DOCSLIB.ORG

'But Where on Earth Is Home?' a Cultural

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
'But Where on Earth Is Home?' a Cultural View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Portsmouth University Research Portal (Pure) ‘BUT WHERE ON EARTH IS HOME?’ A CULTURAL HISTORY OF BLACK BRITAIN IN 1970s FILM AND TELEVISION Sally Shaw This thesis is submitted in partial fulfilment of the requirements for the award of the degree of Doctor of Philosophy of the University of Portsmouth [Volume 1] September 2014 DECLARATION Whilst registered as a candidate for the above degree, I have not been registered for any other research award. The results and conclusions embodied in this thesis are the work of the named candidate and have not been submitted for any other academic award. Word Count: 89799 words ABSTRACT This thesis adopts an interdisciplinary approach in order to explore the social and cultural history of black Britain in 1970s fictional film and television. It draws on rigorous archival research, original interview testimony with practitioners and audience members, and close textual analysis of visual sources, in order to examine relations between black film and television texts and the social, political and institutional contexts of their authorship. The key focus of my study is therefore on black creative agency. Whilst prior studies have addressed black expression and representation in film and television, few have attempted to trace the process of creativity itself. My study uniquely traces the black creative voice in an historical period of emergence and conflict, and endeavours to ‘map’ it in terms of networks of (white and black) practitioners, the spaces of industrial production and the metaphorical, geographical and diasporic spaces of community and socio-political action. The thesis is structured in two parts. In Part 2, my ‘mapping’ encompasses a broad landscape – I ‘map the field’ socio-politically and then provide a survey of the significant range of feature films and television programmes concerned with black Britain in the 1970s. I then present three case studies. These are chosen for their variety of genre and form, for the valuable insights they offer into production and reception histories, and because they demonstrate the usefulness of the imaginative interpretation of archival and interview material in reappraising film and television texts in their historical contexts. In Part 3, I then draw on this methodological approach in order to ‘map’ the creative journey of the poet and playwright Jamal Ali, who worked in radical black theatre, film and television in the 1970s. Ali’s story provides an exemplar for the exploration of black creative agency in this period. Furthermore, the Brixton of Ali’s life and work is explored both as a site of socio- political struggle and as a liminal space in which diasporic community and black identity are imaginatively located. DISSEMINATION Publications Shaw, S. Screening black political struggle on 1970s British Television: the case of the ‘Play for Today’ A Hole in Babylon (Ové, 1979, BBC). Historical Journal of Film, Radio and Television. (forthcoming 2015) Shaw, S. (2012). A ‘country boy’ migrates to Brixton – re-examining agency, identity and memory in and through Black Joy. Crossings: Journal of Migration and Culture, 3 (2), 271-282. Shaw, S. (2012). ‘Light Entertainment as Contested Socio-political Space: Audience and Institutional Responses to Love Thy Neighbour. Critical Studies in Television, 7 (1), 64-78. Shaw, S. (2012). ‘Picking up the Tab’ for the Whole Black Community?: Industrial, Social and Institutional Challenges as Exemplified in Babylon. In S. Harper and J. Smith (Eds.), British Film Culture in the 1970s – The Boundaries of Pleasure (pp.75-84). Edinburgh: Edinburgh University Press Ltd. Presentations From radical black theatre production to television adaptation: Black Feet in the Snow (Skilton, 1974, BBC2). Screen Plays: Theatre Plays on British Television, University of Westminster, (forthcoming 19-20 February 2015). ‘I actually shot it on location at the Knightsbridge Spaghetti House’ – depicting black politicised spaces in A Hole in Babylon (Ove, 1979, BBC). Spaces of Television International Conference, University of Reading, 18-20 September 2013. ‘We are an exile race’: Exploring Diasporic ‘Narratives of Displacement’ in and through the Traces of Jamal Ali’s poetry and plays. British Comparative Literature Association XIII International Conference Migration, University of Essex, 8-11 July 2013. ‘Radical black theatre performance and television space: Black Feet in the Snow (1974, BBC)’, Performance and Television Space, University of Glamorgan, 20 April 2012. The ethics of the interview, Research Ethics Showcase, Graduate School, University of Portsmouth, 26 March 2013. ‘Holler back at the screen’ – Memory and identity in audience responses to Black Joy’ Annual Inter-Centre Postgraduate Symposium, University of Portsmouth, 18 May 2011. ‘Light Entertainment’ as contested socio-political space: audience and institutional responses to Love Thy Neighbour’,The Politics of Television Space, University of Leicester, 8 April, 2011. ‘Capturing images but losing voices? – Uncovering the hidden history of Black Joy’, Lambeth Archives Open Day, Lambeth Archives, Brixton, 25 September 2010. ‘Spend a night out in Brixton’ – The 1970s ghetto tourism of Black Joy and the lost voice of Jamal Ali’, Lost London: Explorations of a Dark Metropolis, Sheffield Hallam University, 14-15 June 2010. ‘It’s about blacks but it’s not a black movie’. Racial tension and the film producer – Gavrik Losey and Babylon’, Centre for European and International Studies Postgraduate Study Day, University of Portsmouth, 13 May, 2009. ‘God is a white man: Representations of the fragmentation of religion and belief systems in Babylon, Pressure and A Hole in Babylon’, 1970s British Culture, University of Portsmouth, 1-3 July 2008. ACKNOWLEDGEMENTS A good number of people have helped me during the period of my research. My PhD supervisor, Justin Smith has been amazing in his level of support, guidance, kindness and rigorous attention to detail. I simply cannot thank him enough. I would also like to thank Sue Harper for her help and support over the years, not least in giving me the opportunity to undertake this project in the first place. I am deeply grateful for the support of all my friends and colleagues in SCAFM. Graham Spencer, Stephen Harper, Trudy Barber, Van Norris, Lincoln Geraghty, Mike O’Neill, Ieuan Franklin, Esther Sonnet, Sophia Wood, Rebecca Janiker, Emma Austin, John Caro, Laurie Ede and Simon Hobbs have provided wise and cheerful counsel on numerous occasions, as have many other members of the department. I was lucky enough to share an office with Saer Ba, who was generous with his ideas and provided much inspiration. I would also like to thank Imogen Jeffrey, whose kindness and efficiency has smoothed my path on many an occasion. Quite simply, it has been a joy to work in such a vibrant and friendly school. I owe a huge debt of gratitude to my very dear friends Sian Barber, Patti Gaal- Holmes and Mick Morris, all of whom gave me constant support and encouragement throughout this process. I also wish to thank my husband David Carpenter, who has helped and supported me in ways too numerous to mention. Thanks must also go to my Dad and Sandra, both of whom showed me a good deal of generosity and kindness, especially during the busy final months of this project. Finally, I would like to thank my interviewees, Anthony Simmons, Graham Benson, Horace Ové, Jamal Ali, Peter Ansorge, Michael and Stacy, for their time and generosity. DEDICATION For my wonderful grandmother, Barbara Brackley. CONTENTS TO VOLUME ONE PART 1 - INTRODUCTION 1.1 Introduction 1 1.2 Sources 10 1.3 Methodology and Structure 24 PART 2 - MAPPING THE FIELD 2.1 Mapping the field 1: Socio-political context 41 2.2 Mapping the field 2: A survey of black film and television 66 2.3 Case Study 1: Love Thy Neighbour 108 2.4 Case Study 2: Babylon 126 2.5 Case Study 3: A Hole in Babylon 143 PART 3 – BLACK AGENCY AND EXPRESSION AND ITS CROSS-MEDIA ADAPTATION: AN EXTENDED CASE STUDY ON JAMAL ALI Introduction to Part 3 163 3.1 Background, biography and theatre 164 3.2 From stage to television: Black Feet in the Snow 190 3.3 From stage to feature film: Black Joy 218 3.4 ‘Bringing it all back home’: Black Joy comes to Brixton 250 CONCLUSION 277 Bibliography (Books and Journals) 300 Bibliography (Archival Sources) 309 Bibliography (Interviews) 315 Bibliography (Film) 316 Bibliography (Television) 318 Bibliography (Stage Plays) 320 1 PART 1 – INTRODUCTION Introduction This work is the result of my involvement with an AHRC-funded project on British cinema of the 1970s at the University of Portsmouth (2006-2009). This project fostered my interest in black British cinema and television of the period, for which I subsequently received an AHRC (open-competition) doctoral studentship award. This study is a social and cultural history of black Britain in 1970s film and television. As such it examines relations between black film and television texts and the social, political and institutional contexts of their authorship. The primary focus of my study is on black creative agency. The question that is posed throughout this thesis is: what happened to black creative agency in what was a politically contested arena? ‘But where on earth is home?’ is a quote from Jamal Ali’s 1972 play Black Feet in the Snow. As well as highlighting the centrality of Ali’s work to this study, it captures the theme of a diasporic search for home and belonging, which is implicit in many of the texts that I have surveyed and emphasises aspects of community relations and cultural geography which are key to my work. This thesis will explore the wide range of creative interventions by black writers, directors and actors in film and television the 1970s.
Load more

Recommended publications
  • Table of Contents
    National Discourse on Carnival Arts Report by Ansel Wong, October 2009 1 2 © Carnival Village, Tabernacle 2009 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form, or by any means, electronic, mechanical, photocopying, recorded or otherwise, without the prior permission of the author. Contact details for further information: Shabaka Thompson CEO Carnival Village, Tabernacle Powis Square London W11 2AY Tel: +44 (0) 20 7286 1656 [email protected] www.Carnivalvillage.org.uk 3 This report is dedicated to the memory of David Roussel-Milner (Kwesi Bachra) 18 February 1938 – 28 October 2009 4 Executive Summary Introduction The Carnival Village, The ELIMU Paddington Arts Carnival Band, the Victoria and Albert Museum and HISTORYtalk hosted the National Discourse on Carnival from Friday 2 October to Sunday 4 October 2009 with a number of post-conference events lasting for the duration of the month of October. The programme was delivered through two strands – ROOTS (a historical review and critical analysis of Carnival in London from 1969) and ROUTES (mapping the journey to artistic and performance excellence for Carnival and its related industries) - to achieve the following objectives: Inform Carnival Village‟s development plans Formulate an approach to and build a consensus on Carnival Arts Identify and develop a strategic forum of stakeholders, performers and artists Recognise and celebrate artistic excellence in Carnival Arts Build on the legacies of Claudia Jones and other Carnival Pioneers The Programme For the duration of the event, there were two keynote presentations; the first was the inaugural Claudia Jones Carnival Memorial Lecture delivered by Dr Pat Bishop and the second was delivered by Pax Nindi on the future of Carnival.
    [Show full text]
  • Menelik Shabazz Transcript.Pages
    MENELIK SHABAZZ LCVA TRANSCRIPT TC SYNC 12:09:12 Interviewer: Tell us about your early life 12:09:31 Menelik Shabazz: I was born in Barbados and I was there until the age of six. And so my memories are quite vivid actually of I come from the country, I know Barbados is very small but we you have a countryside St. John. And in a village it echoed its history the village that I was and I didn't know it at the time. So you had, in my village you had the plantation which was a sugar plantation on one side of the road and people and the houses on the other side of the road. And my early memories are of going on a plantation with a flask of food for my aunt and for my mum and for my aunt and so on and um and memories of learning how to capture birds um learning how to shoot at, we had little monkeys in the in the little woods who we used to throw things at and then they would catch it and throw it back at you. Learning err um the kind of schooling regime where you had to be on point with your dress, you had to be on point with your nails, they had to look right. You had to be on point with um yeah as I say the way you dress um that you look okay. So all of that they had drills and stuff. And of course you had the beatings I used to get a few times for my mathematical inadequacies.
    [Show full text]
  • Radiotimes-July1967.Pdf
    msmm THE POST Up-to-the-Minute Comment IT is good to know that Twenty. Four Hours is to have regular viewing time. We shall know when to brew the coffee and to settle down, as with Panorama, to up-to- the-minute comment on current affairs. Both programmes do a magnifi- cent job of work, whisking us to all parts of the world and bringing to the studio, at what often seems like a moment's notice, speakers of all shades of opinion to be inter- viewed without fear or favour. A Memorable Occasion One admires the grasp which MANYthanks for the excellent and members of the team have of their timely relay of Die Frau ohne subjects, sombre or gay, and the Schatten from Covent Garden, and impartial, objective, and determined how strange it seems that this examination of controversial, and opera, which surely contains often delicate, matters: with always Strauss's s most glorious music. a glint of humour in the right should be performed there for the place, as with Cliff Michelmore's first time. urbane and pithy postscripts. Also, the clear synopsis by Alan A word of appreciation, too, for Jefferson helped to illuminate the the reporters who do uncomfort- beauty of the story and therefore able things in uncomfortable places the great beauty of the music. in the best tradition of news ser- An occasion to remember for a Whitstabl*. � vice.-J. Wesley Clark, long time. Clive Anderson, Aughton Park. Another Pet Hate Indian Music REFERRING to correspondence on THE Third Programme recital by the irritating bits of business in TV Subbulakshmi prompts me to write, plays, my pet hate is those typists with thanks, and congratulate the in offices and at home who never BBC on its superb broadcasts of use a backing sheet or take a car- Indian music, which I have been bon copy.
    [Show full text]
  • Black and Asian Theatre in Britain a History
    Black and Asian Theatre in Britain A History Edited by Colin Chambers First published 2011 ISBN 13: 978-0-415-36513-0 (hbk) ISBN 13: 978-0-415-37598-6 (pbk) Chapter 8 ‘All a we is English’ Colin Chambers CC BY-NC-ND 4.0 8 ‘All A WE IS English’1 Britain under Conservative rule in the 1980s and for much of the 1990s saw black and Asian theatre wax and then wane, its growth the result of earlier forces’ coming to a head and its falling away a consequence of cuts allied to a state-driven cultural project that celebrated the individual over the collective and gave renewed impetus to aggressive, narrow nationalism. How to survive while simultaneously asserting the heterodox, hybrid nature of non-white theatre and its contribution to British theatre was the urgent challenge. Within two years of the Thatcher government’s election to power in 1979, Britain saw perhaps the most serious rioting of its postwar era, which led to major developments in public diversity policy, though less significant change at the level of delivery. The black community could no longer be taken for granted and was demanding its rights as British citizens. The theatre group that epitomized this new urgency and resilience and the need to adapt to survive was the Black Theatre Co-operative (BTC).2 The group was founded by Mustapha Matura and white director Charlie Hanson in 1978 after Hanson had failed to interest any theatres in Welcome Home Jacko, despite Matura’s standing as the leading black playwright of his generation.
    [Show full text]
  • Black British Plays Post World War II -1970S by Professor Colin
    Black British Plays Post World War II -1970s By Professor Colin Chambers Britain’s postwar decline as an imperial power was accompanied by an invited but unprecedented influx of peoples from the colonized countries who found the ‘Mother Country’ less than welcoming and far from the image which had featured in their upbringing and expectation. For those who joined the small but growing black theatre community in Britain, the struggle to create space for, and to voice, their own aspirations and views of themselves and the world was symptomatic of a wider struggle for national independence and dignified personal survival. While radio provided a haven, exploiting the fact that the black body was hidden from view, and amateur or semi-professional club theatres, such as Unity or Bolton’s, offered a few openings, access to the professional stage was severely restricted, as it was to television and film. The African-American presence in successful West End productions such as Anna Lucasta provided inspiration, but also caused frustration when jobs went to Americans. Inexperience was a major issue - opportunities were scarce and roles often demeaning. Following the demise of Robert Adams’s wartime Negro Repertory Theatre, several attempts were made over the next three decades to rectify the situation in a desire to learn and practice the craft. The first postwar steps were taken during the 1948 run of Anna Lucasta when the existence of a group of black British understudies allowed them time to work together. Heeding a call from the multi-talented Trinidadian Edric Connor, they formed the Negro Theatre Company to mount their own productions and try-outs, such as the programme of variety and dramatic items called Something Different directed by Pauline Henriques.
    [Show full text]
  • The Future: the Fall and Rise of the British Film Industry in the 1980S
    THE FALL AND RISE OF THE BRITISH FILM INDUSTRY IN THE 1980S AN INFORMATION BRIEFING National Library Back to the Future the fall and rise of the British Film Industry in the 1980s an information briefing contents THIS PDF IS FULLY NAVIGABLE BY USING THE “BOOKMARKS” FACILITY IN ADOBE ACROBAT READER SECTION I: REPORT Introduction . .1 Britain in the 1980s . .1 Production . .1 Exhibition . .3 TV and Film . .5 Video . .7 “Video Nasties” & Regulation . .8 LEADING COMPANIES Merchant Ivory . .9 HandMade Films . .11 BFI Production Board . .12 Channel Four . .13 Goldcrest . .14 Palace Pictures . .15 Bibliography . .17 SECTION II: STATISTICS NOTES TO TABLE . .18 TABLE: UK FILM PRODUCTIONS 1980 - 1990 . .19 Written and Researched by: Phil Wickham Erinna Mettler Additional Research by: Elena Marcarini Design/Layout: Ian O’Sullivan © 2005 BFI INFORMATION SERVICES BFI NATIONAL LIBRARY 21 Stephen Street London W1T 1LN ISBN: 1-84457-108-4 Phil Wickham is an Information Officer in the Information Services of the BFI National Library. He writes and lectures extensively on British film and television. Erinna Mettler worked as an Information Officer in the Information Services of the BFI National Library from 1990 – 2004. Ian O’Sullivan is also an Information Officer in the Information Services of the BFI National Library and has designed a number of publications for the BFI. Elena Marcarini has worked as an Information Officer in the Information Services Unit of the BFI National Library. The opinions contained within this Information Briefing are those of the authors and are not expressed on behalf of the British Film Institute. Information Services BFI National Library British Film Institute 21 Stephen Street London W1T 1LN Tel: + 44 (0) 20 7255 1444 Fax: + 44 (0) 20 7436 0165 Try the BFI website for film and television information 24 hours a day, 52 weeks a year… Film & TV Info – www.bfi.org.uk/filmtvinfo - contains a range of information to help find answers to your queries.
    [Show full text]
  • Black Audio Film Collective
    YOUNG BRITISH AND BLACK The Work of San kofa and Black Audio Film Collective COCOFusco Hallwalls 1 Contemporary Arts Center Buffalo, N.Y. "A Black Aiant-Caide?* tai& Wbttehop Sector" different form. tt ts reprinted with permi&sion. ISBN: M36739.15-0 f988 kq Hallvfltlls, Inc. and mspecttwe contributor*. All rights reserved. No portion of be reproduced in any form without written permission from the author and Hallwalls, Inc., except for &i HaIlwalts/Contemporary Arts Center 700 Main Street, 4th Floor Buffalo, NY 14202 (716) 854-5928 This publication has been organized by Steve Gallagher (for Hallwalls) in conjunction with Coco Fusco and Ada Gay Griffin (of Third Wrld Newsreef). It is designed to ac- company a touring film exhibition of the same title curated by Coco Fusco and produc- ed by Ada Cay Griffin. This publication is made possible, in part, with funds from the New York State Council on the Arts and the National Endowment for the Arts. Photo (inside front cover): Frame enlargement from Black Audio Film Collec- tive's Handsworth Songs (1986). Photo (inside back cower): Joseph Charles and Ann! Dorningo in a production still from Sankofa's fission of Remembrance (1986). Between me and the other world there is ever an unasked question: unasked by some through feelings of delicacy; by others through the difficulty of rightly framing it. All, nevertheless, flutter around it. They approach me in a half- hesitant sort of way, eye me curiously or compassionately, and then, instead of saying directly, How does it feel to be a problem? they say, I know an excellent colored man in my town; or, 1 fought at Mechanicsville; or, Do not these Southern outrages make your blood boil? At these I smile, or am uninterested, or reduce the boiling to a simmer, as the occasion may require.
    [Show full text]
  • The London School of Economics and Political Science the Reel City
    The London School of Economics and Political Science The Reel City: London, symbolic power and cinema Rahoul Masrani A thesis submitted to the Department of Media and Communications of the London School of Economics for the degree of Doctor of Philosophy, London, January 2016 DECLARATION .................................................................................................................... 4 ABSTRACT ........................................................................................................................... 5 ACKNOWLEDGMENTS ...................................................................................................... 7 CHAPTER 1: INTRODUCTION ........................................................................................ 9 1.1 Introduction ...................................................................................................................... 9 1.2 An IntErdisciplinary Enquiry into thE Global City ................................................ 13 1.3 Symbolic PowEr ................................................................................................................ 16 1.3.1 Symbolic power and the media ........................................................................................... 18 1.4 CinEma and thE City ........................................................................................................ 22 1.5 London in Cinema ........................................................................................................ 28 1.6 Conclusion
    [Show full text]
  • Contemporary British Coming-Of-Age Films (1979 to the Present)
    1 Contemporary British Coming-of-Age Films (1979 to the Present) Philippa Zielfa Maslin A thesis submitted to Royal Holloway, University of London, in accordance with the requirements of a Ph.D. in the Department of Media Arts 2 Declaration of Authorship I declare that the work in this thesis was carried out in accordance with the regulations of Royal Holloway, University of London. This work is original, except where indicated by special reference in the text, and no part of the thesis has been submitted for any other academic award. Any views expressed in the thesis are those of the author. Signed: Philippa Zielfa Maslin Date: 19th January 2018 3 Abstract Locating itself in relation to existing work on youth in, primarily American, cinema, the thesis questions the analytical usefulness of conceptualising the ‘youth/teen film’ as a genre and, instead, seeks to establish the value of analysing the ‘coming-of-age film’ as a genre involving the employment of adolescent protagonists. In setting out to do so, it focuses on films which are set in Britain, made from 1979 onwards, and rarely discussed as coming-of-age films (or, indeed, youth/teen films), but which may be seen to benefit from such a critical approach. Following a survey of a range of anthropological, biological, historical, juridical, psychoanalytic, psychological and sociological approaches to adolescence, as well as scholarship on the literary precursor of the coming-of-age film, the Bildungsroman, and on the relationship between adolescence and cinema, a working definition of the coming-of- age genre is proposed.
    [Show full text]
  • Menelik Shabazz • Havana, Rotterdain Filin Festivals L.A
    Menelik Shabazz • Havana, RotterdaIn FilIn Festivals L.A. FilInInakers • Latin-African Cooperation $2.25 o 0 0 0 0 0 0 0 a 00000000000000 DOD 0 000 000 000 0 0 000 BL_- K LM BII IIlW o 0000000000000 000 0000000000000000000 000 0 0 Vol. 2 No.2 Published Quarterly Spring 1986 POSITIVE PRODU TIONSJ I -s BY OFFERING THREE SEPERATE OPPORTUNITIES TO SEE NEW FILMS BY AFRICAN AND AFRICAN AMERICAN FI~KERSJ TAKE WORKSHOPS IN DIRECTING AND SCRIPTWRITING AND HEARING PANEL DISCUSSIONS ON AFRICAN AND AFRICAN AMERICAN FIUMMAKING EVENTS AFRlCAN·FtLM.M1NI SERIES FoURTH ANNUAL BENEFIT FILM BIOGRAPH HEATRE FESTIVAL MARCH 3-6 SLM1ER OF 1986 "BRIDGES -A RETROSPECTIVE OF AFRICAN AND AFRICAN PMERICAN CINEMA" - FALL 1986 PMER lCAN FI I..M INST IlUTE FOR MORE INFORMATION CALL 529-0220 African and African American MYPHED UHF ILM 8 1 INC. filmmakers are struggling to make their points of view known o African-American families are struggling to find media relevent to their own experiences s We are working to bring thes~ two groups togethero We distribute films nationally and internationally (members of the Committee of African Cineaste: For the Defense of African Filmmakers)o Our newest arrivals include thirteen new titles made by African film­ makers o For brochures contact: MYPHEDUH FILMS, INC o 48 Q Street NGE o Washington DoC. 20002 (202)529-0220 p_ln.TIlE DlSlRJCJ Of COL1JIB1I 3 BLACK FILM. REVIEW 110 SSt. NW washington, DC 20001 Editor and Publisher Contents David Nicholson Goings On Consulting Editor Independent films at the Rotterdam Festival; actors' unions meet on Tony Gittens (Black Film Insti­ employment issues.
    [Show full text]
  • London Metropolitan Archives Ic and Jessica
    LONDON METROPOLITAN ARCHIVES Page 1 HUNTLEY, ERIC AND JESSICA {GUYANESE BLACK POLITICAL CAMPAIGNERS, COMMUNITY WORKERS AND EDUCATIONALISTS} LMA/4463 Reference Description Dates BUSINESSES AMERICAN LIFE INSURANCE COMPANY Correspondence and agreements LMA/4463/A/01/01/001 Eric Huntley's signed agent agreement with 1968 - 1979 amendment. Monthly performance appraisal letters evaluating sales results Includes later amendment agreement. Sales results were monitored by his agency managers Raymond Eccles and Charles Patterson. Also an annotated draft speech composed by Eric Huntley on Raymond Eccles' relocation to the West Indies. Client's insurance claim details with carbon copy suicide letter attached (1968-1969) 1 file Printed material LMA/4463/A/01/02/001 'Who's Who' directory for the Las Palmas 1973 Educational Conference: containing images of staff by country 1 volume LMA/4463/A/01/02/002 Eric Huntley's personalised company calendar 1976 Unfit 1 volume LMA/4463/A/01/02/003 Grand Top Club Banquet menu with signatures. 1971 - 1972 Training material and sales technique leaflets. Itinerary for American Life Convention in Rhodes, Greece. Includes Eric Huntley's business card. 1 file Certificates and badge LMA/4463/A/01/03/001 Certificates of achievements for sales, training 1968 - 1976 and entrance into the Top Club conference 1 file LMA/4463/A/01/03/002 Badge with eagle, globe and stars emblem 196- - 197- Metal thread on fabric 1 badge Photographs LONDON METROPOLITAN ARCHIVES Page 2 HUNTLEY, ERIC AND JESSICA {GUYANESE BLACK POLITICAL CAMPAIGNERS, COMMUNITY WORKERS AND EDUCATIONALISTS} LMA/4463 Reference Description Dates LMA/4463/A/01/04/001 Insurance Convention, Republic of Malta 1969 Black and white.
    [Show full text]
  • Black British Film and Television
    source guides black british film and television National Library black british film and television 16 + Source Guide contents THE CONTENTS OF THIS PDF CAN BE VIEWED QUICKLY BY USING THE BOOKMARK FACILITY INFORMATION GUIDE STATEMENT . .i BFI NATIONAL LIBRARY . .ii ACCESSING RESEARCH MATERIALS . .iii APPROACHES TO RESEARCH, by Samantha Bakhurst . .iv GENERAL REFERENCES . .1 FILM REFERENCES . .2 TELEVISION REFERENCES . .6 WOMEN’S PERSPCTIVES . .11 PERSONALITIES NORMAN BEATON . .12 LENNY HENRY . .13 CASE STUDY: PRESSURE . .15 DVD AVAILABILIY . .16 Compiled by: Nicola Clarke Andrea King Matt Ker Design/Layout: Ian O’Sullivan Project Manager: David Sharp © 2000 BFI National Library, 21 Stephen Street, London W1T 1LN 16+ MEDIA STUDIES INFORMATION GUIDE STATEMENT “Candidates should note that examiners have copies of this guide and will not give credit for mere reproduction of the information it contains. Candidates are reminded that all research sources must be credited”. BFI National Library i BFI National Library All the materials referred to in this guide are available for consultation at the BFI National Library. If you wish to visit the reading room of the library and do not already hold membership, you will need to take out a one-day, five-day or annual pass. Full details of access to the library and charges can be found at: www.bfi.org.uk/filmtvinfo/library BFI National Library Reading Room Opening Hours: Monday 10.30am - 5.30pm Tuesday 10.30am - 8.00pm Wednesday 1.00pm - 8.00pm Thursday 10.30am - 8.00pm Friday 10.30am - 5.30pm If you are visiting the library from a distance or are planning to visit as a group, it is advisable to contact the Reading Room librarian in advance (tel.
    [Show full text]