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Festa Del Cinema Di Roma
Sidney Poitier e Paul Newman sono i protagonisti dell’immagine ufficiale della quindicesima edizione della Festa del Cinema di Roma, in una foto FESTA che celebra, oltre al glamour del grande cinema, il senso di comunione e amore interrazziale. Lo scatto, in occasione delle riprese di Paris Blues di Martin Ritt (1961), film candidato all’Oscar® per la miglior colonna sonora firmata da Duke DEL CINEMA Ellington, rappresenta un omaggio a due icone della storia del cinema. Il senso di complicità, la gioia di stare insieme, la condivisione delle esperienze, il valore della collaborazione umana e artistica sono il beat DI ROMA della Festa del Cinema 2020. Sidney Poitier and Paul Newman are the protagonists of the official poster of the 15th Rome Film Fest. This is an image that celebrates the glamour of great cinema but also a sense of communion and interracial love.The photo, taken during the shooting of Paris Blues by Martin Ritt (1961), the film est ® F nominated for the Oscar for Best Soundtrack, composed by Duke Ellington, is a tribute to two icons in the history of film. That sense of complicity, the joy of being together, the sharing of experiences, the value of human and artistic collaboration are the beat of Rome Film Fest 2020. ome Film R oma | R 15 25 10 2020 esta del Cinema di F 20 Edizione 0 2 Edition © Everett Collection Sidney Poitier e Paul Newman sono i protagonisti dell’immagine ufficiale della quindicesima edizione della Festa del Cinema di Roma, in una foto FESTA che celebra, oltre al glamour del grande cinema, il senso di comunione e amore interrazziale. -
Building Public Value: Renewing the BBC for a Digital World
DP1153 BPV Frontcover.qxd 6/25/04 2:52 PM Page 1 Building public value Renewing the BBC for a digital world CONTENTS Chairman’s prologue 3 Overview and summary 5 PART I: The BBC’s purpose, role and vision 1 Why the BBC matters 25 2 Changing media in a changing society 48 3 Building public value in the future 60 4 Demonstrating public value 83 5 The breadth of BBC services 89 6 Renewing the BBC 98 7 Paying for BBC services 112 PART II: Governing the BBC 123 Conclusion 135 1 2 Chairman’s prologue The BBC does not have a monopoly on wisdom about its own future. This is a contribution to the debate over Charter renewal, not the last word. I look to a vigorous and informed public debate to produce the consensus about the future size, shape and mission of the BBC. This document is itself a consensus, arrived at after a vigorous debate inside the BBC, and represents the considered views of Governors and management. Part II – our proposals on governance – is, of course, entirely the responsibility of the Governors. At the heart of Building public value is a vision of a BBC that maintains the ideals of its founders, but a BBC renewed to deliver those ideals in a digital world. That world contains the potential for limitless individual consumer choice. But it also contains the possibility of broadcasting reduced to just another commodity, with profitability the sole measure of worth. A renewed BBC, placing the public interest before all else, will counterbalance that market-driven drift towards programme-making as a commodity. -
Developments in British TV Docudrama Since 1990
Docudramatizing the real: developments in British TV docudrama since 1990 Article Accepted Version Bignell, J. (2011) Docudramatizing the real: developments in British TV docudrama since 1990. Studies in Documentary Film, 4 (3). pp. 195-208. ISSN 1750-3280 doi: https://doi.org/10.1386/sdf.4.3.195_1 Available at http://centaur.reading.ac.uk/19486/ It is advisable to refer to the publisher’s version if you intend to cite from the work. See Guidance on citing . To link to this article DOI: http://dx.doi.org/10.1386/sdf.4.3.195_1 Publisher: Intellect Publisher statement: ©Intellect 2011 All outputs in CentAUR are protected by Intellectual Property Rights law, including copyright law. Copyright and IPR is retained by the creators or other copyright holders. Terms and conditions for use of this material are defined in the End User Agreement . www.reading.ac.uk/centaur CentAUR Central Archive at the University of Reading Reading’s research outputs online 1 Docudramatizing the real: Developments in British TV docudrama since 1990 Jonathan Bignell University of Reading Abstract The article discusses the reasons for the growth in television docudrama in Britain since 1990. These stimulating factors include regulatory frameworks, especially the Broadcasting Act of 1990 that affected existing television institutions by introducing increased competition and budgetary pressures. Challenges to television documentary from falling audiences, and to drama from rising costs, also led to a reconfiguration of British television schedules and the emergence of new hybrid programme genres. The pressures of this changed environment led the hybrid form of docudrama to take on some of the functions of history programmes, social affairs, political investigation and responses to key events such as the September 11, 2001attacks. -
57 Years Policing the UK Motorways
57 Years Policing the UK Motorways On this page we take a look at the history of policing the UK motorway network since the opening of the Preston Bypass in 1958. There are a number of articles written by members of Police Car UK and we hope that you will find this page both informative and interesting! It is quite long, so make yourself a cup of tea and settle down to... 50th Anniversary of Policing the Motorway The Preston Bypass The M6 Experiment Motorway Memories and West Yorkshire Motorways The 50th Anniversary of Policing the Motorway In 2009 we celebrated the 50th anniversary of the opening of the first section of the M1 motorway. OK, before we start there is an argument that the first motorway was opened a year earlier in 1958 and was called the Preston by-pass. However, it wasn’t designated as a motorway (part of the M6) until several years later and so the other side of the coin will argue that the first ‘official’ motorway, the M1 was opened on 2nd November 1959. But the fact remains that from 1958/9 Britain’s motorway network expanded across the country and is now an integral part of our transport system and our everyday lives. And for obvious reasons it needs policing and so we find ourselves here in particular celebrating the 50th Anniversary of Policing the Motorway. Those Police officers who have worked on ‘the strip’ over the years will have an affinity towards it that is hard to describe. It can be an extremely dangerous place to work but it can also be an exhilarating one. -
The BBC and Disaster Films: from Education to Entertainment Georges Fournier
The BBC and Disaster Films: From Education to Entertainment Georges Fournier To cite this version: Georges Fournier. The BBC and Disaster Films: From Education to Entertainment. InMedia : the French Journal of Media and Media Representations in the English-Speaking World, Center for Re- search on the English-Speaking World (CREW), 2019. hal-02468020 HAL Id: hal-02468020 https://hal.archives-ouvertes.fr/hal-02468020 Submitted on 5 Feb 2020 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. InMedia The French Journal of Media Studies 7.2. | 2019 Documentary and Entertainment The BBC and Disaster Films: From Education to Entertainment Georges Fournier Electronic version URL: http://journals.openedition.org/inmedia/1766 ISSN: 2259-4728 Publisher Center for Research on the English-Speaking World (CREW) Printed version Date of publication: 15 December 2019 Electronic reference Georges Fournier, « The BBC and Disaster Films: From Education to Entertainment », InMedia [Online], 7.2. | 2019, Online since 02 December 2019, connection on 19 December 2019. URL : http:// journals.openedition.org/inmedia/1766 This text was automatically generated on 19 December 2019. © InMedia The BBC and Disaster Films: From Education to Entertainment 1 The BBC and Disaster Films: From Education to Entertainment Georges Fournier Introduction 1 The early years of the twenty-first century witnessed the production of TV films based on disaster scenarios, films both tragic in their denouement and anticipatory in their intentions. -
The Impact of Road Projects in England
The Impact of Road Projects in England The Impact of Road Projects in England Lynn Sloman, Lisa Hopkinson and Ian Taylor Transport for Quality of Life March 2017 Commissioned by: Project name: The Impact of Road Projects in England Client: Campaign to Protect Rural England (CPRE) Date: March 2017 The preferred citation of this report is: Sloman L, Hopkinson L and Taylor I (2017) The Impact of Road Projects in England Report for CPRE Licensed under a Creative Commons Attribution 4.0 International Licence Acknowledgments The following people provided information and help during the course of this project, which we gratefully acknowledge: James Abbott, Michele Allen, Sarah Arnold, Andy Bennett, Kerris Casey-St Pierre, Jackie Copley, Amy Cowburn, Steve Donagain, Tony Duckworth, Robin Field, Peter Foreman, Alan Gray, Chantelle Grundy, David Harby, Tony Forward, Jeffery Kenyon, Bettina Lange, Ian Lings, No M65 Link Road Protest Group, David Penney, Martin Porter, Oliver Scott, Stuart Scott, Ralph Smyth, Jack Taylor, James Syson, Trinley Walker, Petra Ward, Paula Whitney, Louise Wootton, Hadyn Yeo. It would not have been possible to make this assessment of the impact of roads projects without the POPE evaluation process that was put in place by the Highways Agency twenty years ago. Although our assessment of the evidence has drawn some markedly different conclusions from those reached in the POPE meta-analyses, we acknowledge the value and importance of the POPE process itself. We also acknowledge and are grateful for the willingness of Highways England to assist with this research, by supplying data and information from their archives. We also thank Tony Forward for access to his archive of planning documents. -
The Highways Agency Annual Reports and Accounts 2007-2008
Safe roads, Reliable journeys, Informed travellers England’s strategic road network Motorways " Trunk Roads Newcastle (major A roads) upon Tyne " " . Sunderland Carlisle . " . " Middlesbrough " . . " " " . Leeds Kingston " . upon Hull . " . . Liverpool . " . . Manchester Sheffield . Nottingham . " " Norwich . " . Leicester .5PMM . Birmingham . Peterborough . " . " . " . " . Cambridge Northampton " . " " . " . " Oxford . " . " . . London . Bristol . " . " . " " . Southampton " . " . . " . Brighton " " Portsmouth Plymouth " This map is based upon Ordnance Survey material with the permission of Ordnance Survey on behalf of the Controller of Her Majesty’s Stationery Office © Crown copyright. Unauthorised reproduction infringes Crown copyright and may lead to prosecution or civil proceedings. Highways Agency 100018928 2008 5IF)JHIXBZT"HFODZ "OOVBM3FQPSUBOE"DDPVOUT Presented to Parliament pursuant to Section 7 of the Government Resources and Accounts Act 2000 Ordered by the House of Commons to be printed 17 July 2008 ¥$SPXO$PQZSJHIU The text in this document (excluding the Royal Arms and other departmental or agency logos) may be reproduced free of charge in any format or medium providing it is reproduced accurately and not used in a misleading context. The material must be acknowledged as Crown copyright and the title of the document specified. Where we have identified any third party copyright material you will need to obtain permission from the copyright holders concerned. For any other use of this material please write to Office of Public Sector Information, Information Policy Team, Kew, Richmond, Surrey TW9 4DU or e-mail: MJDFOTJOH!PQTJHPWVL Further copies of this report are available through The Stationary Office at the price shown below. An electronic copy is available on our websiteXXXIJHIXBZTHPWVL. If you, or if you are aware of anyone else who has difficulty in reading this document, through size of type, language or terminology, please contact Mr Ian Farrand at: Highways Agency, 123 Buckingham Palace Road, London SW1W 9HA. -
01 Financial Risk
DEALING WITH FINANCIAL RISK OTHER ECONOMIST BOOKS Emerging Markets Guide to Analysing Companies Guide to Business Modelling Guide to Business Planning Guide to Economic Indicators Guide to the European Union Guide to Financial Markets Guide to Management Ideas Numbers Guide Style Guide Dictionary of Business Dictionary of Economics International Dictionary of Finance Brands and Branding Business Ethics Business Strategy China’s Stockmarket E-trends Globalisation Successful Innovation Successful Mergers Wall Street Essential Director Essential Economics Essential Finance Essential Internet Essential Investment Essential Negotiation Pocket Asia Pocket Europe in Figures Pocket World in Figures DEALING WITH FINANCIAL RISK David Shirreff THE ECONOMIST IN ASSOCIATION WITH PROFILE BOOKS LTD Published by Profile Books Ltd 58A Hatton Garden, London ec1n 8lx Copyright © The Economist Newspaper Ltd 2004 Text copyright © David Shirreff 2004 All rights reserved. Without limiting the rights under copyright reserved above, no part of this publication may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise), without the prior written permission of both the copyright owner and the publisher of this book. The greatest care has been taken in compiling this book. However, no responsibility can be accepted by the publishers or compilers for the accuracy of the information presented. Where opinion is expressed it is that of the author and does -
The BBC and Disaster Films: from Education to Entertainment
InMedia The French Journal of Media Studies 7.2. | 2019 Documentary and Entertainment The BBC and Disaster Films: From Education to Entertainment Georges Fournier Electronic version URL: http://journals.openedition.org/inmedia/1766 DOI: 10.4000/inmedia.1766 ISSN: 2259-4728 Publisher Center for Research on the English-Speaking World (CREW) Printed version Date of publication: 15 December 2019 Electronic reference Georges Fournier, “The BBC and Disaster Films: From Education to Entertainment”, InMedia [Online], 7.2. | 2019, Online since 02 December 2019, connection on 26 January 2021. URL: http:// journals.openedition.org/inmedia/1766 ; DOI: https://doi.org/10.4000/inmedia.1766 This text was automatically generated on 26 January 2021. © InMedia The BBC and Disaster Films: From Education to Entertainment 1 The BBC and Disaster Films: From Education to Entertainment Georges Fournier Introduction 1 The early years of the twenty-first century witnessed the production of TV films based on disaster scenarios, films both tragic in their denouement and anticipatory in their intentions. Public television experimented with this formula in Daniel Percival’s Smallpox 2002: Silent Weapon, a film broadcast by BBC2 in early 2002, a few months after the September 11 attacks. This tragedy, which acted as a catalyst for all manner of fears, fostered many anticipatory programmes, among which the If ... series. As Simon Chinn1 explained 2, fiction can anticipate reality, and Smallpox 2002: Silent Weapon was commissioned before the tragedy of September 11. Yet, the latter was the climax of a wave of terrorist attacks against civilians, which has continued ever since3, and which has inspired BBC productions. -
'Art' 6 E [email protected] @Oldvicnewvoices
‘ART’ TEACHING RESOURCES DEC 2016–F E B 2 017 CONTENTS Company 3 Old Vic New Voices Education The Old Vic The Cut Creative team 4 London SE1 8NB Synopsis of 'Art' 6 E [email protected] @oldvicnewvoices Form of style 8 © The Old Vic, 2017. All information is correct at the Provocation 10 time of going to press, but may be subject to change Monologues 11 Teaching resources Written by Susanna Gould Design Matt Lane-Dixon Comedy or tragedy? 12 Rehearsal and production photography Manuel Harlan Themes 14 Old Vic New Voices Hannah Fosker Head of Education Modern art 17 & Community Sharon Kanolik Head of Education 'Art' at The Old Vic – Yasmina Reza 19 & Community (Maternity Cover) Richard Knowles Stage Business Co-ordinator 'Art' at The Old Vic – Christopher Hampton 21 Floriana Dezou Old Vic New Voices Intern 'Art' at The Old Vic – Matthew Warchus 22 Further details of this production oldvictheatre.com The rehersal process 23 Interview with Tim Key 26 The Old Vic ‘Art’ teaching resources 2 COMPANY TIM KEY DANIEL COPELAND Yvan Understudy Yvan Theatre: Tree (The Old Vic); Party (Arts Theatre). Theatre: The Hobbit (West End); Invincible (Orange Film: Alpha Papa, The Double. TV: Midmorning Matters, Tree/St James); The Rime of the Ancient Mariner, Peep Show, Foreign Bodies. Radio: Tim Key’s Late Holy Mackerel! (Shanty Theatre); The Jungle Book Night Poetry Programme. Tim has also written and (West Yorkshire Playhouse); The Railway Children, performed in the sketch show Cowards for BBC TV and The Caretaker (Nottingham Playhouse); A Midsummer Radio. He won the Edinburgh Comedy Award 2009 for Night’s Dream (Theatre Royal Northampton); The BFG his weird and wonderful poetry/stand-up fusion and has (Derby Theatre); Get Carter, The Third Man (Red Shift); since published three books of his work. -
Docudrama Performance: Realism, Recognition and Representation
Docudrama performance: realism, recognition and representation Book or Report Section Accepted Version Bignell, J. (2010) Docudrama performance: realism, recognition and representation. In: Cornea, C. (ed.) Genre and performance: film and television. Manchester University Press, Manchester, UK, pp. 59-75. ISBN 9780719079801 Available at http://centaur.reading.ac.uk/17671/ It is advisable to refer to the publisher’s version if you intend to cite from the work. See Guidance on citing . Publisher: Manchester University Press All outputs in CentAUR are protected by Intellectual Property Rights law, including copyright law. Copyright and IPR is retained by the creators or other copyright holders. Terms and conditions for use of this material are defined in the End User Agreement . www.reading.ac.uk/centaur CentAUR Central Archive at the University of Reading Reading’s research outputs online 1 Jonathan Bignell Docudrama Performance: Realism, Recognition and Representation The hybrid television form of docudrama, blending documentary and drama conventions and modes of address, poses interesting methodological problems for an analysis of performance. Its topics, mise-en-scène and performers invite a judgement in relation to the real events and situations, settings and personae represented, and also in relation to the ways the viewer has perceived them in other media representations such as news, current affairs interviews and documentary features. In other words, docudrama’s performance of the real asks the viewer to evaluate it in relation to anterior knowledge. But because of their adoption of conventions from drama, docudramas also draw on performance modes from fictional television forms and invite audiences to invest their emotions and deploy their knowledge of codes used in fictional naturalism or melodrama. -
The Big Show: British Cinema Culture in the Great War 1914-1916
The Big Show: British Cinema Culture in the Great War 1914-1916 By Michael Hammond Exeter: University of Exeter Press, 2006. ISBN: 0-85989-758-3 (hbk). 16+ Illustrations + 288pp. £45.00 (hbk) A review by Brenda McDermott, York University, Canada Hammond's approach to film during the First World War marks a departure from the approach taken by current literature about early cinema history. Hammond examines the experience of film-going in the context of the war, and its resulting social changes, rather than documenting the history of its production or censorship. Southampton, not London, becomes the focus of his study of the reception and exhibition of film during the war, moving away from the assumption that major cities are a stand-in for a nation. Hammond deconstructs Sothhampton's cinema culture during the war to understand the role the social condition of the war played in the cultural acceptance of cinema as a legitimate and important source of entertainment. Rather than addressing a single genre or style of film, Hammond addresses a variety of films, mirroring the programs of theatres in Southampton, while using the progression of war as his master theme. Hammond's discussion begins with films that educated the public about the war, topical films, particularly The Battle of the Somme (1916). Epic or super-films, as Hammond describes them, are examined to discuss the manner in which American films had a different reception in Britain, as a result of social conditions and exhibition practice. He concludes with an examination of the social acceptance of comedy, particularly that of Chaplin.