Dr Brent's Casebook
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Michael Gaunt
MICHAEL GAUNT Tel/Fax: +44 (0)1483 771950 E-Mail: [email protected] ACTING Summary of roles from 1960 0nwards: FILM CREDITS INCLUDE: DIRECTOR ALL MEN ARE MORTAL Mayor of Rouen Nova Films Ate De Jong ROYAL CELEBRATION Neighbour BBC (Screen 2) Ferdinand Fairfax MAGGIE’S BABY Magistrate BBC (Screen 2) George Case T.V. CREDITS INCLUDE: VAN DER VALK Neighbour LWT Herbert Wise SOMEWHERE TO RUN Business man LWT Carol Wiseman NUMBER 27 Maitre’D BBC (Screen 2) Tristram Powell OSCAR WILDE (DE PROFUNDIS) Prison Doctor BBC Henry Herbert HAZELL (SUFFOLK GHOST) Peter Thames Mike Vardy BLAKE’S SEVEN (4 Episodes) Dr Bax BBC Vere Lorrimer JACKANORY (15 Stories) Story Teller BBC Anna Home/Jeremy Swan PREVIOUS T.V. CREDITS INCLUDE: LILLIE (JERSEY LILY) Lord Randolph Churchill LWT John Gorrie SWEETHEARTS Harold (Improvised) Anglia Peter Townley SOFTLY, SOFTLY (2 Series) Det Const Timms BBC Vere Lorrimer/ Roger Jenkins/ Leonard Lewis DIXON OF DOCK GREEN (2 Eps) Constable BBC Vere Lorrimer THE BROTHERS (2 Episodes) Bunny (Pilot) BBC Vere Lorrimer / Lenny Mayne HONEY LANE (2 Episodes) Antique dealer ATV Kevin Sheldon COUNTERSTRIKE News Reader BBC Vere Lorrimer REDCAP Lieutenant Corner ABC Guy Verney DIAL ‘M’ FOR MURDER Det Williams Redifusion John Moxey DEAD SILENCE(Armchair Theatre) Det Const Harris ABC John Moxey JAMIE Sir William Hewer LWT David Coulter THE HIGHER THEY FLY Perkins (Navigator) ABC Guy Verney (Armchair Theatre) HENRY VIII Cryer BBC Kevin Billington WRONG FOR FIVE HUNDRED Alex Prior ABC Ernest Maxin THE LINE MUST BE DRAWN Smith BBC Andrew -
The 100 Greatest Kids' TV Shows
The 100 Greatest Kids’ TV Shows UK TV compilation marathon : 2001 : dir. : Channel 4 : ? min prod: : scr: : dir.ph.: …………………………….……………………………………………………………………………… Guest pundits: Ref: Pages Sources Stills Words Ω 8 M Copy on VHS Last Viewed 5500 2.5 0 0 1,287 - - - - - No August 2001 Broadcast Channel 4: 27/08/01. The last few years of the 20th century presented the media with a perfect occasion to conduct their own ad hoc round-ups of the century’s most influential people, most important films, best popular music etc etc. So 2001 is perhaps a little soon to be dipping back into the same baskets, yet Channel 4 has strewn the year with surveys similar to this one (see for example “Top Ten Teen Idols”). One might think such retrospectives were a clear invitation to the over-25s to bask for a short while in the kind of programming they used to enjoy – a brief escape from a television saturated with material aimed at the apolitical, pill-popping post-Thatcherite generation, breast-fed on tabloid culture. Ah but no, Channel 4 are too shrewd for that. Their retrospectives are chiefly an opportunity for that same generation to thumb their noses at everything which preceded their own miraculous lives. And so it goes with this one. It’s some reflection on the value of their poll that the two programmes topping Channel 4’s list were not even children’s programmes anyway! – “The Muppet Show” (no.2) and “The Simpsons” (no.1) never purported to be made for kids, were never broadcast in children’s TV slots, and hence not surprisingly are best favoured by adults. -
Harold Pinter's Transmedial Histories
Introduction: Harold Pinter’s transmedial histories Article Published Version Creative Commons: Attribution 4.0 (CC-BY) Open Access Bignell, J. and Davies, W. (2020) Introduction: Harold Pinter’s transmedial histories. Historical Journal of Film, Radio & Television, 40. pp. 481-498. ISSN 1465-3451 doi: https://doi.org/10.1080/01439685.2020.1778314 Available at http://centaur.reading.ac.uk/89961/ 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/10.1080/01439685.2020.1778314 Publisher: Taylor & Francis 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 Historical Journal of Film, Radio and Television ISSN: 0143-9685 (Print) 1465-3451 (Online) Journal homepage: https://www.tandfonline.com/loi/chjf20 Introduction: Harold Pinter’s Transmedial Histories Jonathan Bignell & William Davies To cite this article: Jonathan Bignell & William Davies (2020): Introduction: Harold Pinter’s Transmedial Histories, Historical Journal of Film, Radio and Television To link to this article: https://doi.org/10.1080/01439685.2020.1778314 © 2020 The Author(s). Published by Informa UK Limited, trading as Taylor & Francis Group Published online: 18 Jun 2020. Submit your article to this journal View related articles View Crossmark data Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=chjf20 Historical Journal of Film, Radio and Television, 2020 https://doi.org/10.1080/01439685.2020.1778314 INTRODUCTION: HAROLD PINTER’S TRANSMEDIAL HISTORIES Jonathan Bignell and William Davies This article introduces the special issue by exploring the transmediality of Harold Pinter's work. -
Synesthetic Landscapes in Harold Pinter's Theatre
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2010 Synesthetic Landscapes in Harold Pinter’s Theatre: A Symbolist Legacy Graça Corrêa Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1645 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Synesthetic Landscapes in Harold Pinter’s Theatre: A Symbolist Legacy Graça Corrêa A dissertation submitted to the Graduate Faculty in Theatre in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2010 ii © 2010 GRAÇA CORRÊA All Rights Reserved iii This manuscript has been read and accepted for the Graduate Faculty in Theatre in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. ______________ ______________________________ Date Chair of Examining Committee Daniel Gerould ______________ ______________________________ Date Executive Officer Jean Graham-Jones Supervisory Committee ______________________________ Mary Ann Caws ______________________________ Daniel Gerould ______________________________ Jean Graham-Jones THE CITY UNIVERSITY OF NEW YORK iv Abstract Synesthetic Landscapes in Harold Pinter’s Theatre: A Symbolist Legacy Graça Corrêa Adviser: Professor Daniel Gerould In the light of recent interdisciplinary critical approaches to landscape and space , and adopting phenomenological methods of sensory analysis, this dissertation explores interconnected or synesthetic sensory “scapes” in contemporary British playwright Harold Pinter’s theatre. By studying its dramatic landscapes and probing into their multi-sensory manifestations in line with Symbolist theory and aesthetics , I argue that Pinter’s theatre articulates an ecocritical stance and a micropolitical critique. -
British Television's Lost New Wave Moment: Single Drama and Race
British Television’s Lost New Wave Moment: Single Drama and Race Eleni Liarou Abstract: The article argues that the working-class realism of post-WWII British television single drama is neither as English nor as white as is often implied. The surviving audiovisual material and written sources (reviews, publicity material, biographies of television writers and directors) reveal ITV’s dynamic role in offering a range of views and representations of Britain’s black population and their multi-layered relationship with white working-class cultures. By examining this neglected history of postwar British drama, this article argues for more inclusive historiographies of British television and sheds light on the dynamism and diversity of British television culture. Keywords: TV drama; working-class realism; new wave; representations of race and immigration; TV historiography; ITV history Television scholars have typically seen British television’s late- 1950s/early-1960s single drama, and particularly ITV’s Armchair Theatre strand, as a manifestation of the postwar new wave preoccupation with the English regional working class (Laing 1986; Cooke 2003; Rolinson 2011). This article argues that the working- class realism of this drama strand is neither as English nor as white as is often implied. The surviving audiovisual material and written sources – including programme listings, reviews, scripts, publicity material, biographies of television writers and directors – reveal ITV’s dynamic role in offering a range of representations of Britain’s black population and its relationship to white working-class cultures. More Journal of British Cinema and Television 9.4 (2012): 612–627 DOI: 10.3366/jbctv.2012.0108 © Edinburgh University Press www.eupjournals.com/jbctv 612 British Television’s Lost New Wave Moment particularly, the study of ITV’s single drama about black immigration in this period raises important questions which lie at the heart of postwar debates on commercial television’s lack of commitment to its public service remit. -
Wellingtonia Issue 7 : Second Quarter 2010 FREE ISSUE! Newsletter of the Wellington History Group, Rediscovering the Past of Wellington in Shropshire
Wellingtonia Issue 7 : Second Quarter 2010 FREE ISSUE! Newsletter of the Wellington History Group, rediscovering the past of Wellington in Shropshire EDITORIAL IN THIS ISSUE ****************** elcome to the latest issue Page of Wellingtonia, which 2. Admaston Home Guard (as usual) is packed with W 3. Taking the Plunge items of interest to everyone wanting to know more about the 4. My YM history of the Wellington area. 6. Izzy Whizzy So much has been happening 7. Brief Encounters recently that, at times, it’s difficult 8. John Houlston: to keep up with events. Whenever possible, we try to give Victorian Travel Agent information to the local Press 10. The French Connection without falling into the trap of 11. 14 Market Square creating ‘wishful thinking’ history: Is this Wellington’s Cultural 12. Location, Location it’s very easy to pass odd Icon of the Twentieth Century? 14. Rebuilding Britain comments which can be See page 6. misinterpreted or misconstrued, so 16. Workhouse Woes the best we can do is use these Below: Archaeologists Tim Malim 17. Furniture Adverts pages to set the record straight or (left) and Laurence Hayes resume 18. 100 Years Ago: 1910 give a more reasoned assessment excavations at the rear of Edgbaston 20. Announcements for a variety of features which House in Walker Street. Many more Contact Details have been uncovered. finds have been recovered, including Two areas worth a special these animal bones (bottom right). mention are the further excavations of the garden behind Edgbaston House which continues to yield remarkable finds, and recent refurbishment work at 14 Market Square, where stonework and timber carvings present us with challenges in interpretation. -
The Navy Lark: Helen, the New Wren Volume 29 : Four Episodes of the Classic Bbc Radio Comedy Pdf, Epub, Ebook
THE NAVY LARK: HELEN, THE NEW WREN VOLUME 29 : FOUR EPISODES OF THE CLASSIC BBC RADIO COMEDY PDF, EPUB, EBOOK Lawrie Wyman | 1 pages | 19 Feb 2015 | BBC Audio, A Division Of Random House | 9781785290138 | English | London, United Kingdom The Navy Lark: Helen, the New Wren Volume 29 : Four Episodes of the Classic BBC Radio Comedy PDF Book Please enter a number less than or equal to 4. Actress Castle. Trevor Hill producer of The Sooty Show saw them there and gave them their own BBC television series, featuring the pigs in both string and glove puppet form, manipulated by Jan and Vlasta. Welles 1 H. See terms. Will ship within 4 business days of receiving cleared payment. She has been acting since the age of 13, appearing in a number of British television programmes. Elliot dramatization Added:. This item will be shipped through the Global Shipping Program and includes international tracking. Actress Malibu Country. I Quit! Actress We Bought a Zoo. Best known as a swimsuit model for Sports Illustrated Hidden categories: Episode lists with incorrectly formatted alternate air dates Episode lists with non-compliant line colors Articles using Template:Episode table with invalid colour combination Episode lists with unformatted air dates. Visit store. The master recording was apparently wiped, but co-writer Snoad kept a copy which he later returned to the BBC. For seven years, Galton and Simpson wrote every word uttered by Hancock, a difficult and touchy man who embraced the illusion that he could do better than his writers, and parted company with them. While providing musical interludes with his "talking harmonica" during the entire run of the radio comedy Educating Archie , featuring the ventriloquist Peter Brough and his doll, Chesney met Ronald Wolfe, who joined the show as a scriptwriter in The Werewolf phenomenon is as old as the history of mankind. -
NA338412 Alice Book
THE Lewis Carroll COMPLETE ALICE’S ADVENTURES TEXT IN WONDERLAND UNABRIDGED Read by David Horovitch, Jo Wyatt and full cast JUNIOR CLASSICS NA338412D 1 All in the golden afternoon… 2.20 2 Chapter 1 Down the Rabbit-Hole 13:53 3 Chapter 2 ‘Curiouser and curiouser!’ 13:52 4 Chapter 3 A Caucus-Race 11:12 5 Chapter 4 The Rabbit Sends in 17:26 6 Chapter 5 Advice from a Caterpillar 14:28 7 Chapter 6 Pig and Pepper 17:02 8 Chapter 7 A Mad Tea-Party 15:03 9 Chapter 8 The Queen’s Croquet-Ground 6:10 10 Chapter 9 The Mock Turtle’s Story 16:00 11 Chapter 10 The Lobster Quadrille 10:23 12 Chapter 11 Who Stole the Tarts? 11:33 13 Chapter 12 Alice’s Evidence 14:57 Total time: 2:44:19 2 Lewis Carroll ALICE IN WONDERLAND ‘I sent my heroine down a rabbit-hole... later when, as an adult, he would excel at without the least idea what was to happen inventing fantasy worlds for an audience of afterwards,’ said Lewis Carroll when children. describing the origins of Alice’s Adventures in In 1846 Charles became a boarder at Wonderland. In fact what did eventually Rugby School, an experience he did not much happen was that this story and its sequel, enjoy. He disliked the sports which the school Through the Looking-Glass, became two of encouraged, although he did shine the most famous and well-loved stories in academically. Consequently his education was English literature. continued at Christ Church, Oxford, where he Lewis Carroll’s real name was Charles studied mathematics and classics. -
Fun in Brum May Half Term Holiday 26/05/2018 to 03/06/2018
Fun in Brum May Half Term Holiday 26/05/2018 to 03/06/2018 Safeguarding Statement This list of events has been compiled by the Early Years Service for information only. It is up to the parent/carer to decide what is most appropriate for their child. Please note that some of the events listed in this booklet are organised by third parties and neither the Early Years Service nor Birmingham City Council take responsibility if any of these events are cancelled or changed. Please note the information has been gathered to support parents/carers in accessing activities for children and that Birmingham City Council does not in any way recommend or endorse any of the organisations other than services directly delivered by the council. It is the responsibility of parents/carers to carry out their own checks and to feel completely satisfied with the safety of their child and the quality of the service offered. Early Years Service P.O. Box I6453, Lancaster Circus, Birmingham B2 2ZJ 0121 216 3514/464 4437 Email: [email protected] Fun in Brum Welcome to the latest edition of Fun In Brum produced by the Early Years Service. We hope you find the information useful. There are loads of exciting things to do for all the family and some of them are totally free. We have added contact details of Birmingham Libraries which often run activities during school holidays. The activities are listed in date order. Fun for All This edition contains a wide range of activities including some for disabled children and young people up to the age of 19 in some cases. -
British Film Institute Report & Financial Statements 2006
British Film Institute Report & Financial Statements 2006 BECAUSE FILMS INSPIRE... WONDER There’s more to discover about film and television British Film Institute through the BFI. Our world-renowned archive, cinemas, festivals, films, publications and learning Report & Financial resources are here to inspire you. Statements 2006 Contents The mission about the BFI 3 Great expectations Governors’ report 5 Out of the past Archive strategy 7 Walkabout Cultural programme 9 Modern times Director’s report 17 The commitments key aims for 2005/06 19 Performance Financial report 23 Guys and dolls how the BFI is governed 29 Last orders Auditors’ report 37 The full monty appendices 57 The mission ABOUT THE BFI The BFI (British Film Institute) was established in 1933 to promote greater understanding, appreciation and access to fi lm and television culture in Britain. In 1983 The Institute was incorporated by Royal Charter, a copy of which is available on request. Our mission is ‘to champion moving image culture in all its richness and diversity, across the UK, for the benefi t of as wide an audience as possible, to create and encourage debate.’ SUMMARY OF ROYAL CHARTER OBJECTIVES: > To establish, care for and develop collections refl ecting the moving image history and heritage of the United Kingdom; > To encourage the development of the art of fi lm, television and the moving image throughout the United Kingdom; > To promote the use of fi lm and television culture as a record of contemporary life and manners; > To promote access to and appreciation of the widest possible range of British and world cinema; and > To promote education about fi lm, television and the moving image generally, and their impact on society. -
Memory, Nostalgia and the Material Heritage of Children’S Television in the Museum
volume 8 issue 15/2019 MEMORY, NOSTALGIA AND THE MATERIAL HERITAGE OF CHILDREN’S TELEVISION IN THE MUSEUM Amy Holdsworth University of Glasgow 9 University Avenue, Glasgow, G12 8QQ United Kingdom [email protected] Rachel Moseley University of Warwick Department of Film and Television Studies Millburn House, Coventry, CV4 7HS United Kingdom [email protected] Helen Wheatley University of Warwick Department of Film and Television Studies Millburn House, Coventry, CV4 7HS United Kingdom [email protected] Abstract: ‘The Story of Children’s Television, from 1946 to Now’ was an exhibition co-conceived by the authors and colleagues from the Herbert Art Gallery and Museum in Coventry, UK, running from 2015 to 2017 through a national tour. At the exhibition, objects from children’s television history sat alongside screens showing the programmes to visitors. Our research explores how children’s television culture operates as a site of memory and nostalgia, through which we can investigate forms of (inter)generational cultural memory. This paper explores the reconnections and disconnections that emerge in encounters with the material heritage of children’s television in Britain. Keywords: television, history, children, museums, exhibitions 1 A. Holdsworth et al., Memory, Nostalgia and the Material Heritage of Children’s Television in the Museum Figure 1. Two women encounter Rosie and Jim puppets at the exhibition The Story of Children’s Television Exhibition (May 2015) © Mark Radford Photography. A woman stands in front of a Perspex box containing three large puppets. Her hand clasped to her face with joy and excitement, she appears to be overwhelmed by a reunion with three long-lost friends. -
Missing Believed Wiped Has Showcased Rediscovered Television Material Returned to the Archives Via Kaleidoscope, the Classic TV Archive Based in Birmingham
Left to Right: Morecambe and Wise: Be Wise When Driving (1963), Pipkins: Snapshots (ITV, 1980), Ivor The Engine: Mr Brangwyn’s Box (ITV, 1963), The Séance (BBC, 1978) Press Release Embargoed until: 00:00, 6 August 2018, London. For more than 2 decades the BFI’s Missing Believed Wiped has showcased rediscovered television material returned to the archives via Kaleidoscope, the classic TV archive based in Birmingham. 2018 marks the 30th anniversary of the organization. To celebrate this special milestone and long term partnership with the BFI, Missing Believed Wiped has handed the reins over to Kaleidoscope to programme this 2 part summer special at BFI Southbank on 11 August. Reflecting on their 30th birthday, Chris Perry, Kaleidoscope CEO, commented, “For 30 years we have been finding lost television. Today is a great opportunity to showcase the many finds made since 1988, which have included The Avengers, Crossroads, Out of the Unknown, The Likely Lads and Top of the Pops.” Screening a wealth of screen rarities and rediscoveries from the archives as well as presenting Kaleidoscope’s latest exciting finds, this curated programme will include a previously unknown 1963 Morecambe and Wise public information film, one of the earliest drink drive campaign films, and lost episodes of classic children’s television including early Ivor the Engine in black and white and an episode of Pipkins, starring Hartley Hare. Missing Believed Wiped audiences are also in for a rare treat with the first public screening of The Séance, a ‘lost’ untransmitted 1978 single drama from acclaimed playwright Jack Rosenthal (Yentl, The Lovers), directed by Renny Rye.