhoda McGaw Theatre in the middle of Woking. The original WAOS ran in the 1920s and ’30s but folded for want of a venue. Its reincarnation was in 1972 and the building of the Rhoda McGaw in the mid-’70s (and its subsequent refurbishment a decade or so later) has provided the society with a regular home for its shows every spring and autumn. The variety of shows has been remarkable: from 19th century Gilbert & Sullivan comic opera (The Mikado, The Pirates of Penzance, The Gondoliers, The Yeomen Of the Guard, etc.), through classic 20th century musical theatre (Oklahoma!, Carousel, South Pacific, Kiss Me, Kate!, Guys & Dolls, My Fair Lady and Fiddler On the Roof to name but a few), to more recent musicals such as Into the Woods, Little Shop of Horrors, Moll Flanders, The Hired Man, The Best Little Whorehouse in Texas and Wuthering Heights. The company is a mix of seasoned performers – some with professional experience – first-timers who have come along to audition and ‘have a go’…and those in between! There is also a solid core of members who take care of the all-important backstage duties, from lighting and sound to costumes and stage management. Additionally, we build all our own sets, so if you fancy the chance to flex your creative muscles on a bit of carpentry or painting and decorating then we’d love to hear from you. If you’re interested in joining us in any capacity please contact our Membership Secretary, Sue Gaastra, at [email protected] or telephone her on 01483 763243. NODA The National Operatic and Dramatic Association (NODA) was founded in 1899 and has a membership of around 2,500 amateur theatre groups and 3,000 individual enthusiasts throughout the UK who are engaged in staging musicals, opera, plays, concerts and pantomime in a wide variety of performing venues. NODA aims to give a shared voice to the amateur theatre sector; to help amateur societies and individuals achieve the highest standards of best practice and performance; to provide leadership and advice to enable amateur theatre to tackle the challenges and opportunities of the 21st century. If you would like to find out more about NODA and its range of services, telephone 08451 301368. Sweeney Todd: The Demon Barber of Fleet Street From the Director… I was lucky enough to be invited to attend the opening night of a new Stephen Sondheim musical in New York on Thursday, March 1st, 1979, at the Uris Theatre (now the Gershwin Theatre) on Broadway. It was Sweeney Todd: The Demon Barber of Fleet Street. We all thought we were about to see another Oliver! – a rollicking, “knees up, Mother Brown!”, sing-song of a show, set in Victorian London – but when that factory whistle screamed and those brooding opening notes echoed across the footlights, borrowed unashamedly from "Dies Irae, the Day of Wrath" from the Catholic Mass for the Dead, we knew we were in for something entirely different… Sondheim first saw Christopher Bond’s 1970 play Sweeney Todd, the Demon Barber of Fleet Street in London in 1973 and immediately recognized its operatic potential: “I remember thinking on my way home that it would make an opera, and I spoke to John Dexter, one of the directors of the Metropolitan Opera, who at that time was directing in the West End in London. In the course of our conversation I asked him if he thought that Sweeney Todd might make an opera, and he said absolutely and that encouraged me to look into the rights for it. That’s how it all started.” (Stephen Sondheim, 1980) “I started it, trying to write everything myself because it was really all going to be sung…it was going to be virtually an opera. I did the first 20 minutes and I realized I was only on page 5 of Bond’s script. So at that rate, the show would possibly have been 9 hours long!” (Stephen Sondheim – from Craig Zadan, 1990) At this point Hugh Wheeler was called in to help with the libretto. Being British, he must have been an invaluable intermediary in matters of cultural reference and tone. After six years of work, it was ready. Sweeney Todd is widely regarded as Sondheim's masterpiece, and in my opinion justifiably so. It is a thrilling, visceral and deeply disturbing piece based on the old English legend. Indeed, Sondheim has called it his “love letter to London”. Since that scary opening night 36½ years ago, the piece has been produced many times and in many different ways. I have, of course, always wanted to direct it, and when WAOS commissioned me for it, I wanted my production to be as close to Sondheim's original idea as possible. Contrary to the anonymous steel factory setting Hal Prince used on Broadway and, later, in the West End, Sondheim always imagined it set in the classic Victorian London of ‘pea-souper’ fogs, gaslight and filthy, foetid streets. Indeed, from a present day perspective, London was an horrendous place in 1846. Filthy, rancid and unsanitary; a sickening stench everywhere; no public toilets; little medical knowledge, and gruesome and thoroughly unhygienic medical practice. Life was cheap and squalid in the foul hovels and back alleys around Fleet Street. Out of this cesspit rose a gnarled hand clutching a bloodied cut-throat razor… WAOS is an extraordinary production company with fascinating resources.
Load more

Recommended publications
  • An Examination of the Causes of Education Policy Outputs in Ontario, Saskatchewan, and Alberta
    Why Do Parties Not Make a Difference? An Examination of the Causes of Education Policy Outputs in Ontario, Saskatchewan, and Alberta By Saman Chamanfar A thesis submitted in conformity with the requirements of the degree of Ph.D. Political Science University of Toronto © Copyright by Saman Chamanfar 2017 Why Do Parties Not Make a Difference? An Examination of the Causes of Education Policy Outputs in Ontario, Saskatchewan, and Alberta Saman Chamanfar Doctor of Philosophy Political Science University of Toronto 2017 Abstract This study seeks to explain why partisanship—contrary to what we might expect based on the findings of other studies concerning social policies—is generally not a useful explanatory variable when examining the primary and secondary education policies of three Canadian provinces (Ontario, Saskatchewan, and Alberta) during two periods (the 1970s and 1990- 2008). Four specific areas of the education sector of the provinces will be examined: objectives of curricula; spending; ministry relations with school boards; and government policies concerning private and charter schools. Utilizing a qualitative approach and building on the findings of other studies on provincial education systems, it will be argued that in order to understand why the three provinces generally adopted similar policies in both periods, regardless of the differences in the ideologies of governing parties, we need to consider the causal effect of key ideas in both periods. In addition, it will be shown that opposition parties in most instances did not present policies that differed from those of governing parties or criticize the policies of such parties. This will further illustrate the limited usefulness of adopting a partisanship lens when seeking to understand the policy positions of various parties in the provinces concerning the education sector.
    [Show full text]
  • A Cognitive Approach to Gestural Life in Stephen Sondheim's Musical Genres
    “MY ARM IS COMPLETE”: A COGNITIVE APPROACH TO GESTURAL LIFE IN STEPHEN SONDHEIM’S MUSICAL GENRES by Diana Louise Calderazzo AB, Smith College, 1999 MA, University of Central Florida, 2005 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2012 UNIVERSITY OF PITTSBURGH DIETRICH SCHOOL OF ARTS AND SCIENCES DEPARTMENT OF THEATRE ARTS This dissertation was presented by Diana Louise Calderazzo It was defended on July 11, 2012 and approved by Marlene Behrmann, Professor, Department of Psychology, Carnegie Melon University Atillio Favorini, Professor, Department of Theatre Arts, University of Pittsburgh Kathleen George, Professor, Department of Theatre Arts, University of Pittsburgh Dissertation Director: Bruce McConachie, Professor, Department of Theatre Arts, University of Pittsburgh ii Copyright by Diana Louise Calderazzo 2012 iii “MY ARM IS COMPLETE”: A COGNITIVE APPROACH TO GESTURAL LIFE IN STEPHEN SONDHEIM’S MUSICAL GENRES Diana Louise Calderazzo, PhD University of Pittsburgh, 2012 Traditionally, musical theatre has been accepted more as a practical field than an academic one, as demonstrated by the relative scarcity of lengthy theory‐based publications addressing musicals as study topics. However, with increasing scholarly application of cognitive theories to such fields as theatre and music theory, musical theatre now has the potential to become the topic of scholarly analysis based on empirical data and scientific discussion. This dissertation seeks to contribute such an analysis, focusing on the implied gestural lives of the characters in three musicals by Stephen Sondheim, as these lives exemplify the composer’s tendency to challenge traditional audience expectations in terms of genre through his music and lyrics.
    [Show full text]
  • The Dark Side of the Tune: a Study of Villains
    University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2008 The Dark Side Of The Tune: A Study Of Villains Michael Biggs University of Central Florida Part of the Theatre and Performance Studies Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Masters Thesis (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Biggs, Michael, "The Dark Side Of The Tune: A Study Of Villains" (2008). Electronic Theses and Dissertations, 2004-2019. 3811. https://stars.library.ucf.edu/etd/3811 THE DARK SIDE OF THE TUNE: A STUDY OF VILLAINS by MICHAEL FREDERICK BIGGS II B.A. California State University, Chico, 2004 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in the Department of Theatre in the College of Arts and Humanities at the University of Central Florida Orlando, Florida Fall Term 2008 © 2008 Michael Biggs ii ABSTRACT On “championing” the villain, there is a naïve quality that must be maintained even though the actor has rehearsed his tragic ending several times. There is a subtle difference between “to charm” and “to seduce.” The need for fame, glory, power, money, or other objects of affection drives antagonists so blindly that they’ve no hope of regaining a consciousness about their actions. If and when they do become aware, they infrequently feel remorse.
    [Show full text]
  • Lublin Studies in Modern Languages and Literature
    Lublin Studies in Modern Languages and Literature VOL. 43 No 2 (2019) ii e-ISSN: 2450-4580 Publisher: Maria Curie-Skłodowska University Lublin, Poland Maria Curie-Skłodowska University Press MCSU Library building, 3rd floor ul. Idziego Radziszewskiego 11, 20-031 Lublin, Poland phone: (081) 537 53 04 e-mail: [email protected] www.wydawnictwo.umcs.lublin.pl Editorial Board Editor-in-Chief Jolanta Knieja, Maria Curie-Skłodowska University, Lublin, Poland Deputy Editors-in-Chief Jarosław Krajka, Maria Curie-Skłodowska University, Lublin, Poland Anna Maziarczyk, Maria Curie-Skłodowska University, Lublin, Poland Statistical Editor Tomasz Krajka, Lublin University of Technology, Poland International Advisory Board Anikó Ádám, Pázmány Péter Catholic University, Hungary Monika Adamczyk-Garbowska, Maria Curie-Sklodowska University, Poland Ruba Fahmi Bataineh, Yarmouk University, Jordan Alejandro Curado, University of Extramadura, Spain Saadiyah Darus, National University of Malaysia, Malaysia Janusz Golec, Maria Curie-Sklodowska University, Poland Margot Heinemann, Leipzig University, Germany Christophe Ippolito, Georgia Institute of Technology, United States of America Vita Kalnberzina, University of Riga, Latvia Henryk Kardela, Maria Curie-Sklodowska University, Poland Ferit Kilickaya, Mehmet Akif Ersoy University, Turkey Laure Lévêque, University of Toulon, France Heinz-Helmut Lüger, University of Koblenz-Landau, Germany Peter Schnyder, University of Upper Alsace, France Alain Vuillemin, Artois University, France v Indexing Peer Review Process 1. Each article is reviewed by two independent reviewers not affiliated to the place of work of the author of the article or the publisher. 2. For publications in foreign languages, at least one reviewer’s affiliation should be in a different country than the country of the author of the article.
    [Show full text]
  • Sweeney Todd the Demon Barber of Fleet Street a Musical Thriller
    Reboot Theatre Company Presents Sweeney Todd The Demon Barber of Fleet Street A Musical Thriller Music and Lyrics by Stephen Sondheim Book by Hugh Wheeler From an adaptation by Christopher Bond. Originally directed on Broadway by Harold Prince. Orchestrations by Jonathan Tunic. Originally produced on Broadway by Richard Barr, Charles Woodward, Robert Fryer, Mary Lea Johnson, Martin Richards in association with Dean and Judy Manos Directed Music Direction by by Julia Griffin Aimee Hong With (In alphabetical order) ​ ​ Brittany Allyson, Justine Davis, Kylee Gano, Alyssa Keene, Vincent Milay, Mandy Rose Nichols, Jessica Robins, Cammi Smith, Kevin Tanner, Karin Terry, Harry Turpin, and Emily Welter Setting: LONDON Time: TODAY TWO ACTS ONE 15 MINUTE INTERMISSION Running Time: 2:45 Please turn off all cell phones during the show. The videotaping or photographing of this production is strictly prohibited. WARNINGS BLOOD, VIOLENCE, GUN SHOTS, & MEAT PIES “Sweeney Todd” is presented by special arrangement with Musical Theatre International (MTI). All authorized performance materials are also supplied by MTI. www.MTISHOWS.com ​ Director’s Note "In this day and age it is so very easily to be #literallyobsessed with the #blessed lives that we all watch through our instagrams and behind the safety of a screen. #nofilter It's easy to turn something into what you want it to be with enough of a filter. It's easy to get swept up in a trend. #fomo #yolo The tale of Sweeney Todd is in direct result of obsession, and possession, and seeing what you want to see. #lemmestopforaselfie A person of power wanting what they can't have, though they have no concept of what that "thing" is or means, destroys lives to get to his idea.
    [Show full text]
  • From Real Time to Reel Time: the Films of John Schlesinger
    From Real Time to Reel Time: The Films of John Schlesinger A study of the change from objective realism to subjective reality in British cinema in the 1960s By Desmond Michael Fleming Submitted in total fulfilment of the requirements of the degree of Doctor of Philosophy November 2011 School of Culture and Communication Faculty of Arts The University of Melbourne Produced on Archival Quality Paper Declaration This is to certify that: (i) the thesis comprises only my original work towards the PhD, (ii) due acknowledgement has been made in the text to all other material used, (iii) the thesis is fewer than 100,000 words in length, exclusive of tables, maps, bibliographies and appendices. Abstract The 1960s was a period of change for the British cinema, as it was for so much else. The six feature films directed by John Schlesinger in that decade stand as an exemplar of what those changes were. They also demonstrate a fundamental change in the narrative form used by mainstream cinema. Through a close analysis of these films, A Kind of Loving, Billy Liar, Darling, Far From the Madding Crowd, Midnight Cowboy and Sunday Bloody Sunday, this thesis examines the changes as they took hold in mainstream cinema. In effect, the thesis establishes that the principal mode of narrative moved from one based on objective realism in the tradition of the documentary movement to one which took a subjective mode of narrative wherein the image on the screen, and the sounds attached, were not necessarily a record of the external world. The world of memory, the subjective world of the mind, became an integral part of the narrative.
    [Show full text]
  • British Film and TV Since 1960 COM FT 316 (Core Course)
    British Film and TV Since 1960 COM FT 316 (Core Course) Instructor Information Names Ms Kate Domaille; Dr Christine Fanthome Course Day and Meeting Time [Weekdays], [time] Course Location [Name] Room, 43 Harrington Gardens, SW7 4JU BU Telephone 020 7244 6255 Email Addresses [email protected]; [email protected] Office Hours By appointment Course Description In this course you will learn how British film and television has evolved from the 1960s to the present day You will undertake a series of case studies of British film and television genres and examine how the aesthetics, audience expectations and production conventions have changed over time You will develop a deep set of analytic skills for appreciating the evolution of British film and television The course provides opportunities to appreciate the specific evolution of film and television in the British context from the 1960s to the present day through the study of production conventions, representation and audiences. A close focus is placed on the development of film and television through an examination of industry movement and changing audience expectations over time. The course offers opportunities to analyse and evaluate social change through the medium of film and television. Subjects covered in individual sessions include comedy, crime, fantasy, art film and TV, youth culture, heritage drama, the ethics and logistics of filming in public spaces, documentary and social realism, and new documentary which will encompass reality TV and citizen journalism. Course Objectives On completion of the course, the successful student will show evidence of being able to: interpret film or television texts in terms of their understanding of the cultural contexts in which those works were created.
    [Show full text]
  • Adventures in Film Music Redux Composer Profiles
    Adventures in Film Music Redux - Composer Profiles ADVENTURES IN FILM MUSIC REDUX COMPOSER PROFILES A. R. RAHMAN Elizabeth: The Golden Age A.R. Rahman, in full Allah Rakha Rahman, original name A.S. Dileep Kumar, (born January 6, 1966, Madras [now Chennai], India), Indian composer whose extensive body of work for film and stage earned him the nickname “the Mozart of Madras.” Rahman continued his work for the screen, scoring films for Bollywood and, increasingly, Hollywood. He contributed a song to the soundtrack of Spike Lee’s Inside Man (2006) and co- wrote the score for Elizabeth: The Golden Age (2007). However, his true breakthrough to Western audiences came with Danny Boyle’s rags-to-riches saga Slumdog Millionaire (2008). Rahman’s score, which captured the frenzied pace of life in Mumbai’s underclass, dominated the awards circuit in 2009. He collected a British Academy of Film and Television Arts (BAFTA) Award for best music as well as a Golden Globe and an Academy Award for best score. He also won the Academy Award for best song for “Jai Ho,” a Latin-infused dance track that accompanied the film’s closing Bollywood-style dance number. Rahman’s streak continued at the Grammy Awards in 2010, where he collected the prize for best soundtrack and “Jai Ho” was again honoured as best song appearing on a soundtrack. Rahman’s later notable scores included those for the films 127 Hours (2010)—for which he received another Academy Award nomination—and the Hindi-language movies Rockstar (2011), Raanjhanaa (2013), Highway (2014), and Beyond the Clouds (2017).
    [Show full text]
  • Papers of John L. (Jack) Sweeney and Máire Macneill Sweeney LA52
    Papers of John L. (Jack) Sweeney and Máire MacNeill Sweeney LA52 Descriptive Catalogue UCD Archives School of History and Archives archives @ucd.ie www.ucd.ie/archives T + 353 1 716 7555 F + 353 1 716 1146 © 2007 University College Dublin. All rights reserved ii CONTENTS CONTEXT Biographical history iv Archival history v CONTENT AND STRUCTURE Scope and content v System of arrangement vi CONDITIONS OF ACCESS AND USE Access xiv Language xiv Finding-aid xiv DESCRIPTION CONTROL Archivist’s note xiv ALLIED MATERIALS Allied Collections in UCD Archives xiv Related collections elsewhere xiv iii Biographical History John Lincoln ‘Jack’ Sweeney was a scholar, critic, art collector, and poet. Born in Brooklyn, New York, he attended university at Georgetown and Cambridge, where he studied with I.A. Richards, and Columbia, where he studied law. In 1942 he was appointed curator of Harvard Library’s Poetry Room (established in 1931 and specialising in twentieth century poetry in English); curator of the Farnsworth Room in 1945; and Subject Specialist in English Literature in 1947. Stratis Haviaras writes in The Harvard Librarian that ‘Though five other curators preceded him, Jack Sweeney is considered the Father of the Poetry Room …’. 1 He oversaw the Poetry Room’s move to the Lamont Library, ‘establishing its philosophy and its role within the library system and the University; and he endowed it with an international reputation’.2 He also lectured in General Education and English at Harvard. He was the brother of art critic and museum director, James Johnson Sweeney (Museum of Modern Art, New York; Solomon R.
    [Show full text]
  • Elmer Bernstein Elmer Bernstein
    v7n2cov 3/13/02 3:03 PM Page c1 ORIGINAL MUSIC SOUNDTRACKS FOR MOTION PICTURES AND TV V OLUME 7, NUMBER 2 OSCARmania page 4 THE FILM SCORE HISTORY ISSUE RICHARD RODNEY BENNETT Composing with a touch of elegance MIKLMIKLÓSÓS RRÓZSAÓZSA Lust for Life in his own words DOWNBEAT DOUBLE John Q & Frailty PLUS The latest DVD and CD reviews HAPPY BIRTHDAY ELMER BERNSTEIN 50 years of film scores, 80 years of exuberance! 02> 7225274 93704 $4.95 U.S. • $5.95 Canada v7n2cov 3/13/02 3:03 PM Page c2 composers musicians record labels music publishers equipment manufacturers software manufacturers music editors music supervisors music clear- Score with ance arrangers soundtrack our readers. labels contractors scoring stages orchestrators copyists recording studios dubbing prep dubbing rescoring music prep scoring mixers Film & TV Music Series 2002 If you contribute in any way to the film music process, our four Film & TV Music Special Issues provide a unique marketing opportunity for your talent, product or service throughout the year. Film & TV Music Spring Edition: April 23, 2002 Film & TV Music Summer Edition: August 20, 2002 Space Deadline: April 5 | Materials Deadline: April 11 Space Deadline: August 1 | Materials Deadline: August 7 Film & TV Music Fall Edition: November 5, 2002 Space Deadline: October 18 | Materials Deadline: October 24 LA Judi Pulver (323) 525-2026, NY John Troyan (646) 654-5624, UK John Kania +(44-208) 694-0104 www.hollywoodreporter.com v7n02 issue 3/13/02 5:16 PM Page 1 CONTENTS FEBRUARY 2002 departments 2 Editorial The Caviar Goes to Elmer. 4News Williams Conducts Oscar, More Awards.
    [Show full text]
  • Labor Relations, 16Mm Film and Euston Films
    Scope: An Online Journal of Film and Television Studies Issue 26 February 2014 Labor Relations, 16mm Film and Euston Films Max Sexton, Birkbeck College, University of London Film as a technology has been used, adapted and implemented in particular ways within television. This article provides examples of this process along with its complexities and demonstrates how a system of regulated labor on British television during the 1970s shaped the aesthetic form that 16mm film was used to develop. The questions of how far the production process was guided by institutionalized conventions, however, is one that the article seeks to answer in its analysis of the function and form of the filmed television series produced by Euston Films, a subsidiary of Thames Television. Charles Barr (1996) has discussed the legacy of live television that seeks to develop analyses of the developing formal systems of early television. For example, the telerecordings of most of the Quatermass serials were only “television films” because they were recorded on film, but were not constructed or edited as film, although they may have used some film inserts. According to Barr, television drama may have been shot on film, but it was different from film. It was only later in the 1960s and 1970s that shooting on film meant that the studio drama was replaced by shooting on location on 16mm. Barr notes that in Britain, unlike in the US, if a growing proportion of drama was shot on film, dramas were still referred to as “plays.” Consequently, the TV plays-on-film were distinct from “films.” However, as this article demonstrates, the development of the 16mm film from the 1970s complicates some of the notions that television drama was either live or continued to be planned, shot and edited as a live play.
    [Show full text]
  • 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 .
    [Show full text]