A Life Less Ordinary’
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
'The Enduring Relevance of Newspapers Speech to the Society of Editors
‘The Enduring Relevance of Newspapers Speech to the Society of Editors - Tuesday 20 October 10am. David Dinsmore, Chief Operating Officer, News UK CHECK AGAINST DELIVERY Good morning. I have a confession to make. I’m in therapy. It has been about 40 hours now since I witnessed Scotland lose to Australia in the dying moments on Sunday. I’ve no idea what it was like to be a neutral, but it is many years since I have heard the whole of Murrayfield chanting Scotland Scotland as one – and I don’t think we’ve ever heard that particular roar at Twickenham. For 80 glorious minutes, those bloody chariots were impounded in a secure facility somewhere off the M4. It was a magnificent day. It was an incredible story. For a moment we dreamed: were off to face Argentina in the semis…we could have them…and then you’re just a noravirus outbreak in the All Black dressing room from winning the World Cup. It was not to be. But what a day. What a story. And after tuning into non-stop abuse on social media, I quickly graduated to newspapers and their websites. What were the pundits saying? Why had the South African referee Craig Joubert got it so wrong? Why hadn’t he used the TMO (turns out he was right not to, but I needed a newspaper to clear it up for me), why had he run off the pitch like a scalded cat, not shaking a single player’s hand in the process? Why is it so hard being Scottish? Then I came across this snippet of brilliance from my colleagues on The Daily Telegraph in Sydney – the cheeky bastards had made Joubert man of the match. -
Sir Alan Parker Donates Working Archives to Bfi
SIR ALAN PARKER DONATES WORKING ARCHIVES TO BFI l-r: Sir Alan Parker with Madonna on set of Evita; with Mickey Rourke on Angel Heart; directing an Oliver Twist commercial; demonstrating custard pie technique on Bugsy Malone. Credit: BFI National Archive Friday 24th July 2015, London. Sir Alan Parker, one of Britain’s most distinguished filmmakers has donated his entire working archive to the BFI National Archive. The collection covers over 45 years of filmmaking, from his early work as a commercials director for television, through to his career as an internationally renowned, award-winning director of some of the finest films of the period, from Bugsy Malone (1976) and Midnight Express (1978) to Mississippi Burning (1988) and Angela’s Ashes (1999) interspersed with a string of hugely popular musicals including Fame (1980), Pink Floyd - The Wall (1982), The Commitments (1991) and Evita (1996). To celebrate the donation, BFI Southbank will host a Focus On Sir Alan Parker from 24 September to 4 October, including a special on stage event, Sir Alan Parker and Lord Puttnam Unplugged, on 24 September, and an exhibition of his work. The Sir Alan Parker archive covers every period of his career, starting with his work as an advertising copywriter. All of his features are represented, with a wealth of scripts, production papers, promotional materials, posters and Parker’s own filmmaking diaries, offering a hugely important resource for students of film and television. The archive also includes a particularly rich collection of photographs and production stills, by photographers including Greg Williams, Mary Ellen Mark, Terry O'Neill and David Appleby, documenting his films to an exceptional degree. -
Culture Wars in the Media
Culture Wars in the Media Mr Dean, ladies and gentlemen. Thank you for your kind introduction and your invitation to join such an august line of guest speakers. What a pleasure it is to be here this evening, though it is a pleasure tinged with trepidation. I worry that those who work in the media have quite enough opportunity to be heard without being granted this storied platform further to inflict their views on others. I’m conscious – as we meet here this evening in a forum of ethical discussion - that journalists tend to rush for the story rather than pause too long to consider its ramifications. And, amid this accelerated news cycle, I am slightly worried that we may be losing another prime minister as we sit here. But as I stared at the big quote in a Guardian article, I was reminded that there is a conversation that needs to be addressed. “I’ve given up watching the news,” said a 60-something man in the Guardian piece. “It’s all lies.” Oh, come on. Given up? Really? Stopped when we have moved from all that theoretical stuff to pure theatrical drama? Stopped in the middle of the fallout from the Supreme Court decision. Stopped with a beleaguered prime minister on both the wrong side of the Atlantic and the wrong side of the law? We’ve always had room for different interpretations of the news. A divergence of political view is manifest in the reaction to almost every news story. Observers have always interpreted things in accordance with their underlying philosophy. -
DECEMBER 2012 GIFTS (RECEIVED) OVER £140 Prime
PRIME MINISTER QUARTERLY TRANSPARENCY INFORMATION OCTOBER – DECEMBER 2012 GIFTS (RECEIVED) OVER £140 Prime Minister, The Rt Hon David Cameron MP Date gift From Gift Value Outcome received October President of the Oil painting Over Held by Department 2012 Republic de Cote limit d'Ivoire October President of Yemen Jewellery Over Held by Department 2012 limit October David McGill Whisky Over Held by Department 2012 limit October President-elect of Coins Over Held by Department 2012 Mexico limit November King of Saudi Arabia Jewellery, Over Held by Department 2012 ornament, limit watch November President of the Ornament Over Held by Department 2012 Republic of Indonesia limit November Amir of Kuwait Watch, coins Over Held by Department 2012 and ornament limit December Ambassador of Hamper Over Used for official 2012 Sultanate of Oman limit entertainment December Ambassador of the State Wine and Over Used for official 2012 of Qatar spirits limit entertainment December Sultan of Brunei Hamper Over Used for official 2012 limit entertainment December President of the Council Hamper Over Used for official 2012 of Ministers of the limit entertainment Lebanese Republic GIFTS (GIVEN) OVER £140 Prime Minister, The Rt Hon David Cameron MP Date gift From Gift Value given Nil Return HOSPITALITY1 Prime Minister, The Rt Hon David Cameron MP Date Name of Organisation Type of Hospitality Received 15 United Jewish Israel Appeal Dinner October 2012 29 Pride of Britain Awards Dinner October 2012 12 Lord Mayor’s Banquet Dinner November 2012 6 Sun Military Awards Reception December 2012 1 Does not include attendance at functions hosted by HM Government or the Royal Household; attendance at ‘diplomatic’ functions in the UK or abroad, hosted by overseas governments; minor refreshments and offers of hospitality which were declined. -
Press Freedom Under Attack
LEVESON’S ILLIBERAL LEGACY AUTHORS HELEN ANTHONY MIKE HARRIS BREAKING SASHY NATHAN PADRAIG REIDY NEWS FOREWORD BY PROFESSOR TIM LUCKHURST PRESS FREEDOM UNDER ATTACK , LEVESON S ILLIBERAL LEGACY FOREWORD EXECUTIVE SUMMARY 1. WHY IS THE FREE PRESS IMPORTANT? 2. THE LEVESON INQUIRY, REPORT AND RECOMMENDATIONS 2.1 A background to Leveson: previous inquiries and press complaints bodies 2.2 The Leveson Inquiry’s Limits • Skewed analysis • Participatory blind spots 2.3 Arbitration 2.4 Exemplary Damages 2.5 Police whistleblowers and press contact 2.6 Data Protection 2.7 Online Press 2.8 Public Interest 3. THE LEGISLATIVE FRAMEWORK – A LEGAL ANALYSIS 3.1 A rushed and unconstitutional regime 3.2 The use of statute to regulate the press 3.3 The Royal Charter and the Enterprise and Regulatory Reform Act 2013 • The use of a Royal Charter • Reporting to Parliament • Arbitration • Apologies • Fines 3.4 The Crime and Courts Act 2013 • Freedom of expression • ‘Provided for by law’ • ‘Outrageous’ • ‘Relevant publisher’ • Exemplary damages and proportionality • Punitive costs and the chilling effect • Right to a fair trial • Right to not be discriminated against 3.5 The Press Recognition Panel 4. THE WIDER IMPACT 4.1 Self-regulation: the international norm 4.2 International response 4.3 The international impact on press freedom 5. RECOMMENDATIONS 6. CONCLUSION 3 , LEVESON S ILLIBERAL LEGACY 4 , LEVESON S ILLIBERAL LEGACY FOREWORD BY TIM LUCKHURST PRESS FREEDOM: RESTORING BRITAIN’S REPUTATION n January 2014 I felt honour bound to participate in a meeting, the very ‘Our liberty cannot existence of which left me saddened be guarded but by the and ashamed. -
A Better Death in a Digital Age: Post
Publishing Office Aims and scope Abramis Academic ASK House Communication ethics is a discipline that supports communication Northgate Avenue practitioners by offering tools and analyses for the understanding of Bury St. Edmunds ethical issues. Moreover, the speed of change in the dynamic information Suffolk environment presents new challenges, especially for communication IP32 6BB practitioners. UK Tel: +44 (0)1284 700321 Ethics used to be a specialist subject situated within schools of philosophy. Fax: +44 (0)1284 717889 Today it is viewed as a language and systematic thought process available Email: [email protected] to everyone. It encompasses issues of care and trust, social responsibility and Web: www.abramis.co.uk environmental concern and identifies the values necessary to balance the demands of performance today with responsibilities tomorrow. Copyright All rights reserved. No part For busy professionals, CE is a powerful learning and teaching approach that of this publication may be reproduced in any mate- encourages analysis and engagement with many constituencies, enhancing rial form (including pho- relationships through open-thinking. It can be used to improve organization tocopying or storing it in performance as well as to protect individual well-being. any medium by electronic means, and whether or not transiently or incidentally Submissions to some other use of this Papers should be submitted to the Editor via email. Full details on submission – publication) without the along with detailed notes for authors – are available online in PDF format: written permission of the www.communication-ethics.net copyright owner, except in accordance with the provisions of the Copyright, Subscription Information Designs and Patents Act Each volume contains 4 issues, issued quarterly. -
Media Education Journal – Autumn/Winter 2004/5 ‘Invisible Journalists’ by Jenny Mckay, University of Stirling [email protected]
Media Education Journal – Autumn/Winter 2004/5 ‘Invisible Journalists’ by Jenny McKay, University of Stirling [email protected] If you go into a newsagent to buy a magazine you’re likely to find around 450 titles to choose from. If you shop at one of the bigger supermarkets there might even be as many as 800. Yet this still represents only a small selection of the total number of magazines published in the UK. That figure is about 8,500 and can’t be precise because every year another 500 or so titles are launched. Some disappear too but the fact is that the UK has a large and lively periodicals industry publishing a huge range of titles to expanding audiences at home and abroad. These audiences tend to trust what they read in their magazines more than they trust their newspapers. Millions of magazines are sold weekly and almost everyone reads or buys one, or more likely several, at least on an occasional basis. This year saw the birth of two magazines which additionally represent the birth of a sector. Zoo and Nuts have found their young male readers and look set to thrive thanks, partly, to their multi-million pound launch budgets (£8.5m and £8m respectively) but also to the skill of their publishers in manipulating consumers into changing their behaviour. So now the UK has a men’s weekly magazine market that didn’t exist before, and that is ‘bursting with potential’ according to Sylvia Auton, chief executive of IPC Media which publishes Nuts. -
Open PDF 120KB
Written evidence submitted by Professor Robert Beveridge FRSA The Digital Culture, Media and Sport Select Committee Inquiry into the Impact of Covid-19 on the DCMS Sector 1 What has been the immediate impact of Covid-19 on the sector? Devastating: especially in relation to the live creative arts, festivals, theatres, classical music etc. To quote the motto of the English monarch Edward III, ‘it is as it is’ but the sight of theatres going into administration eg the Leicester Haymarket and the Southampton Nuffield is a harbinger of worse to come. Who knows what will happen to venues and concert halls such as the Usher Hall in Edinburgh? If there is one area in which the UK can truly be said to have punched above it’s weight and established and maintained world class excellence, both critically and commercially, it is in the creative industries. This internationally recognised success –economic, cultural and artistic is now at severe risk. HMG has invested, (who knows how much?) in maintaining employment in the car industry in the North East of England so that Nissan can stay there. The creative industries deserve no less, indeed much more and investment now will secure many more jobs across the UK with wider benefits well beyond the economic. Taking the long view will produce future income in taxation from the many other businesses which benefit from having such a vibrant sector: hotels, restaurants, transport etc. Edinburgh hosts the largest are festival in the world, by some margin and it will not take place in 2020. The analysis provided by the Creative Industries Federation indicates the scale of current crisis. -
Not Showing at This Cinema
greenlit just before he died, was an adaptation of A PIN TO SEE THE NIGHT Walter Hamilton’s 1968 novel All the Little Animals, exploring the friendship between a boy and an THE PEEPSHOW CREATURES old man who patrols roads at night collecting the Dir: Robert Hamer 1949 Dir: Val Guest 1957 roadkill. Reeves prepared a treatment, locations Adaptation of a 1934 novel by F. Tennyson Jesse Robert Neville is the last man on earth after a were scouted and Arthur Lowe was to play the about a young woman wrongly convicted as an mysterious plague has turned the rest of the lead. Thirty years later the book was adapted for accomplice when her lover murders her husband; a population into vampires who swarm around his the screen and directed by Jeremy Thomas starring thinly fictionalised account of Edith Thompson and house every night, hungering for his blood. By day, John Hurt and Christian Bale. the Ilford Murder case of 1922. With Margaret he hunts out the vampires’ lairs and kills them Lockwood in the lead, this was something of a with stakes through the heart, while obsessively dream project that Robert Hamer tried to get off searching for an antidote and trying to work out the ground at Ealing. Despite a dazzling CV that the cause of his immunity. Richard Matheson wrote ISHTAR includes the masterpiece Kind Hearts and Coronets the screenplay for The Night Creatures for Hammer Dir: Donald Cammell 1971-73 (1949), Hamer was unable to persuade studio Films in 1957 based on his own hugely influential The co-director of Performance (1970), Cammell boss Michael Balcon to back the project. -
Alison Phillips Editor, Daily Mirror Media Masters – September 26, 2018 Listen to the Podcast Online, Visit
Alison Phillips Editor, Daily Mirror Media Masters – September 26, 2018 Listen to the podcast online, visit www.mediamasters.fm Welcome to Media Masters, a series of one to one interviews with people at the top of the media game. Today, I’m here in Canary Wharf, London, and at the offices of the Daily Mirror, joined by their editor in chief, Alison Phillips. Previously in charge of the Sunday Mirror and Sunday People, she was also launch editor of New Day, the short-lived newspaper, in 2016. She also leads on addressing gender imbalance at Mirror publisher Reach, heading up their Women Together network, and is this year’s Society of Editor’s popular columnist of the year. Alison, thank you for joining me. Hi. Alison, you were appointed in March. It must have been an incredibly proud moment for you, how is it going? It’s going really well, I think. I hope. It’s been a busy few months, because obviously Reach has bought the Express as well, so there have been a lot of issues going on. But in terms of the actual paper at the Mirror, I hope, I feel, that we’re reaching a point of sustained confidence, which is so important for a paper. We’ve had some real success on campaigns, which I think is really our lifeblood. And I think we’re managing to energise the staff, which is absolutely essential for a well-functioning newspaper. Is it more managerial at the moment with the organisational challenges that you’ve been dealing with? Because you must, as the leader of the business, as the editor, you’ve got so many things you could be doing, you’ve got to choose, having to prioritise. -
Introduction
INTRODUCTION This study guide attempts to trace the production process o1 the forthcoming film War of the Buttons' from its Conception to its release in the cinema. In tracing this route students are asked to carry out a number of tasks, many of which relate directly to decisions which have to be made during film production. Following the development of this one film we have tried to draw conclusions about the mainstream film making process. However, it is important to bear one thing in mind. As the production accountant for 'War of the Buttons', John Trehy points out: "Each and every feature film I've worked on is completely different from every other, and can only be looked on a as prototype. The production process is always difficult when you're dealing with prototypes and this often explains why so many films exceed their original budgets. 'How can you be a million or two dollars over?' - is a question that is often asked. The reason is that certain kinds of films are unique and the production team must do things that have never been done before." Thus, whilst many of the processes which are dealt with in this guide could well hold good for other films, there are certain aspects which are unique. The guide examines both areas and encourages students to use their own experience of film viewing and cinema-going to explore both the generalities and the uniqueness. There is no attempt to show 'the wonderful world of filmmaking'; rather the guide reveals an industrial process, one in which the time spent on preparing for the film to be shot far outweighs the amount of time actually spent shooting. -
Family Friendly?
EDITORIAL CHILDREN 3 | Editors’ letter 23 | A solid start Phoebe Arslanagic-Wakefield and Ben Lewing Joseph Silke 24 | Levelling up begins in the early years 4 | Director’s note Joanne Cash Ryan Shorthouse 25 | No child left behind 5 | Letters to the Editors Anne Longfield OBE 26 | The changing face of early childhood CHANGING FAMILIES Carey Oppenheim and 6 | A post-COVID caring revolution Jordan Rehill Sam Smethers POLITICS 7 | How have families changed? 28 | Bright Blue supporter Lord Willetts Graham Simpson MSP 8 | Learn to commit or quit 29 | Tamworth Prize 2020 winner Harry Benson Ollie Tinker 10 | Has liberalism eroded the family? 30 | Research update Peter Hitchens and Polly Mackenzie Joseph Silke FAMILIES AND THE STATE REVIEWS 13 | Stopping the rise in domestic abuse 31 | Remaking one nation Victoria Atkins MP By Nick Timothy Contents 14 | Crime is killing our capital Ryan Shorthouse Susan Hall AM 32 | TV 15 | Net failure The Mandalorian Miatta Fahnbulleh Joseph Silke 16 | Fewer births shouldn’t worry us 33 | Film Robin Maynard Bright Blue is the independent The Farewell think tank and pressure group INTERVIEW Alex Griffiths for liberal conservatism. 18 | Jesse Norman MP 34 | Climate change and the nation state Director: Ryan Shorthouse Phoebe Arslanagic-Wakefield and By Anatol Lieven Chair: Sarah Sands Joseph Silke Patrick Hall Board of Directors: Rachel Johnson, Alexandra Jezeph, Diane Banks, Phil Clarke & Richard Mabey Editors: Phoebe Arslanagić-Wakefield and Joseph Silke Design: Joseph Silke Cover design: Chris Solomons brightblue.org.uk