The British Academy of Film & Lelevision Arts

Total Page:16

File Type:pdf, Size:1020Kb

The British Academy of Film & Lelevision Arts The British Academy of Film &lelevision Arts NEWSLETTER JANUARY 1 9 8 7 talked with David Plowright, Managing Director of Granada Television, to float a similar idea. FRONTISPIECE David was receptive to the proposal but for a A HAPPY number of reasons it was not possible and we let the suggestion drop. But we failed to count on HAVE written many times about the ways in the determination of the BAFTA North Com­ NEW YEAR I which our awards structure is scrutinised, mittee and in particular the tenacity of its Chair­ often leading to change, and you will read man, Peter Ridsdale Scott. Peter has worked FROM THE elsewhere of the newly created Huw Wheldon tirelessly on the project and it is because of him award for arts programmes and the return of the and the generosity of GRANADA that this year Rediffusion award for educational programmes. I the CRAFT Awards will be the subject of a large­ CHAIRMAN would like to illustrate other areas which cause scale, big budget programme which will run at problems and take our time and consideration. least an hour and be fully networked during Paramount among these are the Craft Awards. prime-time on the Sunday evening prior to the - and don't forget to keep those voting papers Production & Performance Awards. There may Some years ago, these were presented on the coming in, please. Once again, it's your awards be some same televised evening as all our other awards. weary Willies who will complain about and it's only two and a half months to both the The only concern was that they were given in going to Manchester, but the way I see it is that Craft and Production/Performance presenta­ our commercial breaks and were considered industries are based throughout the tions. More about awards elsewhere in this throughout the industry to be second class. We, Kingdom and I am personally proud that we newsletter. of course, never believed this. We then decided to have come from the days of almost throwing these split them from the production and performance awards away to an equal status with their A healthy, happy and successful 1987 to you all. categories and give them a special evening of more glamorous equivalents. Second class? their own at the Academy. There are those, and I Never! GRAHAM BENSON am one of them, who thought these evenings CHAIRMAN were an outstanding success. They were BAFTA North has been our model and inspira­ marvellous jolly occasions which had the bonus tion. The Academy's idea has spread even fur­ that, having created a new and separate forum, of making a proper use of our Headquarters. This ther North and BAFTA Scotland came into be­ the possibility now exists to expand the awards was a view shared I believe by our President, ing on Sunday, 7th December, with its first open­ into other educational areas as and when they HRH The Princess Anne, who usually graced ing session. There is an article about this by the jostle for recognition. these events. Chairman of their Steering Committee, David NEW Bruce, elsewhere in this newsletter. It may be The 30th Anniversary of Schools Broadcasting They still however lacked the glamour and ex­ that BAFTA Wales will be the next step towards in this country has, therefore, given us the op­ posure of being part of a television programme. an even more national view of the Academy. portunity to tackle the vexed problems of two Through our friends within the industry and AWARDS This idea has progressed to the extent that a very important areas of the nation's television thanks to the generosity of Channel Four, we meeting has been set for early January with in­ output. eventually achieved this aim and for the past terested parties. I have previously told you that INCLUDED in the Awards Suggestion Papers three years there has been a programme on that there are those in Los Angeles who are looking recently sent to you was notification about channel, albeit of a somewhat limited nature. AN OLD AWARD RENAMED into the possibility of a chapter in that city. The some new awards. I am now able to expand on Two years ago, the Committee of our Northern It is with great pleasure that I am able to tell you thought of the Academy becoming truly interna­ that information. chapter, BAFTA North, asked Council if we tional is very exciting. We have come a long way that in future the SHELL AWARD will be would consider the Craft Awards moving to since we lived in two rooms over a tailor's shop in THE HUW WHELDON A WARD known as the RICHARD CAWSTON Manchester. The Council of that period gave a Great Portland Street. AWARD. Dick was the Shell Award. He had somewhat cautious approval. We thought the In memory of Huw, both as a distinguished per­ been the inspiration for the award and its guiding idea had slim chance of success, partly because son in television and as a Fellow of the Academy, light from its inception. It was SHELL who asked sometime previously I and the then Chairman, REGINALD COLLIN an Award has been named in his honour and will if we would consider the change and of course we James Cellan ]ones, made a vi,it tu that city aud DIRECTOR be given for the most distinguished television were delighted to agree. Dick has a special place programme in the field of the arts. Council in the history of our Academy and to remember believe that this is a most appropriate way of his name in this way gives us great happiness. perpetuating the name of this great man of televi­ BAFTA SCOTLAND sion. REDIFFUSION/"FLAME OF Howard Thomas, CBE KNOWLEDGE" AWARDS Award systems cannot be perfect and the quest THERE is to be a Memorial Service for the late to make them less imperfect never ceases. This Howard Thomas at St. Martin-in-the-Fields year the opportunity was grasped to do on Thursday, 15th January at 12 noon. We something about Childrens' and Educational are sure many members will want to attend. programmes. With hindsight, it was illogical to During his distinguished career, Howard was join them in the same category, as practitioners Managing Director and later Chairman of in these two fields have never ceased to point Thames Television, out! and Chairman of Thames Television International. He gave a great deal of Now they have been separated for reasons his time to the early days of the setting up beyond pragmatism and fairness. BAFTA is of our Headquarters as a member of the Board of recognising the programme-makers great con­ BAFTA Management. The industry has lost one tribution in the Schools Broadcasting field, and of its pioneers. wants to ensure that the ever increasing impor­ tance of educational broadcasting is given both recognition and status in a more deserving and enlightened way. AWARDS Happily, 1987 provides an opportunity for an in­ novatory approach. May 1957 saw the transmis­ sion of the first broadcast to schools, when ITV From left to right: Reginald C ollin, lain Smith, Graham B enso n, C hris Maclean and David Bruce was still in its infancy. It was Associated­ AWARDS Rediffusion who displayed that vision and THE Mission was the film chosen to Glasgow will obviously be invaluable to us a nd courage, and now, 30 years later at BAFTA's inaugurate BAFTA (Scotland) on the 7th we feel we are very fortunate to have her. request, THE FLAME OF KNOWLEDGE December 1986 at the Glasgow Film Theatre, For our first meeting A WARDS are being re-introduced under the AWARDS and maybe there was more than a touch of mi s­ The Miss ion was accom­ generous sponsorship of BET / Rediffusion. The sion and achievement about panied by lain Smith, Associate Produce r and a the occasion. The awards will be administered and presented joint­ growing strength of film and television in Glaswegian who has justifiably acquired an ly with BAFTA on a separate occasion still to Suggestion Papers Scotland in recent years has been observed with enviable reputation for getting movies made in be announced. For the first time practitioners in some pleasure, and maybe even surprise, by the extremely difficult circumstances, The Killing this field will have the chance to participate at an THE final date for returning these papers is population north of the Border and the Fields being among his previ ous c redits. Co­ event which recognises their specialised contribu­ Monday, 5th January 1987. Remember, it's establishing of BAFTA (Scotland) is both a incidentally, lain was returning to the v ery tions. your suggestions which are needed to make the logical and very welcome development. Even building which was the base for his e ntry into list as representative as possible. Please act now logic, however, needs a help occasionally and it is features - Bertrand Tavernier's Glasgow film There will be 3 awards which will cover Primary, and send those suggestions to Doreen Dean, the generous support of the broadcasting Deathwatch. The Mission and lain's vivid account Secondary and Continuing education. Beyond Assistant Director at the Academy. organisation in Scotland, (BBC, Scottish Televi­ of its making gave us a memorable start to sion, Grampian and Border) and of BAFTA itself BAFTA (Scotland) and we are very grateful to that has given us the reality. him and all those who made the event possible. It was an important occasion for film and television Reception Desk BAFTA (Scotland) now has two years to in Scotland not least because it provided alm ost establish itself as a going concern.
Recommended publications
  • Orme) Wilberforce (Albert) Raymond Blackburn (Alexander Bell
    Copyrights sought (Albert) Basil (Orme) Wilberforce (Albert) Raymond Blackburn (Alexander Bell) Filson Young (Alexander) Forbes Hendry (Alexander) Frederick Whyte (Alfred Hubert) Roy Fedden (Alfred) Alistair Cooke (Alfred) Guy Garrod (Alfred) James Hawkey (Archibald) Berkeley Milne (Archibald) David Stirling (Archibald) Havergal Downes-Shaw (Arthur) Berriedale Keith (Arthur) Beverley Baxter (Arthur) Cecil Tyrrell Beck (Arthur) Clive Morrison-Bell (Arthur) Hugh (Elsdale) Molson (Arthur) Mervyn Stockwood (Arthur) Paul Boissier, Harrow Heraldry Committee & Harrow School (Arthur) Trevor Dawson (Arwyn) Lynn Ungoed-Thomas (Basil Arthur) John Peto (Basil) Kingsley Martin (Basil) Kingsley Martin (Basil) Kingsley Martin & New Statesman (Borlasse Elward) Wyndham Childs (Cecil Frederick) Nevil Macready (Cecil George) Graham Hayman (Charles Edward) Howard Vincent (Charles Henry) Collins Baker (Charles) Alexander Harris (Charles) Cyril Clarke (Charles) Edgar Wood (Charles) Edward Troup (Charles) Frederick (Howard) Gough (Charles) Michael Duff (Charles) Philip Fothergill (Charles) Philip Fothergill, Liberal National Organisation, N-E Warwickshire Liberal Association & Rt Hon Charles Albert McCurdy (Charles) Vernon (Oldfield) Bartlett (Charles) Vernon (Oldfield) Bartlett & World Review of Reviews (Claude) Nigel (Byam) Davies (Claude) Nigel (Byam) Davies (Colin) Mark Patrick (Crwfurd) Wilfrid Griffin Eady (Cyril) Berkeley Ormerod (Cyril) Desmond Keeling (Cyril) George Toogood (Cyril) Kenneth Bird (David) Euan Wallace (Davies) Evan Bedford (Denis Duncan)
    [Show full text]
  • AUTOBIOGRAPHY and HISTORY on SCREEN: the Life and Times of Lord
    AUTOBIOGRAPHY AND HISTORY ON SCREEN: The Life and Times of Lord Mountbatten 1 Abstract: The television series, The Life and Times of Lord Mountbatten (1968), was a unique collaboration between an independent production company, Associated- Rediffusion, a national museum, the Imperial War Museum, and one of the most famous aristocratic and military figures of the 20th century, Lord Mountbatten. Furthermore, Mountbatten was the programme’s presenter, appearing on screen to describe his experiences autobiographically. Through the use of film and images, Mountbatten’s ‘life’ was intertwined with the historical ‘times’ of over half a century. Though praised at the point of its release to British audiences in 1969 by the public, critics and historians alike, The Life and Times of Lord Mountbatten has since largely been ignored by scholars interested in the history-on-television genre. By detailing the origins, format, production and reception of the series, and by comparing it to both The Great War (1964) and The World at War (1973-1974), which were also produced in conjunction with the Imperial War Museum, the immediate success and subsequent failure of The Life and Times of Lord Mountbatten to attract popular and academic attention provides an argument for widening the discussion on television history and its limited categorizations. Key words: autobiography, history, television, Imperial War Museum, The Great War, The World at War. 2 To tell the story of this century on television is in itself a formidable task. To focus this story on one single man, however remarkable his career, breaks new ground. This series is not only about Lord Mountbatten, it is with him and that gives this television history a unique dimension.1 Academic literature concerning factual history programmes is abundant with references to The Great War and The World at War, which were television series made in collaboration with the Imperial War Museum (IWM) from 1963-1964 and 1971-1974 respectively.
    [Show full text]
  • Douglas Cleverdon Correspondence 1925-1932, Undated MS.2003.038
    Douglas Cleverdon Correspondence 1925-1932, undated MS.2003.038 http://hdl.handle.net/2345/1024 Archives and Manuscripts Department John J. Burns Library Boston College 140 Commonwealth Avenue Chestnut Hill 02467 library.bc.edu/burns/contact URL: http://www.bc.edu/burns Table of Contents Summary Information .................................................................................................................................... 3 Administrative Information ............................................................................................................................ 4 Biographical note: Douglas Cleverdon .......................................................................................................... 5 Biographical note: Stanley Morison .............................................................................................................. 5 Scope and Contents ........................................................................................................................................ 6 Arrangement ................................................................................................................................................... 6 Collection Inventory ....................................................................................................................................... 7 Douglas Cleverdon Correspondence MS.2003.038 - Page 2 - Summary Information Creator: Cleverdon, Douglas Creator: Morison, Stanley, 1889-1967 Title: Douglas Cleverdon correspondence Collection
    [Show full text]
  • Labor Relations, 16Mm Film and Euston Films
    Scope: An Online Journal of Film and Television Studies Issue 26 February 2014 Labor Relations, 16mm Film and Euston Films Max Sexton, Birkbeck College, University of London Film as a technology has been used, adapted and implemented in particular ways within television. This article provides examples of this process along with its complexities and demonstrates how a system of regulated labor on British television during the 1970s shaped the aesthetic form that 16mm film was used to develop. The questions of how far the production process was guided by institutionalized conventions, however, is one that the article seeks to answer in its analysis of the function and form of the filmed television series produced by Euston Films, a subsidiary of Thames Television. Charles Barr (1996) has discussed the legacy of live television that seeks to develop analyses of the developing formal systems of early television. For example, the telerecordings of most of the Quatermass serials were only “television films” because they were recorded on film, but were not constructed or edited as film, although they may have used some film inserts. According to Barr, television drama may have been shot on film, but it was different from film. It was only later in the 1960s and 1970s that shooting on film meant that the studio drama was replaced by shooting on location on 16mm. Barr notes that in Britain, unlike in the US, if a growing proportion of drama was shot on film, dramas were still referred to as “plays.” Consequently, the TV plays-on-film were distinct from “films.” However, as this article demonstrates, the development of the 16mm film from the 1970s complicates some of the notions that television drama was either live or continued to be planned, shot and edited as a live play.
    [Show full text]
  • Notes and References
    NOTES AND REFERENCES PREFACE AND ACKNOWLEDGEMENTS I. Broadcasting (HMSO, 1978) (Cmnd. 7294). 2. Report oj the Committee pn the Future ojBroadcasting (HMSO, 1977) (Cmnd. 6753) para. 4.3. 3. Ibid. para. 13.46. 4. Broadcasting, p. 21. 5. Report oj the Committee on Broadcasting rg60 (HMSO) (Cmnd. 1753) para. 20g. 6. Lord Windlesham, Broadcasting in a Free Society (Basil Blackwell, 1980) pp. 71-2. 7. B. Paulu, British Broadcasting in Transition (Macmillan, 1961). 8. B. Paulu, British Broadcasting: Radio and Teleuision in the United Kingdom (University of Minneapolis Press, 1956). 9. P. Black, The Mirror in the Corner: People'S Tel,ujsion (Hutchinson, 1972). 10. N. Swallow, Factual Teleuision (Focal Press, 1966). II. J. Gable, The Tuppen'lY Punch and Judy Show (Michael Joseph, 1980). CHAPTER I: BEVERIDGE I. H. H. Wilson, Pressure Group (Seeker and Warburg, 1961) p. 23. 2. Report oj the Broadcasting Committee 1949 (HMSO) (Cmd. 8116). 3. Ibid. pp. 201-10. CHAPTER 2: BEYOND BEVERIDGE I. A. Briggs, History oj Broadcasting in the United Kingdom Vol. IV Sound and Vision (Oxford University Press, 1979) P.424· CHAPTER 3: WHITE PAPER: 1952 I. Broadcasting: Memorandum on the Report oj the Broadcasting Committee 1949 (HMSO) (Cmd. 8550) para. 7. 2. Ibid. para. 9. 3. House of Lords, Hansard, (HMSO) 23 and 26 May 1952. 4. House of Commons, Hansard, (HMSO) J I June 1952. 375 NOTES AND REFERENCES CHAPTER 4: INTERLUDE 195~/3 I. A. Seldon, Churchill's Indian Summer (Hodder and Stoughton, 1981). CHAPTER 5: WHITE PAPER: 1953 I. (HMIO) Cmd. 9005. CHAPTER 6: FIELD DAYS IN PARLIAMENT: 1953 I.
    [Show full text]
  • The State Funeral of Sir Winston Churchill
    A Life Rewound Part Three Chapter Page 17 1965 Directs ITV’s five-hour (45 cameras) outside-broadcast: 137 The State Funeral of Sir Winston Churchill 18 1965 Documentary about the London Symphony Orchestra: 149 LSO - The Music Men 19 1965-69 Chairman of Society of Film and Television Arts. 156 Associated-Rediffusion loses its franchise. 13-part series: The Life and Times of Lord Mountbatten 20 1969 Appointed OBE. 180 Continues freelancing with other ITV companies. Outside-broadcast: Investiture of Prince Charles at Caernarvon Documentary: A Child of the Sixties 21 1970 Articles on the ‘Future of a 2nd ITV channel’. 187 Documentary on World War I anti-German hysteria: The First Casualty 22 1971-74 13- part history of Europe in the 20th Century for BBC-1: 194 The Mighty Continent 136 Chapter 17 1964 marked my fourth year planning – with my other hand – the programme with an unknown transmission date. In 1960, the Queen had officially given her consent for Sir Winston Churchill to have a State Funeral, and the BBC and the Independent Television Authority were officially informed that detailed plans for the great event were about to be made available to the broadcasters. It had been decided that regardless of the day of the week of Churchill’s death, the funeral would take place on a Saturday. Rediffusion was the London weekday contractor, with ATV taking over at weekends, but the ITA instructed Rediffusion to handle this complicated outside broadcast. My boss, John McMillan, the Controller of Programmes, had asked me to take charge of this project as producer and controlling director on behalf of the whole ITV network.
    [Show full text]
  • Sincerely Yours, Vera Lynn:" Performing Class, Sentiment, and Femininity in the "People's War"
    "Sincerely Yours, Vera Lynn:" Performing Class, Sentiment, and Femininity in the "People's War" Christina Baade, McMaster University, has published or Dame Vera Lynn is iconic in the cultural has forthcoming work on American klezmer and popular memory of World War II as a good "People's War" for music broadcasting at the wartime BBC, including a Britain, in which people united across class lines, women chapter in Floodgates: Technologies, Cultural Ex/change moved unproblematically into supportive roles for men and the Persistence of Place and an article in Popular in the services, wartime separations heightened romance, Music. This paper relates to her current book project, and morale never wavered. Her "reassuring" voice, "Victory Through Harmony': The BBC, Identity, and sympathetic persona, sentimental repertory, and Popular Music in World War II." symbiosis with the media of radio and recordings all contributed to her phenomenal wartime popularity and Abstract sobriquet as "No. 1 Sweetheart to the Forces"; in many Vera Lynn embodies nostalgic constructions of World ways, her singing functioned as a supportive soundtrack War II as a good war. Though phenomenally popular, during the war and in its memory. The nostalgic her radio performances inspired debates over construction of Vera Lynn's performances as sentimentality and women's voices on air. This article "soundtrack" for the British war effort obscures, examines how her performances enacted national however, their cultural work in the wartime discourses wartime values while provoking controversy and argues surrounding class distinction, national identity, and that even "compliant" cultural production does gender roles. It fails to explain how her performances so important political work.
    [Show full text]
  • Pop Beckett: Intersections with Popular Culture
    “Do you really enjoy the modern play?”: Beckett on commercial television Book or Report Section Published Version Creative Commons: Attribution-Noncommercial-No Derivative Works 3.0 Open access Bignell, J. (2019) “Do you really enjoy the modern play?”: Beckett on commercial television. In: Stewart, P. and Pattie, D. (eds.) Pop Beckett: Intersections with Popular Culture. Samuel Beckett in Company, 7. Ibidem, Stuttgart, pp. 63-84. ISBN 9783838211930 Available at http://centaur.reading.ac.uk/86667/ It is advisable to refer to the publisher’s version if you intend to cite from the work. See Guidance on citing . Publisher: Ibidem 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 “Samuel Beckett—the ‘moody man of letters’—can be found in the most unexpected places, from the Muppets to Game of Thrones. The essays in this superb volume pa- tiently explore new tributaries of Beckett’s reception and examine his status as a pop, ‘mod’ icon. In so doing, they reveal new perspectives for understanding both Beckett’s Beckett Pop (eds.) Stewart, Pattie works and his legacies, showing both how he engages with popular culture as well as how popular culture engages with Beckett.” Dr Sam Slote, Trinity College Dublin “Including work from established scholars and some of the most exciting emerging voices in the fi eld, Pop Beckett explores the engagement with and echoes of Beckett’s work across a dazzling array of genres and contexts.
    [Show full text]
  • Code of Advertisingstandards and Practices
    nO 111IMPNT RPROMP. ED 030 308 EM 007 227 ITV 1969. A Guide to IndependentTelevision. Independent Television Authority, London(England). Pub Date Jan 69 Note -240p. Court Road, London W 1. (10s Available from-Indepehdent TelevisionPublications Ltd., 247 Tottenham 6d/S1 26) EDRS Price MF -$1.00 HC -$12.10 Art,*Commercial Descriptors-Adult Education, *BroadcastIndustry, *BroadcastTelevision, Commercial Arts, Mass Media, Religion,Television Television, Dramatics, EducationalTelevision, Electronic Equipment, Fine Commercials, *Television Viewing, TheaterArts Identifiers-Independent Television Authority Parliament created the IndependentTelevision Authority inAugust 1954. The in this resultingIndependentTelevisionSysteminGreatBritainisdepicted contract policy andcontrol. audience and programs. comprehensive guide. ITV system and its its publications andtechnical operations, its programcompanies. finances, code of advertisingstandards and practices aretopics delineated.The guide is amply illustrated with black-and-whiteand color photographs.It has both an index and a bibliography.(GO/ME) uietoindependent Televi4ion INDEP NDENTTELEVISION AUTHORITY 0 ' ' "= 4 0. 4, :',, . = ", 50 * ::'" 4 . '1== i',:,64'' k-- 1 0.,... * a -4'4 ,,v ,' .., ;4 4 , r "; r % ,. 0 `===. ' 7-0 ' > ..r 41:1' ; 0- a =lt* strur 0''' 1/4=1. - e. 4.- 0 ;*so t ----..04.a ,-' k. , to 04,s sl'v-o.,\'o's , . ''-.P...---,,'_ ., 111116.0.,-=,....-.,-.... =0. 0. ,-*00,0,, .0 A Guide to independentTelevision CO CD U.S. DEPARTMENT OF HEALTH, EDUCATION & WELFARE OFFICE OF EDUCATION
    [Show full text]