24 November 2017 Page 1 of 8
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Jim North Shaftesbury Avenue London W1D 6LD
www.cam.co.uk Email [email protected] Address 55-59 Jim North Shaftesbury Avenue London W1D 6LD Telephone +44 (0) 20 7292 0600 Television Title Role Director Production DOCTORS Ashley Mackintosh Jordan Hogg BBC MOUNT PLEASANT DJ Dave Dominic Leclerc Tiger Aspect THE LATE EDITION Shepherd Bill Dare BBC MEET MIKE WEST Mike West Robert Katz Mike West THE NEWS NEVER SLEEPS Gordon Tremlett Harry Thompson Talkback Thames JOHNNY VAUGHAN'S WORLD OF LEISURE William Wood - World's End MY FAMILY Jim Dewi Humphries BBC RICHARD BLACKWOOD'S SUMMER SPECIAL Nerd Micahel Leggo Planet 24 SMALL POTATOES KECIN - HAT TRICK PRODUCTION LIFE OF SLIDE DJ Damage Chris Waitt LWT GRANGE HILL Science Teacher Nigel Douglas BBC Theatre Title Role Director Production THE ARTHUR DUNG SHOW Francis Top Dog Top Dog LAZLO AND PARKINS'S FLAT LIP Lazlo Henry Trotter Henry Trotter Short Film Title Role Director Production SEXY TUESDAYS Alastair Saunders Paul Gowers Wilder Films HAROLD THE AMAZING CONTORTIONIST Pub Bore Carl Prechezer Shine HUNTING OF THE BEAST Chris Sam Walker Nerve THE LIFT Hitcher Ivan Naisbitt Naisbitt & Co Radio Title Role Director Production STORMCHASERS Henry Nick Walkers Top Dogs Productions DAVE AGAINST THE MACHINE Jim Adam Tandy Top Dog THE MUSIC TEACHER Numerous Nick Walker Top Dog THE BIGGER ISSUES Francis Pring-Norris Gareth Edwards BBC Radio 4 THE HUDSON AND PEPPERDINE SHOW Numerous Chris Neill BBC Radio 4 Skills Accents & Dialects American-Standard, Australian, Birmingham, Central Scottish, Cockney, French, German, Irish-Northern, Liverpool, London, Northern, RP*, South African, Welsh-Standard, Yorkshire Performance Audio Drama, Comedy, Comedy Improv, Commentating, Master of Ceremonies, Stand Up Comic, TV Presenting, Voice Acting, Voice Over, Writing/Director - Comedy Fringe Sports Badminton, Cricket*, Football*, Golf*, Rugby*, Squash*, Tennis* Vehicle Licence Car Characteristics Height Hair Eyes 5'8" Auburn Hazel CAM Limited Registered Oce:CAM, 55-59 ShaftesburyAvenue, London, E. -
H.M.S. Giang Bee
H.M.S. GIANG BEE - Sunk by Japanese destroyer on 13th February 1942 Researched passenger list [Version 1. 2. 0; March 2010] The “HMS Giang Bee”, a Chinese-owned coastal steamer requisitioned and used as a patrol vessel, left Singapore Harbour – according to a statement made by a number of those who were on board – at 10p.m. on Thursday 12th February 1942. Although Captain Lancaster, in command of the ship, initially refused to take civilian passengers because he saw the dangers attached to a ship designated as a warship, she was loaded with up to 300 refugees ( one survivor, Gordon Reis believed there to be 350 people on board) who were mostly women, children and the elderly. All her Malay crew had been ordered ashore in Singapore before she left, so that the crew consisted of a handful of RNVR personnel and some passengers who volunteered to be stokers etc. She was bombed and suffered damage during the day of 13th February, and in the evening, after a long stand- off with a Japanese destroyer, she was shelled and sunk in the Banka Strait. There had never been enough lifeboats for those on board, and two of them had been seriously damaged by the day’s bombing. Due to this and the speed with which the ship sank, a large number of lives were lost. Whilst there appears to have initially been an attempt by the Japanese to handle the surrender of the ship in a somewhat civilised manner, in the final event the Japanese warships showed no humanity or decency when they were in full knowledge that the ship contained civilians and a huge number of women and children. -
Mtv and Transatlantic Cold War Music Videos
102 MTV AND TRANSATLANTIC COLD WAR MUSIC VIDEOS WILLIAM M. KNOBLAUCH INTRODUCTION In 1986 Music Television (MTV) premiered “Peace Sells”, the latest video from American metal band Megadeth. In many ways, “Peace Sells” was a standard pro- motional video, full of lip-synching and head-banging. Yet the “Peace Sells” video had political overtones. It featured footage of protestors and police in riot gear; at one point, the camera draws back to reveal a teenager watching “Peace Sells” on MTV. His father enters the room, grabs the remote and exclaims “What is this garbage you’re watching? I want to watch the news.” He changes the channel to footage of U.S. President Ronald Reagan at the 1986 nuclear arms control summit in Reykjavik, Iceland. The son, perturbed, turns to his father, replies “this is the news,” and lips the channel back. Megadeth’s song accelerates, and the video re- turns to riot footage. The song ends by repeatedly asking, “Peace sells, but who’s buying?” It was a prescient question during a 1980s in which Cold War militarism and the nuclear arms race escalated to dangerous new highs.1 In the 1980s, MTV elevated music videos to a new cultural prominence. Of course, most music videos were not political.2 Yet, as “Peace Sells” suggests, dur- ing the 1980s—the decade of Reagan’s “Star Wars” program, the Soviet war in Afghanistan, and a robust nuclear arms race—music videos had the potential to relect political concerns. MTV’s founders, however, were so culturally conserva- tive that many were initially wary of playing African American artists; addition- ally, record labels were hesitant to put their top artists onto this new, risky chan- 1 American President Ronald Reagan had increased peace-time deicit defense spending substantially. -
Notes and References
Notes and References Prologue: Food Security and the Literary Imagination 1. Jane Austen, Letter to Cassandra Austen, 23 Hans Place, 23–24 August 1814, in Jane Austen (1995), Jane Austen’s Letters, ed. Deirdre Le Faye, 4th edn (Oxford University Press), pp. 281–4 (p. 238). 1 Food Matters 1. Cited in Frank Dikötter (2010), Mao’s Great Famine: The History of China’s Most Devastating Catastrophe, 1958–62 (London: Bloomsbury), unpaginated preliminary pages. 2. Harry Thompson (2011), Peter Cook: A Biography (London: Hachette, 2011; orig. pub. Hodder & Stoughton, 1997), p. 47. 3. Francisco Goya y Lucientes, Saturn Devouring his Son (1819–23), 1.43 m x 81 cm, Museo Nacional Del Prado, Madrid, Spain; Hannibal Lecter first appeared in Thomas Harris’s novel Red Dragon (1981). 4. Maggie Kilgour (1990), From Communion to Cannibalism: An Anatomy of Metaphors of Incorporation (Princeton University Press). 5. See, for example, Bonnie J. W. Martin, Jeri A. Logemann, Reza Shaker and Wylie J. Dodds (1994), ‘Coordination Between Respiration and Swallowing: Respiratory Phase Relationships and Temporal Integration,’ Journal of Applied Physiology 76: 714–23. 6. Suzanne Collins (2009), Catching Fire (New York: Scholastic Press), p. 22. The political use of food and hunger in the Hunger Games trilogy is discussed further in the Epilogue. 7. Colin Tudge (2004), So Shall We Reap: What’s Gone Wrong with the World’s Food – and How to Fix It (London: Penguin; orig. pub. Allen Lane, 2003), p. 34. 8. Daniel Quinn (2009), Ishmael: An Adventure of the Mind and Spirit (New York: Random House; orig. pub. Bantam, 1992). -
La FOX SEARCHLIGHT PICTURES Presenta in Associazione Con La TSG ENTERTAINMENT Un Film Della FREE RANGE RACHEL WEISZ SAM CLAFLIN
La FOX SEARCHLIGHT PICTURES presenta in associazione con la TSG ENTERTAINMENT un film della FREE RANGE RACHEL WEISZ SAM CLAFLIN HOLLIDAY GRANGER IAIN GLEN PIERFRANCESCO FAVINO SIMON RUSSELL BEALE VICKI PEPPERDINE ADATTAMENTO CINEMATOGRAFICO E REGIA .................................................................... ROGER MICHELL TRATTO DAL ROMANZO DI .............................. DAPHNE du MAURIER PRODOTTO DA ...................................................... KEVIN LOADER PRODUTTORE ESECUTIVO ................................. ROGER MICHELL DIRETTORE DELLA FOTOGRAFIA ................... MIKE ELEY, BSC SCENOGRAFIE ....................................................... ALICE NORMINGTON MONTAGGIO ......................................................... KRISTINA HETHERINGTON CO-PRODUTTORE ................................................. ANITA OVERLAND MUSICHE ................................................................. RAEL JONES IDEAZIONE COSTUMI ......................................... DINAH COLLIN CASTING .................................................................. FIONA WEIR Uscita: 5 ottobre 2017 Distribuzione: 20th Century Fox Italia Durata: 106 minuti *** Ufficio stampa 20th Century Fox Giancarlo Sozi : <[email protected]> ; Cristina Partenza: < [email protected]> *** www.20thfox.it; https://www.facebook.com/TwentiethCenturyFoxItaly 1 RACHEL è una storia d’amore cupa, articolata su più livelli narrativi, che segue la vicenda di un giovane inglese deciso a vendicarsi della bellissima e misteriosa cugina, -
A Sheffield Hallam University Thesis
Reflections on UK Comedy’s Glass Ceiling: Stand-Up Comedy and Contemporary Feminisms TOMSETT, Eleanor Louise Available from the Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/26442/ A Sheffield Hallam University thesis This thesis is protected by copyright which belongs to the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Please visit http://shura.shu.ac.uk/26442/ and http://shura.shu.ac.uk/information.html for further details about copyright and re-use permissions. Reflections on UK Comedy’s Glass Ceiling: Stand-up Comedy and Contemporary Feminisms Eleanor Louise Tomsett A thesis submitted in partial fulfilment of the requirements of Sheffield Hallam University for the degree of Doctor of Philosophy October 2019 Candidate declaration: I hereby declare that: 1. I have not been enrolled for another award of the University, or other academic or professional organisation, whilst undertaking my research degree. 2. None of the material contained in the thesis has been used in any other submission for an academic award. 3. I am aware of and understand the University's policy on plagiarism and certify that this thesis is my own work. The use of all published or other sources of material consulted have been properly and fully acKnowledged. 4. The worK undertaKen towards the thesis has been conducted in accordance with the SHU Principles of Integrity in Research and the SHU Research Ethics Policy. -
Shakespeare on Film, Video & Stage
William Shakespeare on Film, Video and Stage Titles in bold red font with an asterisk (*) represent the crème de la crème – first choice titles in each category. These are the titles you’ll probably want to explore first. Titles in bold black font are the second- tier – outstanding films that are the next level of artistry and craftsmanship. Once you have experienced the top tier, these are where you should go next. They may not represent the highest achievement in each genre, but they are definitely a cut above the rest. Finally, the titles which are in a regular black font constitute the rest of the films within the genre. I would be the first to admit that some of these may actually be worthy of being “ranked” more highly, but it is a ridiculously subjective matter. Bibliography Shakespeare on Silent Film Robert Hamilton Ball, Theatre Arts Books, 1968. (Reissued by Routledge, 2016.) Shakespeare and the Film Roger Manvell, Praeger, 1971. Shakespeare on Film Jack J. Jorgens, Indiana University Press, 1977. Shakespeare on Television: An Anthology of Essays and Reviews J.C. Bulman, H.R. Coursen, eds., UPNE, 1988. The BBC Shakespeare Plays: Making the Televised Canon Susan Willis, The University of North Carolina Press, 1991. Shakespeare on Screen: An International Filmography and Videography Kenneth S. Rothwell, Neil Schuman Pub., 1991. Still in Movement: Shakespeare on Screen Lorne M. Buchman, Oxford University Press, 1991. Shakespeare Observed: Studies in Performance on Stage and Screen Samuel Crowl, Ohio University Press, 1992. Shakespeare and the Moving Image: The Plays on Film and Television Anthony Davies & Stanley Wells, eds., Cambridge University Press, 1994. -
Review 2018 - 2019 the Transformation Begins
REVIEW 2018 - 2019 THE TRANSFORMATION BEGINS The Canterville Ghost WARWICK 20:20 PROJECT THE TRANSFORMATION BEGINS Warwick Arts Centre has been the public face of the arts at the Later in the year, plans were confirmed for the design and University of Warwick for over forty years. Our diverse programme structure of our new development, which will house three cinemas, attracts audiences from across the UK. We are known for bringing an accessible, free art gallery, a new restaurant and a large, entertainment from around the world to our locality, to showcase the welcoming foyer. In June, the bookshop, gallery and cinema were best and to inspire a curiosity to experience new artists and genres. finally demolished and our vision to make Warwick Arts Centre an outstanding visitor destination for everyone is finally underway. By 2021 the University of Warwick will have created a new cultural hub on campus through its investment in not only Warwick Arts While the building work continues, Warwick Arts Centre remains Centre but the new Faculty of Arts which is being built opposite. open, offering a huge and diverse programme of events in our Together, they will be a beacon for the region, combining making, theatres and concert hall and in different spaces within the campus presentation, learning and research. landscape and in the region. A CREATIVE SPACE FOR EVERYONE, ALL For more information visit warwickartscentre.co.uk/2020project DAY, AND ALL YEAR ROUND In autumn 2018, as the first phase of our refurbishment of the Theatre, Studio and Music Centre opened, work on the second phase began. -
1 CURRICULUM VITAE: Professor Angela Hobbs FRSA
CURRICULUM VITAE: Professor Angela Hobbs FRSA Note: for many more details, especially on my Public Understanding of Philosophy work and academic publications, please see my website: www.angiehobbs.com Current Appointment: Professor of the Public Understanding of Philosophy, University of Sheffield 2012- Qualifications: Cambridge University 1980-3 First Class Honours B.A. in Classics (specializing in ancient philosophy) 1983; M.A. 1986; PhD in Ancient Philosophy 1991 (various Classics Faculty awards 1983-91). Previous Appointments: Warwick University 1992-2012 as Lecturer, Associate Professor and Senior Fellow in the Public Understanding of Philosophy. W.H.D Rouse Research Fellow in Classics, Christ’s College, Cambridge 1989-1992. Affiliated Lecturer in Classics, Cambridge University 1991-2. 1983-5: travelling and teaching English in Naples Positions (current): Honorary Patron of the Philosophy Foundation; Patron of the Philosophy in Education Project (PEP); Executive Committee Member of the British Philosophical Association; Executive Committee Member and Trustee of the Forum for Philosophy (formerly the Forum for European Philosophy); board member of the Royal Institute of Philosophy; editorial board member of the Journal of Philosophy in Schools; Advisory Council of the Speakers’ Corner Trust; Associate Fellow of the Crick Centre for the Public Understanding of Politics; adviser to the Hobbes Society of Malmesbury; Fellow of the Royal Society of Arts. Positions (former): World Economic Forum Global Future Council on Values, Ethics and Innovation 2018-19; judge for the Man Booker International Prize 2019 (now the Booker International Prize); Chair of the Arts and Ideas Trust 2011-2016 (responsible for the HowTheLightGetsIn Philosophy Festival at Hay-on-Wye); Public Understanding of Philosophy: I have the first (and I believe still the only) Chair in the Public Understanding of Philosophy in the world, and before Sheffield I was the first, and only, Senior Fellow in the Public Understanding of Philosophy in the world. -
12 September 2014 Page 1 of 17 SATURDAY 06 SEPTEMBER 2014 Farming Education Comment in the Palace of Westminster
Radio 4 Listings for 6 – 12 September 2014 Page 1 of 17 SATURDAY 06 SEPTEMBER 2014 Farming Education comment in the Palace of Westminster. SAT 00:00 Midnight News (b04g1c6v) Charlotte Smith goes back to school to discuss how best to The editor is Marie Jessel. The latest national and international news from BBC Radio 4. educate young people about farming. She meets students and Followed by Weather. staff at Brymore Academy, a state boarding school which specialises in agriculture. From next year farming and land SAT 11:30 From Our Own Correspondent (b04g6kqt) based BTEC courses will no longer count towards school league Matters of Life and Death SAT 00:30 Book of the Week (b04g19vy) tables and the future of land based GCSEs is also uncertain. The Omid Djalili - Hopeful: The Autobiography headteacher of Brymore, Mark Thomas, explains why he Kate Adie introduces correspondents stories from around the believes farming deserves a place on the curriculum. world. This week Gabriel Gatehouse takes a nerve-wracking Episode 5 drive, trying to avoid IS forces in Iraq. Shahzeb Jillani explains Presented by Charlotte Smith and produced by Sarah Swadling. what Pakistan's political turmoil is about; John Sweeney comes Omid explores the vital role his vivacious mother plays in his face to face with President Putin after 14 years of trying. life and art. Claudia Hammond discovers that many patients in Israel remain SAT 06:57 Weather (b04g1c79) on life support for years; and Steve Evans has the story of how a Conclusion of comedian and actor Omid Djalili's memoir The latest weather forecast. -
Sci-Fi Sisters with Attitude Television September 2013 1 LOVE TV? SO DO WE!
April 2021 Sky’s Intergalactic: Sci-fi sisters with attitude Television www.rts.org.uk September 2013 1 LOVE TV? SO DO WE! R o y a l T e l e v i s i o n S o c i e t y b u r s a r i e s o f f e r f i n a n c i a l s u p p o r t a n d m e n t o r i n g t o p e o p l e s t u d y i n g : TTEELLEEVVIISSIIOONN PPRROODDUUCCTTIIOONN JJOOUURRNNAALLIISSMM EENNGGIINNEEEERRIINNGG CCOOMMPPUUTTEERR SSCCIIEENNCCEE PPHHYYSSIICCSS MMAATTHHSS F i r s t y e a r a n d s o o n - t o - b e s t u d e n t s s t u d y i n g r e l e v a n t u n d e r g r a d u a t e a n d H N D c o u r s e s a t L e v e l 5 o r 6 a r e e n c o u r a g e d t o a p p l y . F i n d o u t m o r e a t r t s . o r g . u k / b u r s a r i e s # R T S B u r s a r i e s Journal of The Royal Television Society April 2021 l Volume 58/4 From the CEO It’s been all systems winners were “an incredibly diverse” Finally, I am delighted to announce go this past month selection. -
Drama Co- Productions at the BBC and the Trade Relationship with America from the 1970S to the 1990S
ORBIT - Online Repository of Birkbeck Institutional Theses Enabling Open Access to Birkbecks Research Degree output ’Running a brothel from inside a monastery’: drama co- productions at the BBC and the trade relationship with America from the 1970s to the 1990s http://bbktheses.da.ulcc.ac.uk/56/ Version: Full Version Citation: Das Neves, Sheron Helena Martins (2013) ’Running a brothel from inside a monastery’: drama co-productions at the BBC and the trade relationship with America from the 1970s to the 1990s. MPhil thesis, Birkbeck, University of Lon- don. c 2013 The Author(s) All material available through ORBIT is protected by intellectual property law, including copyright law. Any use made of the contents should comply with the relevant law. Deposit guide Contact: email BIRKBECK, UNIVERSITY OF LONDON SCHOOL OF ARTS DEPARTMENT OF HISTORY OF ART AND SCREEN MEDIA MPHIL VISUAL ARTS AND MEDIA ‘RUNNING A BROTHEL FROM INSIDE A MONASTERY’: DRAMA CO-PRODUCTIONS AT THE BBC AND THE TRADE RELATIONSHIP WITH AMERICA FROM THE 1970s TO THE 1990s SHERON HELENA MARTINS DAS NEVES I hereby declare that this is my own original work. August 2013 ABSTRACT From the late 1970s on, as competition intensified, British broadcasters searched for new ways to cover the escalating budgets for top-end drama. A common industry practice, overseas co-productions seems the fitting answer for most broadcasters; for the BBC, however, creating programmes that appeal to both national and international markets could mean being in conflict with its public service ethos. Paradoxes will always be at the heart of an institution that, while pressured to be profitable, also carries a deep-rooted disapproval of commercialism.