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BBC Trust Public Consultation: PVT II
BBC Trust Public Consultation: PVT II August – September 2015 A report by ICM on behalf of the BBC Trust Creston House, 10 Great Pulteney Street, London W1F 9NB [email protected] | www.icmunlimited.com | +44 020 7845 8300 (UK) | +1 212 886 2234 (US) ICM Research Ltd. Registered in England No. 2571387. Registered Address: Creston House, 10 Great Pulteney Street, London W1F 9NB A part of Creston Unlimited Confidential. All work in accordance with ISO 27001 and 20252 Table of contents 1. Background and Methodology ....................................................................................... 3 1.1 About the PVT and Public Consultations ..................................................................... 3 1.2 About the methodology ................................................................................................ 4 1.3 Collecting responses ................................................................................................... 4 2. Executive Summary ........................................................................................................ 6 3. Consultation Findings .................................................................................................. 10 3.1 BBC Three Proposal Summary .................................................................................. 10 3.2 BBC One + 1 Proposal Summary .............................................................................. 19 3.3 BBC iPlayer Proposal Summary ............................................................................... -
The DEFENDANT Newsletter of the Australian Chesterton Society
The DEFENDANT Newsletter of the Australian Chesterton Society Vol. 25 No. 1 Summer 2018 Issue No. 96 ‘I have found that humanity is not The Little Town That incidentally engaged, Chesterton Loved but eternally and systematically engaged, by Aidan Mackey in throwing gold into the Though born in central London, Chesterton gutter and diamonds into developed a deep love of the town of the sea. ; therefore I Beaconsfield, which is west of London and have imagined that the not far from Oxford. He and his wife Frances main business of man, moved to Beaconsfield in 1922, and remained however humble, is there until his death in 1936. defence. I have conceived Aidan Mackey, a uniquely qualified authority that a defendant is chiefly Chesterton’s home, Top Meadow, in Beaconsfield. on Chesterton, has a special knowledge of required when worldlings the significance of Beaconsfield in Chesterton’s living in London in the early years of the 20th despise the world – that life. In 2003, he wrote an article for the journal, century, felt in need of a relaxed spell in the a counsel for the defence Buckinghamshire Countryside, which shed country. would not have been out light on Chesterton’s links with Beaconsfield of place in the terrible day and the ways in which it nourished his The next train happened to be bound for when the sun was mind and imagination. It is reprinted in The Slough [a town west of London], which, Defendant with Mr Mackey’s kind permission, Chesterton commented, ‘may seem to be a darkened over Calvary in an edited form for space reasons. -
September 6, 2011 (XXIII:2) Anthony Asquith and Leslie Howard, PYGMALION (1938, 96 Min)
September 6, 2011 (XXIII:2) Anthony Asquith and Leslie Howard, PYGMALION (1938, 96 min) Directed by Anthony Asquith and Leslie Howard Written by George Bernard Shaw (play, scenario & dialogue), W.P. Lipscomb, Cecil Lewis, Ian Dalrymple (uncredited), Anatole de Grunwald (uncredited), Kay Walsh (uncredited) Produced by Gabriel Pascal Original Music by Arthur Honegger Cinematography by Harry Stradling Edited by David Lean Art Direction by John Bryan Costume Design by Ladislaw Czettel (as Professor L. Czettel), Schiaparelli (uncredited), Worth (uncredited) Music composed by William Axt Music conducted by Louis Levy Leslie Howard...Professor Henry Higgins Wendy Hiller...Eliza Doolittle Wilfrid Lawson...Alfred Doolittle Marie Lohr...Mrs. Higgins Scott Sunderland...Colonel George Pickering GEORGE BERNARD SHAW [from Wikipedia](26 July 1856 – 2 Jean Cadell...Mrs. Pearce November 1950) was an Irish playwright and a co-founder of the David Tree...Freddy Eynsford-Hill London School of Economics. Although his first profitable writing Everley Gregg...Mrs. Eynsford-Hill was music and literary criticism, in which capacity he wrote many Leueen MacGrath...Clara Eynsford Hill highly articulate pieces of journalism, his main talent was for Esme Percy...Count Aristid Karpathy drama, and he wrote more than 60 plays. Nearly all his writings address prevailing social problems, but have a vein of comedy Academy Award – 1939 – Best Screenplay which makes their stark themes more palatable. Shaw examined George Bernard Shaw, W.P. Lipscomb, Cecil Lewis, Ian Dalrymple education, marriage, religion, government, health care, and class privilege. ANTHONY ASQUITH (November 9, 1902, London, England, UK – He was most angered by what he perceived as the February 20, 1968, Marylebone, London, England, UK) directed 43 exploitation of the working class. -
Text Pages Layout MCBEAN.Indd
Introduction The great photographer Angus McBean has stage performers of this era an enduring power been celebrated over the past fifty years chiefly that carried far beyond the confines of their for his romantic portraiture and playful use of playhouses. surrealism. There is some reason. He iconised Certainly, in a single session with a Yankee Vivien Leigh fully three years before she became Cleopatra in 1945, he transformed the image of Scarlett O’Hara and his most breathtaking image Stratford overnight, conjuring from the Prospero’s was adapted for her first appearance in Gone cell of his small Covent Garden studio the dazzle with the Wind. He lit the touchpaper for Audrey of the West End into the West Midlands. (It is Hepburn’s career when he picked her out of a significant that the then Shakespeare Memorial chorus line and half-buried her in a fake desert Theatre began transferring its productions to advertise sun-lotion. Moreover he so pleased to London shortly afterwards.) In succeeding The Beatles when they came to his studio that seasons, acknowledged since as the Stratford he went on to immortalise them on their first stage’s ‘renaissance’, his black-and-white magic LP cover as four mop-top gods smiling down continued to endow this rebirth with a glamour from a glass Olympus that was actually just a that was crucial in its further rise to not just stairwell in Soho. national but international pre-eminence. However, McBean (the name is pronounced Even as his photographs were created, to rhyme with thane) also revolutionised British McBean’s Shakespeare became ubiquitous. -
3. Terence Rattigan- First Success and After
DIPLOMARBEIT Titel der Diplomarbeit „In and out of the limelight- Terence Rattigan revisited“ Verfasserin Covi Corinna angestrebter akademischer Grad Magistra der Philosophie (Mag.phil.) Wien, 30. Jänner 2013 Studienkennzahl lt. Studienblatt: A 343 Studienrichtung lt. Studienblatt: 343 Diplomstudium Anglistik und Amerikanistik UniStG Betreuer: Ao. Univ.-Prof. Dr. Rudolf Weiss Table of contents 1. Introduction……………………………………………………....p.4 2. The History of the Well-Made Play…………………………......p.5 A) French Precursors.....................................................................p.6 B) The British Well-Made Play...................................................p.10 a) Tom Robertson and the 1870s...........................................................p.10 b) The “Renaissance of British Drama”...............................................p.11 i. Arthur Wing Pinero (1855-1934) and Henry Arthur Jones (1851- 1929)- The precursors of the “New Drama”..............................p.12 ii. Oscar Wilde (1854-1900)..............................................................p.15 c) 1900- 1930 “The Triumph of the New Drama”...............................p.17 i. Harley Granville-Barker (1877-1946)………………................p.18 ii. William Somerset Maugham (1874-1965)..................................p.18 iii. Noel Coward (1899-1973)............................................................p.20 3. Terence Rattigan- first success and after...................................p.21 A) French Without Tears (1936)...................................................p.22 -
Sir Terence Rattigan, CBE 1911 – 1977
A Centenary Service of Celebration for the Life and Work of Sir Terence Rattigan, CBE 1911 – 1977 “God from afar looks graciously upon a gentle master.” St Paul’s Covent Garden Tuesday 22nd May 2012 11.00am Order of Service PRELUDE ‘O Soave Fanciulla’ from La Bohème by G. Puccini Organist: Simon Gutteridge THE WELCOME The Reverend Simon Grigg The Lord’s Prayer Our Father, who art in heaven, hallowed be thy name. Thy kingdom come, thy will be done, on earth as it is in heaven. Give us this day our daily bread; and forgive us our trespasses, as we forgive them that trespass against us. And lead us not into temptation, but deliver us from evil. For thine is the kingdom, the power and the glory, for ever and ever. Amen. TRIBUTE DAVID SUCHET, CBE written by Geoffrey Wansell 1 ARIA ‘O Mio Babbino Caro’ from Gianni Schicchi by G. Puccini CHARLOTTE PAGE HYMN And did those feet in ancient time Walk upon England's mountains green? And was the holy Lamb of God On England's pleasant pastures seen? And did the countenance divine Shine forth upon our clouded hills? And was Jerusalem builded here Among those dark satanic mills? Bring me my bow of burning gold! Bring me my arrows of desire! Bring me my spear! O clouds, unfold! Bring me my chariot of fire! I will not cease from mental fight, Nor shall my sword sleep in my hand, Till we have built Jerusalem In England's green and pleasant land. ADDRESS ‘The Final Test’ SIR RONALD HARWOOD, CBE 2 HYMN I vow to thee, my country, all earthly things above, Entire and whole and perfect, the service of my love: The love that asks no question, the love that stands the test, That lays upon the altar the dearest and the best; The love that never falters, the love that pays the price, The love that makes undaunted the final sacrifice. -
Shakespeare on Film, Video & Stage
William Shakespeare on Film, Video and Stage Titles in bold red font with an asterisk (*) represent the crème de la crème – first choice titles in each category. These are the titles you’ll probably want to explore first. Titles in bold black font are the second- tier – outstanding films that are the next level of artistry and craftsmanship. Once you have experienced the top tier, these are where you should go next. They may not represent the highest achievement in each genre, but they are definitely a cut above the rest. Finally, the titles which are in a regular black font constitute the rest of the films within the genre. I would be the first to admit that some of these may actually be worthy of being “ranked” more highly, but it is a ridiculously subjective matter. Bibliography Shakespeare on Silent Film Robert Hamilton Ball, Theatre Arts Books, 1968. (Reissued by Routledge, 2016.) Shakespeare and the Film Roger Manvell, Praeger, 1971. Shakespeare on Film Jack J. Jorgens, Indiana University Press, 1977. Shakespeare on Television: An Anthology of Essays and Reviews J.C. Bulman, H.R. Coursen, eds., UPNE, 1988. The BBC Shakespeare Plays: Making the Televised Canon Susan Willis, The University of North Carolina Press, 1991. Shakespeare on Screen: An International Filmography and Videography Kenneth S. Rothwell, Neil Schuman Pub., 1991. Still in Movement: Shakespeare on Screen Lorne M. Buchman, Oxford University Press, 1991. Shakespeare Observed: Studies in Performance on Stage and Screen Samuel Crowl, Ohio University Press, 1992. Shakespeare and the Moving Image: The Plays on Film and Television Anthony Davies & Stanley Wells, eds., Cambridge University Press, 1994. -
Rattigan Version October 171018 Final for Triographics
The Rattigan The Newsletter of The Terence Rattigan Society October 2018 Issue No. 26 Version Royal Academy of Dramatic Art in FLARE PATH 1984. He was associate director of the Royal Court Theatre from 1987 to 1992 where his production of Death and the Maiden won two Olivier Awards. After leaving the Court he has built a record of success in a series of revivals including Relatively Speaking, Abigail's Party and Noises Off. Flare Path will be performed by BA (Hons) Acting students, working alongside students from the BA (Hons) Theatre Practice course. On Saturday 24th November there It's just over a month until Royal Central's will be a special reception at the school followed by presentation of Flare Path becomes the first student a matinee performance. production aided in part by the Harold and Pegs Additionally the Society is producing a special French Award. It'll be directed by Lindsay Posner booklet on Rattigan, his time in the RAF and his whose previous Rattigan outing was the well work concerning flying and flyers, which will be received Winslow Boy with Henry Goodman at the handed to all audience members at each performance. Old Vic in 2013. A booking form has been sent to all members who After studying English Literature at university are asked to reserve their places as soon as possible Lindsay graduated from the acting course at the to ensure sufficient seats are available. Did you know that Separate Tables toured overseas a nod to Gielgud but the year after it opened - 1955? No, neither did I seldom anything as far as until I came across some archive programmes from one could see to The Australian Elizabethan Theatre Trust who Guinness. -
Theatre Archive Project Archive
University of Sheffield Library. Special Collections and Archives Ref: MS 349 Title: Theatre Archive Project: Archive Scope: A collection of interviews on CD-ROM with those visiting or working in the theatre between 1945 and 1968, created by the Theatre Archive Project (British Library and De Montfort University); also copies of some correspondence Dates: 1958-2008 Level: Fonds Extent: 3 boxes Name of creator: Theatre Archive Project Administrative / biographical history: Beginning in 2003, the Theatre Archive Project is a major reinvestigation of British theatre history between 1945 and 1968, from the perspectives of both the members of the audience and those working in the theatre at the time. It encompasses both the post-war theatre archives held by the British Library, and also their post-1968 scripts collection. In addition, many oral history interviews have been carried out with visitors and theatre practitioners. The Project began at the University of Sheffield and later transferred to De Montfort University. The archive at Sheffield contains 170 CD-ROMs of interviews with theatre workers and audience members, including Glenda Jackson, Brian Rix, Susan Engel and Michael Frayn. There is also a collection of copies of correspondence between Gyorgy Lengyel and Michel and Suria Saint Denis, and between Gyorgy Lengyel and Sir John Gielgud, dating from 1958 to 1999. Related collections: De Montfort University Library Source: Deposited by Theatre Archive Project staff, 2005-2009 System of arrangement: As received Subjects: Theatre Conditions of access: Available to all researchers, by appointment Restrictions: None Copyright: According to document Finding aids: Listed MS 349 THEATRE ARCHIVE PROJECT: ARCHIVE 349/1 Interviews on CD-ROM (Alphabetical listing) Interviewee Abstract Interviewer Date of Interview Disc no. -
1970-Pages.Pdf
the basis of the early returns they will be able to predict the BBC outcome for each of the results to come. And from that, they can Election 70 calculate how many seats each party is likely to have in the new Parliament. With the most com- The kind of humour the plicated election situation for biggest- years, the official result may not be known for certain until well that chills you as ever news into Friday. BBC Election 70 will pay special attention to the 100 Key operation Seats - the marginals whose re- you laugh The BBC is mounting its biggest- sults will decide who wins the Where was Spring?: Sunday 11.25 BBC2 Colour ever news-gathering operation to Election; 30 Target Seats where bring you the results of the 1970 the other parties could gain Somewhere in the rule book to 6.0 pm. For the last series they General Election. For the first ground on Labour; and 100 Top it says that satirists and managed 35 sketches in the space time, BBCtv and Radio and the Politicians' contests. Together makers of brittle, sophisti- of three weeks. Press Association are pooling they make up a total of 230 Seats cated comedy do not live They work in what seems, de- their resources to report all 630 To Watch. in castles. Country cottages in spite the diligent office hours, a declarations. In Election Studio The girls in Election Studio Essex is stretching it some, flats curious manner. John keeps a One at the BBCtv Centre Cliff One will be wearing a special in Chelsea are OK, and just maybe notebook in which ideas for Michelmore heads a 57-strong Election 70 dress designed by the a house up the Thames Valley - sketches are written down. -
©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. -
Proposed Changes to the BBC Iplayer Response to Ofcom’S Call for Evidence 1 Executive Summary
Proposed Changes to the BBC iPlayer Response to Ofcom’s Call for Evidence 1 Executive summary Ofcom’s BBC Competition Assessment (“BCA”) of the changes proposed to the BBC’s iPlayer is a significant undertaking, and the first major review of the BBC’s public service activities under the new regulatory framework overseen by Ofcom. It is therefore essential that Ofcom follows its procedures and conducts a robust and comprehensive assessment of the BBC’s proposals and procedures to demonstrate to all interested parties the effectiveness of the regime. Ofcom’s announcement that it intends to complete this BCA in half the ‘standard’ time does not give stakeholders confidence that its assessment will be sufficiently robust or comprehensive. A 10-day period for responses to this call for evidence has exacerbated that view. This is particularly the case when the BBC’s Public Interest Test (“PIT”) process was fundamentally flawed by its failure to consult appropriately with interested parties, as it is required to do, as a result of its refusal to adequately define the proposed changes to the iPlayer. The BBC continues to obfuscate by making ‘indicative’ proposals, and asking Ofcom to approve unrestricted, and unregulated future growth in the service as part of a ‘level playing field’ for the Licence Fee funded BBC. Ofcom’s first task must be to define the scope of the changes being assessed. Having done so, Sky is relying on it to consult further with stakeholders to obtain views on their impact on the market or send the proposals back to the BBC to re-take the PIT and allow the BBC to consult with industry.