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A Review of New Historical Drama from the BBC
Eras Edition 9, November 2007 – http://www.arts.monash.edu.au/eras ‘Time-warp Television’ – A review of new historical drama from the BBC: Life on Mars, created by Mathew Graham, Tony Jordan and Ashley Pharoah, BBC, 2006. Robin Hood, created by Foz Allan and Dominic Minghella, BBC, 2006. Torchwood, created by Russell T. Davies, BBC, 2006. Robin Hood in an anorak and touting an anti-war message? Costume drama in the gritty back streets of 1970s Manchester? Clearly this is not your father’s BBC. While there is still plenty of Austen and Dickens for the purist, the BBC, long the home of waistcoats, mutton chops and empire waists, has breathed some new life into the historical drama with two series that seem to engage as much with the way we respond to history as to the historical setting itself. A cult and critical hit, Life on Mars, follows Manchester Police Detective Sam Tyler (played by John Simm) who is ‘transported’ back to 1973 after being hit by a car. Used to being a Detective Chief Inspector with expensive digs, a well-cut suit, and police-work governed by political correctness and computers, Sam finds himself demoted, dressed in a leather jacket, living in a dingy room with a Murphy-bed, and working with DCI Gene Hunt. Hunt, played with joyful relish by Philip Glenister, is the very antithesis of modern policing. He is unabashedly racist, sexist, homophobic and not above bashing the uncooperative suspect mid-interview. All guts and reaction, he is the ying to Sam’s yang, as it becomes clear that DI Tyler has lost the ability to trust his instincts. -
A2A 3 Ep 8 Shooting Script
1 EXT. PLAYING FIELDS - DAY 0 1 Municipal parkland. * STEWART HALL (V.O.) It was Will Shakespeare who wrote; “We must take the current when it serves or lose our ventures.” You join us here at Fenchurch East Recreation Grounds. The current serves. The venture can not be lost. And - IT’S - A - KNOCKOUT!! Iconic Theme Tune kicks in - A giant FOAM-HEADED ALEX DRAKE sets off across the obstacle course, weaving left and right. STEWART HALL commentates between bouts of laughter. A whistle blows. STEWART HALL (V.O.) (CONT’D) And Alex is off! Hither and yon! Camera WHIP PANS to the other end of the field where MOLLY waits in her school uniform, hollering her support. MOLLY Come on mum! You can do it! Back to FOAM-HEAD ALEX who reaches a huge mountain of paper. STEWART HALL (V.O.) Through the paperwork ... And she’s found something! It’s the numbers 6 - 6 - 20 ... A second whistle blows. STEWART HALL (V.O.) (CONT’D) And that’s the cue for DCI Gene Hunt to go after her! A FOAM-HEAD GENE sets off in wobbly pursuit, closing the gap fast. FOAM-HEAD ALEX stumbles. STEWART HALL (V.O.) (CONT’D) He’s gaining! Gene Hunt is gaining! FOAM-HEAD ALEX is reaching a fence with a weather-vane. Familiar to us - the old man with the knapsack. STEWART HALL (V.O.) (CONT’D) Now she has to get around the weather-vane ... FOAM-HEAD ALEX crashes through the fence. STEWART hoots. (CONTINUED) Ashes 3 - Episode 8 - SHOOTING SCRIPT - 18/12/09 2. -
John Simm ~ 47 Screen Credits and More
John Simm ~ 47 Screen Credits and more The eldest of three children, actor and musician John Ronald Simm was born on 10 July 1970 in Leeds, West Yorkshire and grew up in Nelson, Lancashire. He attended Edge End High School, Nelson followed by Blackpool Drama College at 16 and The Drama Centre, London at 19. He lives in North London with his wife, actress Kate Magowan and their children Ryan, born on 13 August 2001 and Molly, born on 9 February 2007. Simm won the Best Actor award at the Valencia Film Festival for his film debut in Boston Kickout (1995) and has been twice BAFTA nominated (to date) for Life On Mars (2006) and Exile (2011). He supports Man U, is "a Beatles nut" and owns seven guitars. John Simm quotes I think I can be closed in. I can close this outer shell, cut myself off and be quite cold. I can cut other people off if I need to. I don't think I'm angry, though. Maybe my wife would disagree. I love Manchester. I always have, ever since I was a kid, and I go back as much as I can. Manchester's my spiritual home. I've been in London for 22 years now but Manchester's the only other place ... in the country that I could live. You never undertake a project because you think other people will like it - because that way lies madness - but rather because you believe in it. Twitter has restored my faith in humanity. I thought I'd hate it, but while there are lots of knobheads, there are even more lovely people. -
Remediating the Eighties: Nostalgia and Retro in British Screen Fiction from 2005 to 2011
REMEDIATING THE EIGHTIES: NOSTALGIA AND RETRO IN BRITISH SCREEN FICTION FROM 2005 TO 2011 Thesis submitted by Caitlin Shaw In partial fulfilment of the requirements for the award of Doctor of Philosophy De Montfort University, March 2015 2 3 ABSTRACT This doctoral thesis studies a cycle of British film and television fictions produced in the years 2005-2011 and set retrospectively in the 1980s. In its identification and in-depth textual and contextual analysis of what it terms the ‘Eighties Cycle’, it offers a significant contribution to British film and television scholarship. It examines eighties- set productions as members of a sub-genre of British recent-past period dramas begging unique consideration outside of comparisons to British ‘heritage’ dramas, to contemporary social dramas or to actual history. It shows that incentives for depicting the eighties are wide-ranging; consequently, it situates productions within their cultural and industrial contexts, exploring how these dictate which eighties codes are cited and how they are textually used. The Introduction delineates the Eighties Cycle, establishes the project’s academic and historical basis and outlines its approach. Chapter 1 situates the work within the academic fields that inform it, briefly surveying histories and socio-cultural studies before examining and assessing existing scholarship on Eighties Cycle productions alongside critical literature on 1980s, 90s and contemporary British film and television; nostalgia and retro; modern media, history and memory; British and American period screen fiction; and transmedia storytelling. Chapter 2 considers how a selection of productions employing ‘the eighties’ as a visual and audio style invoke and assign meaning to commonly recognised aesthetic codes according to their targeted audiences and/or intended messages. -
Vector 249 Harrison & Melzack 2006-09 BSFA
The Critical Journal of the British Science Fiction Association #249 • september/october 2006 • £2.so Vector 249 The critical journal of the British Science Fiction Association Contents The British Science Fiction Association Torque Control 3 Officers Editorial by Geneva Melzack & Niall Harrison President Sir Arthur C. Clarke, CBE Finding Tomorrow's Futures 4 Vice President Stephen Baxter By Angie Edwards Chairs Pat McMurray & Julie Rigby Twenty Years After 5 [email protected] By Paul Kincaid Treasurer Martin Potts 61 Ivy Croft Road, Warton, Near Tamworth A Brief Survey 7 B79 0JJ Some views on the Clarke Award [email protected] Preface to The Critical Companion 11 Membership Peter Wilkinson By Neil Gaiman Services 39 Glyn Avenue, New Barnet, Herts Air by Geoff Ryman 12 (UK & Europe) EN4 9PJ [email protected] An extended review by Andy Sawyer US Agent Cy Chauvin The Clarke and Me 15 14248 Willfred Street, Detroit, MI 48213, USA By Geoff Ryman Membership fees Winner Written All Over It 16 UK £26 p.a., or £18p.a. (unwaged), or £28 By Tom Hunter (Joint/Family membership), Life membership £260 Archipelago 17 Europe £31 p.a. By Geneva Melzack and Niall Harrison USA $35 p.a. (surface mail) $45 p.a. (airmail) First Impressions 19 Rest of the World £31 p.a. (surface mail) Book Reviews edited by Paul N. Billinger £37 p.a. (airmail) UK and Europe, make cheques payable to: BSFA Ltd and send to Peter Particles 32 Wilkinson at the address above. US cheques payable to: Cy Chauvin edited by Paul N. -
THIEF CAUGHT in BEIT HALL the Secrets of the Fire Alarm Used As Opportunity for Student Thefts: Page 5 Election Website Page 10
“Keep the Cat Free” ISSUE 1514 FELIX 09.03.12 The student voice of Imperial College London since 1949 UNION ELECTION MANIFESTOS PULLOUT Make up your mind on where to place your vote this year using our eight page guide inside! TECHNOLOGY THIEF CAUGHT IN BEIT HALL The secrets of the Fire alarm used as opportunity for student thefts: Page 5 Election website Page 10 ARTS Some like it dramatic with ICSM Page 18 TELEVISION £10 million awarded to College Healthcare Sophia David country submitted bids for the award cal investigative sciences at Imperial est research discoveries into clinical Imperial College Healthcare has been which were judged based on the qual- College Healthcare NHS Trust and practice to benefi t our patients.” awarded over £10m from the National ity and volume of medical research head of experimental medicine, said, Set up in 2001, the McMichael Institute for Health Research (NIHR) they support, and the strength of their “This is a very prestigious award and Clinical Research Facility has recent- to develop new treatments. The Trust partnerships with universities and in- is a testament to the excellent clinical ly reopened on the ground fl oor of the successfully bid for the funding to dustry. The award will fund research research already happening in Impe- Imperial Centre for Translation and support its newly refurbished Well- nurses and technician posts as well rial College Healthcare Trust. Experimental Medicine at Hammer- It’s time to fi re up come Trust McMichael Clinical Re- as support studies into treatments for “This funding, and the strong part- smith Hospital. -
June 27 Wo R L Dw I D E Ro L L Ou T P a G E 7
DISNEY ’S Q2 FY08 EA RNINGS RES U LTS PAGE 2 ST ud IO ROLLS O U T ANIM A TION SL A TE THRO U GH 2012 PAGE 2 ABC UPFRONT PRESENT A TION PAGE 5 CA MP RO C K SET FOR JUNE 27 WORL dw I D E ROLL OU T PAGE 7 DISNEY TA KES CONTROL OF NORTH AMERI ca N DISNEY STORES PAGE 10 Q2 FY08 THE WALT DISNE Y STU D IOS ROLLS UT LATE O F E W NIMATE D EARNINGS RESULTS O S 10 N A MOTION PICTURES THROUGH 2012 On May 6, 2008, The Walt Disney Company reported earnings for the second fiscal quarter and six months ended March 29, 2008. The Walt Disney Studios recently unveiled a diverse and ambitious Diluted earnings per share (EPS) for the second quarter increased slate of 10 new animated feature films from Walt Disney and Pixar to $0.58, compared to $0.44 in the prior-year quarter. Earnings per Animation Studios to be released through the year 2012. share from continuing operations in the prior-year quarter totaled $0.43. The line-up includes new films from Disney and Pixar’s accomplished team of filmmakers, and features vocal performances For the six-month period, diluted EPS was $1.21. EPS for the by top celebrity talents. The roster of new animated features prior-year six month period, which included gains on sales of our includes six new films from Pixar Animation Studios, four from interests in E! Entertainment and Us Weekly, income from the Walt Disney Animation Studios, and the first four in a series of discontinued operations of the ABC Radio business, and an equity- direct-to-DVD films featuring Disney Fairies from DisneyToon based compensation plan modification charge, which were all Studios. -
Film Reviews – February 2011
Scope: An Online Journal of Film and Television Studies Issue 19 February 2011 Film Reviews – February 2011 Table of Contents The Godfather A Review by Mark Chapman ................................................................... 2 Red Hill A Review by Kate Harper ..................................................................... 11 The Eclipse A Review by Andrea Grunert ................................................................ 16 Life on Mars A Review by Mary Irwin ....................................................................... 24 Kaminey A Review by Sagnik Banerjee ............................................................... 30 1 Film Reviews The Godfather Dir: Francis Ford Coppola, USA, 1972 A Review by Mark Chapman, Newcastle University, UK Surprise, Suspense & Authorial Sensibility Francis Ford Coppola's sprawling 1972 film The Godfather is a masterpiece of technique, both deeply rooted in the iconographical structures of classical American cinema and willing to embrace the more progressive European influences of the time. The film, which was recently digitally restored and re- released in UK cinemas, openly conforms to, and extends the discourse of, a number of different genres (the gangster film, epic, melodrama and thriller) and is unquestionably one of the finest examples of each category. In this article, I will analyse two sequences from the film with particular emphasis on Coppola's use of two structuring devices closely associated with the thriller genre: surprise and suspense. I will also examine -
The Essential Cult TV Reader
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Kentucky University of Kentucky UKnowledge American Popular Culture American Studies 2010 The Essential Cult TV Reader David Lavery Middle Tennessee State University Click here to let us know how access to this document benefits ou.y Thanks to the University of Kentucky Libraries and the University Press of Kentucky, this book is freely available to current faculty, students, and staff at the University of Kentucky. Find other University of Kentucky Books at uknowledge.uky.edu/upk. For more information, please contact UKnowledge at [email protected]. Recommended Citation Lavery, David, "The Essential Cult TV Reader" (2010). American Popular Culture. 2. https://uknowledge.uky.edu/upk_american_popular_culture/2 THE ESSENTIAL CULT TV READER Essential Readers in Contemporary Media and Culture This series is designed to collect and publish the best scholarly writing on various aspects of television, fi lm, the Internet, and other media of today. Along with providing original insights and explorations of critical themes, the series is intended to provide readers with the best available resources for an in-depth understanding of the fundamental issues in contemporary media and cultural studies. Topics in the series may include, but are not limited to, critical-cultural examinations of creators, content, institutions, and audiences associated with the media industry. Written in a clear and accessible style, books in the series include -
Representation
Media Studies - TV Student Notes Representation You will need to consider: • The way events, issues, individuals (including self-representation) and social groups (including social identity) are represented through processes of selection and combination. • The effect of social and cultural context on representations • How and why stereotypes can be used positively and negatively • How and why particular social groups, in a national and global context, may be under- represented or misrepresented • How media representations convey values, attitudes and beliefs about the world and how these may be systematically reinforced across a wide range of media representations • How audiences respond to and interpret media representations • Theories of representation (including Hall) • Theories of identity (including Gauntlett) • Feminist theories (including bell hooks and Van Zoonen) Media Studies - TV 1 Media Studies - TV Student Notes How are representations constructed/encoded? • Need to link to Stuart Hall throughout. • Narrative : e.g. audiences identify/empathise with Sam through the restricted nature of our narrative positioning • Humour - dialogue • Technical codes (language) – camera, editing, audio • Lighting - 70s • Framing • Mise-en-scene (costuming, setting) • Performance • Barthes - cultural codes Task: Look at the characters. Analyse how they are represented and how this representation has been constructed Use the interactive resource – Characters along with the task sheet on page 3. • http://www.bbc.co.uk/programmes/b006t85s The -
Life on Mars
Repositorium für die Medienwissenschaft Nicola Glaubitz LIFE ON MARS. Convergence oder Connectivity Anxiety? 2013 https://doi.org/10.25969/mediarep/1150 Veröffentlichungsversion / published version Zeitschriftenartikel / journal article Empfohlene Zitierung / Suggested Citation: Glaubitz, Nicola: LIFE ON MARS. Convergence oder Connectivity Anxiety?. In: Navigationen - Zeitschrift für Medien- und Kulturwissenschaften, Jg. 13 (2013), Nr. 1, S. 53–65. DOI: https://doi.org/10.25969/mediarep/1150. Erstmalig hier erschienen / Initial publication here: https://nbn-resolving.org/urn:nbn:de:hbz:467-8302 Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Deposit-Lizenz (Keine This document is made available under a Deposit License (No Weiterverbreitung - keine Bearbeitung) zur Verfügung gestellt. Redistribution - no modifications). We grant a non-exclusive, Gewährt wird ein nicht exklusives, nicht übertragbares, non-transferable, individual, and limited right for using this persönliches und beschränktes Recht auf Nutzung dieses document. This document is solely intended for your personal, Dokuments. Dieses Dokument ist ausschließlich für non-commercial use. All copies of this documents must retain den persönlichen, nicht-kommerziellen Gebrauch bestimmt. all copyright information and other information regarding legal Auf sämtlichen Kopien dieses Dokuments müssen alle protection. You are not allowed to alter this document in any Urheberrechtshinweise und sonstigen Hinweise auf gesetzlichen way, to copy it for public or commercial purposes, to exhibit the Schutz beibehalten werden. Sie dürfen dieses Dokument document in public, to perform, distribute, or otherwise use the nicht in irgendeiner Weise abändern, noch dürfen Sie document in public. dieses Dokument für öffentliche oder kommerzielle Zwecke By using this particular document, you accept the conditions of vervielfältigen, öffentlich ausstellen, aufführen, vertreiben oder use stated above. -
A Poetics of Virtuality
CHALMERS UNIVERSITY OF TECHNOLOGY SE-412 96 Gothenburg, Sweden Telephone: +46 (0)31 772 10 00 www.chalmers.se THOMMY ERIKSSON A Poetics of Virtuality A Poetics of Virtuality THOMMY ERIKSSON 2016 Department of Applied IT CHALMERS UNIVERSITY OF TECHNOLOGY Gothenburg, Sweden 2016 THESIS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY A Poetics of Virtuality THOMMY ERIKSSON Department of Applied IT CHALMERS UNIVERSITY OF TECHNOLOGY Gothenburg, Sweden 2016 A Poetics of Virtuality THOMMY ERIKSSON ISBN 978-91-7597-320-3 © THOMMY ERIKSSON, 2016. Doktorsavhandlingar vid Chalmers tekniska högskola Ny serie nr 4001 ISSN 0346-718X Department of Applied IT Chalmers University of Technology SE-412 96 Gothenburg Sweden Telephone + 46 (0)31-772 1000 Cover: Rendition of William Gibson’s cyberspace, created by Thommy Eriksson. Printed by: Chalmers Reproservice Gothenburg, Sweden 2016 A Poetics of Virtuality THOMMY ERIKSSON Department of Applied IT Chalmers University of Technology Abstract How is virtuality represented in fiction, and what does that say about our anticipations and fears about what the virtual is and will be? This text, a poetics of virtuality, explores fictional representations of virtuality, primarily in movies and literature, but also in media productions done by the author. The aim is to study the dream of virtuality. What are we promised? What do we anticipate? What do we fear? This is why the study has focused on fictional virtualities, where the storyteller is somewhat free to represent the virtual, and let cultural ideas emerge, untethered by the technical constraints that govern real-life virtuality technology. The study has two methodological approaches. One is the analysis of a large number of fictional narrative texts representing virtuality, primarily movies but also a few novels and short stories.