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25 Years of Eastenders – but Who Is the Best Loved Character? Submitted By: 10 Yetis PR and Marketing Wednesday, 17 February 2010
25 years of Eastenders – but who is the best loved character? Submitted by: 10 Yetis PR and Marketing Wednesday, 17 February 2010 More than 2,300 members of the public were asked to vote for the Eastenders character they’d most like to share a takeaway with – with Alfie Moon, played by actor Shane Ritchie, topping the list of most loved characters. Janine Butcher is the most hated character from the last 25 years, with three quarters of the public admitting they disliked her. Friday marks the 25th anniversary of popular British soap Eastenders, with a half hour live special episode. To commemorate the occasion, the UK’s leading takeaway website www.Just-Eat.co.uk (http://www.just-eat.co.uk) asked 2,310 members of the public to list the character they’d most like to ‘have a takeaway with’, in the style of the age old ‘who would you invite to a dinner party’ question. When asked the multi-answer question, “Which Eastenders characters from the last 25 years would you most like to share a takeaway meal with?’, Shane Richie’s Alfie Moon, who first appeared in 2002 topped the poll with 42% of votes. The study was entirely hypothetical, and as such included characters which may no longer be alive. Wellard, primarily owned by Robbie Jackson and Gus Smith was introduced to the show in 1994, and ranked as the 5th most popular character to share a takeaway with. 1.Alfie Moon – 42% 2.Kat Slater – 36% 3.Nigel Bates – 34% 4.Grant Mitchell – 33% 5.Wellard the Dog – 30% 6.Peggy Mitchell – 29% 7.Arthur Fowler – 26% 8.Dot Cotton – 25% 9.Ethyl Skinner – 22% 10.Pat Butcher – 20% The poll also asked respondents to list the characters they loved to hate, with Janine Butcher, who has been portrayed by Rebecca Michael, Alexia Demetriou and most recently Charlie Brooks topping the list of the soaps most hated, with nearly three quarters of the public saying listing her as their least favourite character. -
Angus Mackay Diaries Volume IX (1989 - 1990)
Angus Mackay Diaries Volume IX (1989 - 1990) ANGUS MACKAY DIARY NO. 90 April 17 1989 - June 18 1989. Monday April 1989 Oh dear, the sentimentality and muddle-headedness over the football disaster! Because it is sacred football. How grateful I am that I know nothing and care less about it, any more than motoring! I shall wait, I expect patiently, for both activities to fall apart from the inside, and perhaps, become rational. But oh, how I bleed for those poor dead young people. Tuesday April 18 1989 Now Liverpool Council are offering complete financial support for all the families of the dead, funeral expenses, everything. I wonder if the same would have been if ninety-five people had been suffocated on the stairs after a semi-gala at Liverpool Playhouse. Odd peoples’ love of crowds. I think I must have as little of the herd instinct as anyone. Last night I thought I might go to see A. Hopkins in M. Buller fly which is previewing. When I got there, the foyer was so full at 7.30 for 8.0, that I didn’t even enquire whether there was a ticket, - I turned away and came back home. Another aspect of the whole thing, is the lower middle class male being very very reluctantly dragged into reality. I hope he’s not too upset about it to work. Later. It seemed like next day! Out at 2.15 to buy some summer pyjamas, 3 prs. £41 M and S, Oxford St. Then to buy coffee beans, Gourmet Noir. -
In Spite of History? New Leftism in Britain 1956 - 1979
In Spite of History? New Leftism in Britain 1956 - 1979 Thomas Marriott Dowling Thesis Presented for the Degree of PhD Department of History University of Sheffield August 2015 ii iii Contents Title page p. i Contents p. iii Abstract p. vi Introduction p. 1 On the Trail of the New Left p. 5 Rethinking New Leftism p. 12 Methodology and Structure p. 18 Chapter One Left Over? The Lost World of British New Leftism p. 24 ‘A Mood rather than a Movement’ p. 30 A Permanent Aspiration p. 33 The Antinomies of British New Leftism p. 36 Between Aspiration and Actuality p. 39 The Aetiology of British New Leftism p. 41 Being Communist p. 44 Reasoning Rebellion p. 51 Universities and Left Review p. 55 Forging a Movement p. 58 CND p. 63 Conclusion p. 67 iv Chapter Two Sound and Fury? New Leftism and the British ‘Cultural Revolt’ of the 1950s p. 69 British New Leftism’s ‘Moment of Culture’? p. 76 Principles behind New Leftism’s Cultural Turn p. 78 A British Cultural Revolt? p. 87 A New Left Culture? p. 91 Signifying Nothing? p. 96 Conclusion p. 99 Chapter Three Laureate of New Leftism? Dennis Potter’s ‘Sense of Vocation’ p. 102 A New Left ‘Mood’ p. 108 The Glittering Coffin p. 113 A New Left Politician p. 116 The Uses of Television p. 119 History and Sovereignty p. 127 Common Culture and ‘Occupying Powers’ p. 129 Conclusion p. 133 Chapter Four Imagined Revolutionaries? The Politics and Postures of 1968 p. 135 A Break in the New Left? p. -
NEWB AUTUMN 6 7 PREFLIGHT.Indd
AUGUST-DECEMBER ‘12 0845 5218 218 VISUAL ARTS | COMEDY | FILM | DANCE | MUSIC THEATRE | FILM DANCE | COMEDY ARTS VISUAL www.cornexchangenew.com Corn Exchange (Newbury) Trust is a registered charity 1080567 NEWB AUTUMN 6_7_PREFLIGHT.indd 1 06/07/2012 17:09 WELCOME... This Autumn we have one of the busiest and most inspiring seasons ever at the Corn Exchange. I’m delighted to present some truly exceptional dance, with three of the UK’s leading companies visiting Newbury: Vincent Dance Theatre with the premiere of Motherland, award-winning Lost Dog in It Needs Horses, and a return visit from Ballet Black. We’ll also be launching our brand new folk music programme at New Greenham Arts, with gigs from some of the best new folk musicians around. Plus our outdoor events grow bigger and better with annual favourites Halloween Hullabaloo and the magical Winter Festival of Light lantern procession returning. With more than ever taking place on stage, we’re also encouraging people to spend more time using and enjoying our buildings. Over the coming months we’ve got more opportunities for you to join in and Get Involved with what we do, in particular the launch of our Arts and Culture Club including special off ers so you can come and see more performances and also have the chance to share your thoughts on the shows and fi lms you’ve seen. So, with entertainment legends like Harry Hill, Beverley Craven, Chris Packham and The Drifters as well as Vagina Monologues and more soap stars than seems possible arriving in Newbury for Soap Opera, there’s absolutely no reason to stay in, as this season is a chance to see the very best on your own doorstep! And don’t forget to book your tickets for our action-packed family pantomime Cinderella. -
Thesis Final Draft.Pages
CORE Metadata, citation and similar papers at core.ac.uk Provided by Glasgow Theses Service Bell, Stuart (2016) "Don't Stop": Re-Thinking the Function of Endings in Narrative Television. PhD thesis http://theses.gla.ac.uk/7282/ 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] “Don’t Stop…” Re-thinking the Function of Endings in Narrative Television Stuart Bell (MA, MLitt) Submitted in fulfilment for the requirements for the degree of Doctor Of Philosophy School of Culture and Creative Arts College of Arts University of Glasgow November 2015 (c) Stuart Bell, November 2015 !1 Abstract “Don’t Stop…” Re-thinking the Function of Endings in Television This thesis argues that the study of narrative television has been limited by an adherence to accepted and commonplace conceptions of endings as derived from literary theory, particularly a preoccupation with the terminus of the text as the ultimate site of cohesion, structure, and meaning. Such common conceptions of endings, this thesis argues, are largely incompatible with the realities of television’s production and reception, and as a result the study of endings in television needs to be re-thought to pay attention to the specificities of the medium. -
The Cultural Value of Shakespeare in Twenty-First-Century Publicly-Funded Theatre in England
THE CULTURAL VALUE OF SHAKESPEARE IN TWENTY-FIRST-CENTURY PUBLICLY-FUNDED THEATRE IN ENGLAND by EMILY CAROLINE LOUISE LINNEMANN A thesis submitted to The University of Birmingham for the degree of DOCTOR OF PHILOSOPHY The Shakespeare Institute College of Arts and Law The University of Birmingham September 2010 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT This thesis argues that in the plural cultural context of the twenty-first century the value of Shakespeare resides in his identity as a free and flexible resource. This adaptable Shakespeare is valuable to theatres because they are dialectical spaces. Free-resource Shakespeare is able to contain a range of different cultural values and theatres provide a space for producers and consumers of culture to negotiate between them. It has been established that tensions of cultural value, for example innovation/tradition or commercial/non-commercial govern the production, dissemination and critique of culture. Building on this idea, this work shows that when tensions are dealt with as negotiations rather than confrontations, new cultural value is generated. It identifies Shakespeare as a site for the debate of value tensions and contends that he can be simultaneously commercial and non-commercial, traditional and innovative. -
Henderson, Lesley M. (2002) Social Issue Story Lines in British Soap Opera
Henderson, Lesley M. (2002) Social issue story lines in British soap opera. PhD thesis http://theses.gla.ac.uk/6541/ 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] SOCIAL ISSUE STORY LINES IN BRITISH SOAP OPERA Lesley M. Henderson A thesis submitted for the degree of Doctor of Philosophy . University of Glasgow Department of Sociology & Anthropology May 2002 2 Abstract This thesis examines the factors which influenced how social issue story lines were developed in the areas of sexual violence, breast cancer and mental distress in British soap opera in the mid to late 1990's. The soap opera production process was examined by conducting interviews with members of production teams from different programmes. This core study was contextualised by additional interviews with production personnel working in other areas of television (e.g. documentary). Spokespeople from different organisations who consulted on story lines or lobbied around different issues were also interviewed. In total, 64 interviews were conducted. The influence of soap story lines on public understandings of an issue was explored in an audience reception study of sexual violence in Brookside (12 focus groups). -
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. -
Elsa Chan 003258-014 1
Elsa Chan 003258-014 Rationale Far from being “dumbed down” and melodramatic, soap operas engage with the most serious issues of our society. My documentary seeks to explore how the parameters or conventions of soap operas enable the writers to explore social themes which engage the primarily female viewer. I will also investigate the possibility that soap operas provoke intellectual debate way beyond the negative stereotypical interpretations of the genre in South Korean soaps like “Jewel in the Palace” and “Thank You” and British soaps “Eastenders” and “Coronation Street”. 1 Elsa Chan 003258-014 Visual Audio Fade in [INT] Woman: [reading out loud] “Adults [medium shot] profile of a are decreasingly distinguishable woman sitting in a chair, from children in their absorption reading a newspaper. in entertainments...” [close up on newspaper] you can see the Washington Post “Reading the newspaper, I suddenly newspaper logo. realized that there are so many [mid shot of the woman as she negative portrayals of soap operas looks up to address the that we women love to watch. camera] Actually, I’ve already made a mistake in generalizing by saying [Close up shot] of the man that women are the viewers, or and his name appears on the have I?” bottom of the screen as “host: Elsa Chan”. As the [The Eastenders theme starts narrator (Elsa) talks, the playing and is suddenly stopped camera zooms out and she with a ‘zip’ sound and the starts walking towards a satirical “2DTV” version of kitchen where a woman wearing Eastenders theme plays. It has the an apron is chopping onions same melody, but there are voices and watching TV. -
Available As a Free
23047 Petchey Cover 2013:Cover 16/07/2013 11:45 Page 1 50/50MAN I stood on the clifftop and thought to myself “One day thousands of tourists will wake up to this view” The Jack Petchey Story 50/50MAN The Jack Petchey Story Printed by Elle Media Group 2013. Distributed by The Jack Petchey Foundation© www.jackpetcheyfoundation.org.uk by Jack Petchey with Andy Staines (978-0-9576816-0-6) £12.99 23047 Petchey Book 2013:TEXT 26/06/2013 09:06 Page 1 Published by Jack Petchey Foundation Exchange House 13-14 Clements Court Clements Lane Ilford Essex IG1 2QY Tel: 020 8252 8000 www.jackpetcheyfoundation.org.uk All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording or any infomation storage and retrieval system, without prior permission in writing from the publishers. First published in Great Britain 2006. Hardback ISBN (978-0-9576816-0-6). Printed and bound in Great Britain by Elle Media Group Seax Way Southfields Industrial Park Basildon, Essex SS15 6SW Tel: 01268 413611 Fax: 01268 541637 www.ellemediagroup.co.uk 23047 Petchey Book 2013:TEXT 26/06/2013 09:06 Page 2 23047 Petchey Book 2013:TEXT 26/06/2013 09:06 Page 3 50/50MAN The Jack Petchey Story by Jack Petchey with Andy Staines 23047 Petchey Book 2013:TEXT 26/06/2013 09:06 Page 4 23047 Petchey Book 2013:TEXT 26/06/2013 09:06 Page 5 ~ Acknowledgements ~ I have written this book for my family - my grandchildren, and perhaps even their grandchildren, should they be interested in their roots. -
By William Shakespeare
BLACK THEATRE LIVE - EDUCATION RESOURCE PACK Black Theatre Live in association with Watford Palace Theatre & Stratford Circus Arts Centre presents the UK’s first all-Black HAMLET by William Shakespeare NATIONAL TOUR 2016 www.blacktheatrlive.co.uk BLACK THEATRE LIVE - EDUCATION RESOURCE PACK CONTENTS Shakespeare’s Hamlet and the National Curriculum About Black Theatre Live About Watford Palace Theatre & Stratford Circus Arts Centre About the production Classroom activities Background - Shakespeare’s Hamlet Classroom activities Hamlet in different cultures Classroom activities Shakespeare’s life and works Online activity direct a scene Interview with the director, Jeffrey Kissoon Speaking Shakespeare’s verse Classroom activities Creative team & Cast biographies Classroom activities Designing for Hamlet & making a mood board Classroom activities Would you like to have been an actor in Shakespeare’s day? Classroom activities You can be a Theatre Critic, writing about performance Classroom activities Join our networks & follow the national tour – Hamlet 2016 dates & venues Further Resources & Research Feedback form Produced using a Creative Commons (CC) copyright license. To enable free distribution of this otherwise copyrighted work. Tara Arts for Black Theatre Live Artistic Director Jatinder Verma Executive Director Jonathan Kennedy Associate Director Claudia Mayer General Manager Alexandra Wyatt Marketing Manager Emma Martin Technical & Operations Manager Tom Kingdom Finance Officer Xiao Hong (Sharon) Zhang Tara Arts, 356 Garratt Lane, -
Saturday & Sunday August
AMERICAN EXPRESS® TM ABBEY ROAD STUDIOS 80TH ANNIVERSARY CONCERTS SATURDAY & SUNDAY AUGUST ATCHISWICKHOUSE & GARDENS ABBEY ROAD STUDIOS 80th Anniversary 1931 – 2011 WELCOME www.abbeyroad.com Abbey Road Studios is the most famous recording studio complex recordings working with Sir Edward Elgar, Sir Yehudi Menuhin, Welcome to the American Express Symphony at the Park Concerts, celebrating in the world and is an iconic symbol of British music. The studios Sir Thomas Beecham, Herbert Von Karajan, Sir John Barbirolli. have been home to countless landmark recordings and pioneering Maria Callas and Placido Domingo to name a few. Abbey Road Studios 80th Anniversary at Chiswick House and Gardens. This is a unique advances in recording technology. Opened in November 1931, the studios celebrate their 80th anniversary this year. The studios are also one of the world’s premiere locations for film collaboration between the nation’s favourite orchestra, the Royal Philharmonic Orchestra, scoring. Since the 1980s films such as Raiders of the Lost Ark and and the world’s most famous recording studios to celebrate the countless landmark Abbey Road Studios excel in recording, mixing, editing, mastering The Empire Strikes Back with John Williams, The Lord of The Rings and audio restoration. With award-winning engineers, wonderful Trilogy with Howard Shore, Braveheart with James Horner, Cold recordings and advances in recording technology pioneered by Abbey Road Studios. acoustic rooms, arguably one of the greatest working microphone Mountain with Gabriel Yared and The King’s Speech with Alexandre collections in the world and a highly sought after mix of unique Desplat have been recorded at Abbey Road Studios.