Sherlock Series 2-Dvd Bbcdvd

Total Page:16

File Type:pdf, Size:1020Kb

Sherlock Series 2-Dvd Bbcdvd BBCDVD3494 Sherlock Holmes and John Watson return in three of their most exciting adventures: A Scandal in Belgravia, The Hounds of Baskerville, and The Reichenbach Fall. Becoming embroiled in the complex plans of the dangerous and desirable Ire ne Adler, Sherlock needs every one of his remarkable skills to survive and an invitation to the wilds of Dartmoor brings our terrified heroes face to face with BENEDICT CUMBERBATCH MARTIN FREEMAN the supernatural. Meanwhile, Moriarty, still out there in the shadows, is determined to bring Sherlock down – whatever the cost. SERIES TWO COMPLETE Co-created by Mark Gatiss & Steven Moffat. Based on the stories by Sir Arthur Conan Doyle. Written by Mark Gatiss, Steven Moffat and Steve Thompson Produced by Sue Vertue & Elaine Cameron. Executive Producers: Sue Vertue, Beryl Vertue, Steven Moffat, Mark Gatiss, Bethan Jones, Rebecca Eaton Directed by Paul McGuigan & Toby Haynes EXTRAS SHERLOCK UNCOVERED • AUDIO COMMENTARIES ASPECT RATIO MAIN SOUNDTRACK FEATURE LENGTH REGION SUBTITLES 16:9 Anamorphic English Dolby Digital 5.1 266 mins approx 2 & 4 Colour PAL UK English for the Hard of Hearing © 2011 Hartswood Films Ltd A Hartswood Films production for BBC Wales Co-produced with Masterpiece. Distributed under licence by 2 entertain Video Ltd. Packaging design © 2012 2 entertain Video Ltd. BBC and the BBC logos are trademarks of the British Broadcasting Corporation and are used under licence. BBC logo © BBC 1996. All Rights Reserved. MCPS Cover design by Steve Brown 2 DISCS WARNING: These DVDs, including soundtrack, are protected by copyright. All rights reserved. Unauthorised copying, hiring, lending, public performance, radio or TV broadcasting of these DVDs is prohibited. Your attention is drawn to the copyright warning at the beginning of the programme. Dual Layer Format. Dolby and the double-D symbol are trademarks of Dolby Laboratories. “Television has never been any better” These DVDs are copy protected Caitlin Moran (The Times) 5 051561 034947.
Recommended publications
  • Telling the True Story
    Bachelor Thesis Telling The True Story Queerbaiting, representation, and fan resistance in the BBC Sherlock fandom Suzanne Frenk 613191 Algemene Cultuurwetenschappen (Culture Studies) School of Humanities Tilburg University Supervisor: Dr. P. K. Varis Second Reader: Dr. I. E. L. Maly August 18, 2017 Synopsis In this thesis, I follow an online community on Tumblr revolving around a self- proclaimed conspiracy theory called TJLC. This group is part of the broader community of fans of the BBC TV show Sherlock, and is focused on ‘The Johnlock Conspiracy’: the belief that the two main characters of the show, John and Sherlock, are bisexual and gay, respectively, and will ultimately end up as a romantic couple, which would make Sherlock a mainstream TV show with explicit and positive LGBTQIA+ representation. This visibility is especially important to LGBTQIA+ individuals within the TJLC community, who want to see their identities more often and more accurately represented on television. The fact that the creators of Sherlock, as well as several of the actors in the show, are either part of the LGBTQIA+ community themselves or known supporters, works to further strengthen TJLC’ers’ trust in the inevitable unfolding of the story into a romantic plot. The fact that the TJLC community is based on a conspiracy theory not only makes it a remarkable example of fan culture, but has also led to many close readings of the show and its characters – from the textual level to symbolism to the musical score – on a level that can often be seen as close to academic. These pieces of so-called ‘meta’ have led to many predictions about the direction of the show, such as the strong belief that ‘Johnlock’ would become real in season four of the series.
    [Show full text]
  • Independent Television Producers in England
    Negotiating Dependence: Independent Television Producers in England Karl Rawstrone 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 and Creative Industries, University of the West of England, Bristol November 2020 77,900 words. Abstract The thesis analyses the independent television production sector focusing on the role of the producer. At its centre are four in-depth case studies which investigate the practices and contexts of the independent television producer in four different production cultures. The sample consists of a small self-owned company, a medium- sized family-owned company, a broadcaster-owned company and an independent- corporate partnership. The thesis contextualises these case studies through a history of four critical conjunctures in which the concept of ‘independence’ was debated and shifted in meaning, allowing the term to be operationalised to different ends. It gives particular attention to the birth of Channel 4 in 1982 and the subsequent rapid growth of an independent ‘sector’. Throughout, the thesis explores the tensions between the political, economic and social aims of independent television production and how these impact on the role of the producer. The thesis employs an empirical methodology to investigate the independent television producer’s role. It uses qualitative data, principally original interviews with both employers and employees in the four companies, to provide a nuanced and detailed analysis of the complexities of the producer’s role. Rather than independence, the thesis uses network analysis to argue that a television producer’s role is characterised by sets of negotiated dependencies, through which professional agency is exercised and professional identity constructed and performed.
    [Show full text]
  • Volume 17, No 1, 2016
    Volume 17, No 1, 2016 Contents Page Drama without Drama: The Late Rise of Scripted TV Formats 3 Scenes0B from an Imaginary Country: Test Images and the American Color 21 Television Standard Record/Film/Book/Interactive1B TV: EVR as a Threshold Format 44 Restarting2B Static: Television’s Digital Reboot 62 Regulating3B the Desire Machine: Custer’s Revenge and 8-Bit Atari Porn Video 80 Games TVNXXX10.1177/1527476414561089Television & New MediaChalaby 561089research-article2015 Article Television & New Media 1 –18 Drama without Drama: © The Author(s) 2015 Reprints and permissions: The Late Rise of Scripted sagepub.com/journalsPermissions.nav DOI: 10.1177/1527476414561089 TV Formats tvnm.sagepub.com Jean K. Chalaby1 Abstract This article revisits the history of television (TV) formats—concepts of TV shows that are licensed for local adaptations—focusing on scripted entertainment. While the TV format revolution of the 1990s bypassed scripted formats, they have been catching up in recent years. This article analyzes both the reasons for this late rise and the factors behind the recent growth. It argues that the adaptation of scripted formats is more complex, and risks remain higher than for other genres. The underlying economics of their production and distribution also differ from nonscripted formats. The stars aligned when demand for drama increased worldwide, Hollywood studios began to mine their catalogues, new exporters and scripted genres emerged, and knowledge transfer techniques improved. Finally, this paper analyzes the significance of the rise of scripted entertainment in the global TV format trading system. Keywords global television, Hollywood, scripted entertainment, transnational television, TV formats, TV genres Introduction The history of television (TV) formats—concepts of TV shows that are licensed for local adaptations—is now well documented.
    [Show full text]
  • View the Awards Programme
    #wggbawards THE WRITERS’ GUILD AWARDS PROGRAMME THE ROYAL COLLEGE OF PHYSICIANS 11 St Andrews Place, Regent’s Park, London NW1 4LE MONDAY 15 JANUARY 2018 The Writers’ Guild of Great Britain is a trade union registered at 134 Tooley Street, London SE1 2TU @TheWritersGuild www.writersguild.org.uk PRESIDENT’S WELCOME THE WRITERS’ GUILD AWARDS Welcome to the Writers’ Guild Awards 2018. Photo: Robert Taylor Photography Isn’t it great to be in a roomful of achievement to be on the shortlist, let alone your peers? To a man and woman, to win. Congratulations to you and thanks to professional liars. And in a post-truth all our juries who have laboured mightily to world, is it any surprise that we are pick the best of the best. in a golden age of writing? The more Making this evening possible is a group of life outside is disappointing, the more spectacular organisations and companies who beautiful and necessary the cabaret work with writers year round but have given becomes. This year we have games that us their support tonight to honour you, the model mental illness, radio plays that give writers. Huge thanks to our lead sponsor LEAD SPONSOR voice to the voiceless, television shows ALCS, to major sponsors ITV, BBC Drama and that examine painfully buried secrets BBC Worldwide, to Company Pictures, Silver and offer surprising new visions of the Reel, Nick Hern Books and Lionsgate. If you past. We have a revived Best First Novel meet a sponsor tonight please praise them, Award and an entirely new category, Best love them – in a non-threatening, appropriate Online Comedy, a welcome recognition manner – appreciate them as best you can.
    [Show full text]
  • Sherlock to Premiere on MASTERPIECE on PBS on January 19, 2014 Benedict Cumberbatch and Martin Freeman Return in Highly Anticipated Season 3
    The Game is On! Sherlock to Premiere on MASTERPIECE ON PBS on January 19, 2014 Benedict Cumberbatch and Martin Freeman Return in Highly Anticipated Season 3 Boston, MA, October 23, 2013—A date has been set for the return of one of television’s most eagerly anticipated shows: Sherlock Season 3 will premiere on MASTERPIECE on PBS on Sunday, January 19, 2014 at 10pm, following the 9pm broadcast of Downton Abbey. Benedict Cumberbatch (The Fifth Estate, Star Trek Into Darkness) and Martin Freeman (The Hobbit, The Office UK) return as Sherlock Holmes and John Watson in three new 90-minute episodes of the contemporary reinvention of the Sir Arthur Conan Doyle classic, created by Steven Moffat (Doctor Who) and Mark Gatiss. “The genius Sherlock team has done it again,” says MASTERPIECE executive producer Rebecca Eaton. “These new episodes are as wildly-imaginative and brilliantly-produced as all the others. These people are GOOD!” Nearly 11 million viewers tuned into the second season of Sherlock, which ended with one of the most shocking cliffhangers in television history. Fans flocked to the internet to speculate about Sherlock’s “demise,” and express their eagerness to find out what happens next. “We love that Sherlock fans are so passionate and eager to see Season 3,” says PBS Chief Programming Executive and General Manager of General Audience Programming Beth Hoppe. “The pairing of Downton Abbey and Sherlock in January offers a blockbuster night of British drama only on PBS stations.” "We are hugely excited about this next series of Sherlock, and have worked closely with our partners, MASTERPIECE and PBS, to bring these episodes to U.S.
    [Show full text]
  • ©2013 Tal Zalmanovich ALL RIGHTS RESERVED
    ©2013 Tal Zalmanovich ALL RIGHTS RESERVED SHARING A LAUGH: SITCOMS AND THE PRODUCTION OF POST-IMPERIAL BRITAIN, 1945-1980 by TAL ZALMANOVICH A dissertation submitted to the Graduate School-New Brunswick Rutgers, The State University of New Jersey In partial fulfillment of the requirements For the degree of Doctor of Philosophy Graduate Program in History Written under the direction of Prof. Bonnie Smith And Approved by ---------------------------------------- ---------------------------------------- ---------------------------------------- ---------------------------------------- New Brunswick, New Jersey May, 2013 ABSTRACT OF THE DISSERTATION Sharing a Laugh: Sitcoms and the Production of Post-Imperial Britain, 1945-1980 By Tal Zalmanovich Dissertation Director: Bonnie Smith Sharing a Laugh examines the social and cultural roles of television situation comedy in Britain between 1945 and 1980. It argues that an exploration of sitcoms reveals the mindset of postwar Britons and highlights how television developed both as an industry and as a public institution. This research demonstrates how Britain metamorphosed in this period from a welfare state with an implicit promise to establish a meritocratic and expert-based society, into a multiracial, consumer society ruled by the market. It illustrates how this turnabout of British society was formulated, debated, and shaped in British sitcoms. This dissertation argues that both democratization (resulting from the expansion of the franchise after World War I) and decolonization in the post-World War II era, established culture as a prominent political space in which interaction and interconnection between state and society took place. Therefore, this work focuses on culture and on previously less noticed parties to the negotiation over power in society such as, media institutions, media practitioners, and their audiences.
    [Show full text]
  • American Primacy and the Global Media
    City Research Online City, University of London Institutional Repository Citation: Chalaby, J. (2016). Drama without drama: The late rise of scripted TV formats. Television & New Media, 17(1), pp. 3-20. doi: 10.1177/1527476414561089 This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/5818/ Link to published version: http://dx.doi.org/10.1177/1527476414561089 Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] Drama without drama: The late rise of scripted TV formats Author’s name and address: Professor Jean K. Chalaby Department of Sociology City University London London EC1V 0HB Tel: 020 7040 0151 Fax: 020 7040 8558 Email: [email protected] Author biography: Jean K. Chalaby is Professor of International Communication and Head of Sociology at City University London. He is the author of The Invention of Journalism (1998), The de Gaulle Presidency and the Media (2002) and Transnational Television in Europe: Reconfiguring Global Communications Networks (2009).
    [Show full text]
  • Sarah Davies 1St Assistant Director
    Sarah Davies 1st Assistant Director Credits include: HIS DARK MATERIALS Director: Harry Wootliff Fantasy Adventure Drama Series Series Producer: Nick Pitt Featuring: Dafne Keen, Amir Wilson, Adewale Akinnuoye-Agbaje Production Co: Bad Wolf / HBO / BBC One THE RISING Director: Ed Lilly Supernatural Crime Drama Series Producer: Julian Stevens Featuring: Clara Rugaard, Matthew McNulty, Daniel Ings Production Co: SKY Studios / NOW TV / Sky One WAR OF THE WORLDS Director: Richard Clark Mystery Sci-Fi Drama Series Producer: Adam Knopf Featuring: Gabriel Byrne, Elizabeth McGovern, Daisy Edgar-Jones Production Co: Urban Myth Films / Canal+ / FX INTERGALACTIC Director: Rebecca Johnson Sci-Fi Thriller Drama Series Producer: Bryony Arnold Featuring: Eleanor Tomlinson, Parminder Nagra, Savannah Steyn Production Co: Tiger Aspect / Moonage Pictures / Sky One LITTLE BIRDS Director: Stacie Passon 1950’s Drama Producer: Ruth McCance Featuring: Juno Temple, Amy Landecker, David Costabile Production Co: Warp Films / Sky Atlantic THE ABC MURDERS Director: Alex Gabassi 1930’s Mystery Crime Thriller Producer: Farah Abushwesha Agatha Christie adaptation Featuring: John Malkovich, Rupert Grint, Shirley Henderson Production Co: Mammoth Screen / ACP / Amazon / BBC One DOCTOR WHO Production Co: BBC One Sci-Fi Adventure Drama Producer: Nikki Wilson THE WOMAN WHO FELL TO EARTH, DEMONS OF THE PUNJAB Director: Jamie Childs Featuring: Jodie Whittaker, Bradley Walsh, Mandip Gill WORLD ENOUGH AND TIME Director: Rachel Talalay Featuring: Peter Capaldi, Matt Lucas, Michelle
    [Show full text]
  • Best Practices for Cataloging DVD and Blu-Ray Discs Using
    Best Practices for Cataloging DVD-Video and Blu-ray Discs Using RDA and MARC21 Version 1.1 November 2017 Prepared by the Online Audiovisual Catalogers Inc. Best Practices for Cataloging DVD/Blu-ray – Version 1.1 (November 2017) Cataloging Policy Committee DVD/Blu-ray RDA Cataloging Task Force Acknowledgements DVD/Blu-ray RDA Cataloging Guide Task Force Members: William Anderson (2012-13) Connecticut State Library Lloyd Chittenden (2012-15) Fort Lewis College Cyrus Ford (2012-13) University of Nevada, Las Vegas Mary Huismann (2013-15, chair) University of Minnesota Douglas King (2012-13) University of South Carolina John Lavalie (2012-13) Des Plaines Public Library Peter Lisius (2012-13) Kent State University Nancy Lorimer (2012-13) Stanford University, Music Library Julie Renee Moore (2012-15) California State University, Fresno Lori Murphy (2012-13) DePaul University Laurie Neuerburg (2014-15) Victoria College/University of Houston-Victoria Anchalee “Joy” Panigabutra-Roberts (2012-14) American University at Cairo Scott Piepenburg (2012-13) University of Wisconsin-Stevens Point Diane Robson (2012-13, chair) University of North Texas Walter Walker (2012-15) Loyola Marymount University Iris Wolley (2012-15) Columbia University Advisors: Greta de Groat Stanford University Kelley McGrath University of Oregon Jay Weitz OCLC Online Computer Library Center Editors: Marcia Barrett University of California, Santa Cruz Julie Renee Moore California State University, Fresno The Task Force wishes to acknowledge the thoughtful comments from the numerous people in the cataloging community who took the time and effort to respond during the creation of this document. This update is built upon the work of the 2008 DVD Cataloging Guide Update Task Force members.
    [Show full text]
  • Mark Gatiss and Steven Moffat's Great Game of Fandom: Investigating The
    Mark Gatiss and Steven Moffat’s Great Game of Fandom: Investigating the Creator-Text-Fan Relationship of BBC’s A Thesis Presented to the Department of Communication and Arts at Roskilde University In Partial Fulfilment of Requirements for the Degree of Master of Arts English & Communication Presented by Marie Sophie Kindler [email protected] / [email protected] Studienr.: 58727 Under the Supervision of Ebbe Klitgård Submitted on 28th of June 2017 Abstract This thesis is investigating the reciprocal relationship between author, text and fan. Approaching the modern realisation of Sir Arthur Conan Doyle’s original Sherlock Holmes phenomenon, this thesis focusses on BBC’s television series Sherlock. Written by Steven Moffat and Mark Gatiss, the show is critically acclaimed for its accomplishment to update the Victorian stories without losing its loyalty to the source text. Because of its production approach, the series is particularly interesting for participatory audiences, which is why it gathered an enormous fanbase. Additionally to their intertextual adaptation approach (that references previous interpretations as much as the canon itself), Gatiss and Moffat’s self- declared “fanboyness” attracts fans who celebrate the co-writers for their fannish motivation. However, the ambiguity of Gatiss and Moffat’s fan-producer behaviour has considerably blurred the lines between official production and fandom. Therefore, discursive-struggles between the fans and the co-writers testify the important role of authors for fan audiences. While the fans acknowledge Gatiss and Moffat’s creative power, they contest the ways in which it is wielded. This becomes apparent by looking at the queerbaiting controversy that unleashed in January 2017, shortly after Sherlock’s final episode.
    [Show full text]
  • Montana Kaimin, November 18, 1975 Associated Students of the University of Montana
    University of Montana ScholarWorks at University of Montana Associated Students of the University of Montana Montana Kaimin, 1898-present (ASUM) 11-18-1975 Montana Kaimin, November 18, 1975 Associated Students of the University of Montana Let us know how access to this document benefits ouy . Follow this and additional works at: https://scholarworks.umt.edu/studentnewspaper Recommended Citation Associated Students of the University of Montana, "Montana Kaimin, November 18, 1975" (1975). Montana Kaimin, 1898-present. 6433. https://scholarworks.umt.edu/studentnewspaper/6433 This Newspaper is brought to you for free and open access by the Associated Students of the University of Montana (ASUM) at ScholarWorks at University of Montana. It has been accepted for inclusion in Montana Kaimin, 1898-present by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. / | m ontana Kaim in __ UNIVERSITY OF MONTANA • STUDENT NEWSPAPER. Tuesday, Nov. 18, 1975 Missoula, Mont. Voi. 78, No. 27 Man, nature colliding, wildlife poet warns Pulitzer Prize-winning poet Gary nature, he said, and eventually Snyder said yesterday that man is on nature will win. a collision course with nature unless Understanding the land ethic is an he can change his “land ethic." important step in understanding Snyder, guest speaker for the nature, Snyder said. three-day Wilderness Institute People must find a method of talk­ ing to each other about nature and Conference in Missoula, said “ Land wild lands "in terms everyone can ethic is simply good manners toward understand,” he said. the land.” The key term would be economics, “We must remem berths land is not he said, because most people will only our mother but supports us,” he recognize "the dollars and cents said In a taped interview.
    [Show full text]
  • The Mystery of the Shrieking Woman by Tristan Brittain-Dissont When I
    The M ystery of The Shrieking Woman By Tristan Brittain - Dissont When I first started my research for t his brief article, I gave it a working t itle that reminded me of a Sherlock Holmes story. To my amazement, this proved to be an incredible prescient name. I first started listening to Hancock’s Half Hour in the early 1980s. As such, the range of shows available to me was rather limited, and tended to focus o n later shows from S eries 4 onwards. Consequently, on repeated listening, I slowly memorized not just each line from the programmes but also the audience reactions. One aspect of this always stood out to me. I n many of the shows from Series 4, there was a woman who se high - pitched laughter often pierced many of the performances, to the extent that Ton y commented upon it. There are num erous examples of this. Time has prevented me from cataloguing the entire list, but you can find evidence of this in ‘The Thirteenth of the Series’. Shortly after the credits , you can detect this laughter in the background once Tony has finished saying ‘H - H - H - Hancock’s Half Hour’. A little later, after about 5 minutes, when Bill says he is paying his instalments on the instalments plan, it is heard again. And again, at around 6 minutes 30 seconds, when Bill says that Arthur Askey (the ‘Little People’) has discovered Tony has been pinching his gags, the laughter is heard once more. Years on, listening to these shows again in my new role as Archivist, I began to wonder about the identity of this hysterical laugher.
    [Show full text]