DOCSLIB.ORG

British Television Drama British Television Drama Past, Present and Future

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
British Television Drama British Television Drama Past, Present and Future British Television Drama British Television Drama Past, Present and Future 2nd edition Edited by Jonathan Bignell University of Reading, UK and Stephen Lacey University of South Wales, UK Introduction, conclusion, selection and editorial matter © Jonathan Bignell and Stephen Lacey 2014 Individual chapters © Contributors 2014 Softcover reprint of the hardcover 2nd edition 2014 978-1-137-32756-7 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No portion of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, Saffron House, 6–10 Kirby Street, London EC1N 8TS. Any person who does any unauthorized act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The authors have asserted their rights to be identified as the authors of this work in accordance with the Copyright, Designs and Patents Act 1988. First published 2014 by PALGRAVE MACMILLAN Palgrave Macmillan in the UK is an imprint of Macmillan Publishers Limited, registered in England, company number 785998, of Houndmills, Basingstoke, Hampshire RG21 6XS. Palgrave Macmillan in the US is a division of St Martin’s Press LLC, 175 Fifth Avenue, New York, NY 10010. Palgrave Macmillan is the global academic imprint of the above companies and has companies and representatives throughout the world. Palgrave® and Macmillan® are registered trademarks in the United States, the United Kingdom, Europe and other countries. ISBN 978–1–137–32757–4 paperback ISBN 978-1-137-32757-4 ISBN 978-1-137-32758-1 (eBook) DOI 10.1057/9781137327581 This book is printed on paper suitable for recycling and made from fully managed and sustained forest sources. Logging, pulping and manufacturing processes are expected to conform to the environmental regulations of the country of origin. A catalogue record for this book is available from the British Library. A catalog record for this book is available from the Library of Congress. Typeset by MPS Limited, Chennai, India. Contents Acknowledgements vii Notes on the Contributors viii Introduction 1 Jonathan Bignell and Stephen Lacey 1 Contexts 16 Tony Garnett Part I Institutions and Technologies Introduction to Part I 33 2 Sydney Newman and the ‘Golden Age’ 40 Shaun Sutton 3 Television Drama Series: A Producer’s View 45 Irene Shubik 4 TV Drama: Then and Now 52 John McGrath 5 Writing Television Drama: Then and Now 58 Andrew Davies 6 Brookside: The Technology Backstory 62 Phil Redmond 7 Plot Inflation in Greater Weatherfield: Coronation Street in the 1990s 70 Billy Smart 8 Persuaded? The Impact of Changing Production Contexts on Three Adaptations of Persuasion 84 Sarah Cardwell Part II Formats and Genres Introduction to Part II 101 9 ‘The Age of Innocence’ 107 Alan Plater v vi Contents 10 Playing Shops, Shopping Plays: The Effect of the Internal Market on Television Drama 112 David Edgar 11 ‘A Hero Mumsy’: Parenting, Power and Production Changes in The Sarah Jane Adventures 118 Victoria Byard 12 Downton Abbey: Reinventing the British Costume Drama 131 James Chapman 13 What Do Actors Do When They Act? 143 John Caughie Coda: Timothy West discusses ‘Acting on Stage: Acting on Screen’ 151 Part III Representations Introduction to Part III 159 14 The 1970s: Regional Variations 166 Barry Hanson 15 ‘What Truth is There in this Story?’: The Dramatisation of Northern Ireland 172 Edward Braun 16 Moving Waterloo Road from Rochdale to Greenock: Exploring a Sense of Place in Drama Series 184 Cameron Roach 17 Too Secret for Words: Coded Dissent in Female-authored Wednesday Plays 191 Madeleine Macmurraugh-Kavanagh 18 ‘Ah! Our very own Juliet Bravo, or is it Jill Gascoine?’ Ashes to Ashes and Representations of Gender 203 Ben Lamb 19 Power Plays: Gender, Genre and Lynda La Plante 214 Julia Hallam Conclusion 224 Select Bibliography 231 Index 239 Acknowledgements We thank all of the contributors to the first edition of this book in 2000 and this current edition. Some of the chapters that appeared in the first edition and are reprinted here were originally presented orally at the conference ‘“On the Boundary”: Turning Points in Television Drama, 1965–2000’ which we organised with Madeleine Macmurraugh- Kavanagh at the University of Reading in April 1998. Particular thanks are due to Tony Garnett, whose advice and support for the conference was invaluable. The event was part of a three-year research project funded by the British Academy and the Humanities Research Board, titled ‘The BBC Wednesday Plays and Post-War British Drama’. We were then able to bring that work to a wider audience in written form. We are also grateful to David Edgar for allowing us to reprint his chapter in this book. Although it was presented at the Reading conference, it first appeared as ‘Soap opera is our salvation’ in the New Statesman, 17 April 1998, pp. 40–1. For the second edition of this book, we are grateful to the new contributors Phil Redmond and Cameron Roach who publish insights from their professional experience in the television industry, and to Sarah Cardwell for the new academic research in her chapter. We acknowledge the Arts and Humanities Research Council, which funded the research project ‘Spaces of Television: Production, Site and Style’ (2010–15) on which the two of us, and also Victoria Byard, James Chapman, Ben Lamb and Billy Smart, have worked together, leading to our contributions to this book. Jonathan Bignell Stephen Lacey vii Notes on the Contributors Jonathan Bignell is Professor of Television and Film in the Department of Film, Theatre & Television at the University of Reading. He has written three editions of An Introduction to Television Studies (2004, 2008, 2013), Postmodern Media Culture (2000) and Beckett on Screen (2009), and co- edited Popular Television Drama: Critical Perspectives (2005) and A European Television History (2008). He led the collaborative AHRC-funded research project ‘Spaces of Television: Production, Site and Style’, and worked with Stephen Lacey on the earlier project ‘The BBC Wednesday Play and Post-War British Drama’ which gave rise to the first edition of this book. Edward Braun is Professor Emeritus of Drama at the University of Bristol, and has published The Director and the Stage (1987), Meyerhold: A Revolution in Theatre (1995) and numerous articles on television drama, especially on the work of Trevor Griffiths. He also edited Griffiths’s Collected Plays for Television (1989). Victoria Byard is a PhD candidate in the Department of History of Art & Film at the University of Leicester. Her doctoral work is part of the AHRC-funded research project, ‘Spaces of Television: Production, Site and Style’. Focusing on British children’s fantasy television between 1955 and 1994, her research attempts to map the history of children’s telefantasy across the ‘regulated duopoly’ and beyond. Her thesis traces the development of production practices, institutional policies and textual forms as they relate to the fantastic within children’s television drama. Sarah Cardwell is Honorary Fellow in the School of Arts, University of Kent, and also holds research posts at the University of South Wales and Canterbury Christ Church University. She is the author of Adaptation Revisited (2002) and Andrew Davies (2005), as well as numerous arti- cles and papers on film and television aesthetics, literary adaptation, and British cinema and television, and is founding co-editor of The Television Series (Manchester University Press). She is Reviews Editor for Critical Studies in Television. John Caughie is Emeritus Professor and an Honorary Research Professor of Film & Television Studies at Glasgow University. He researches and publishes extensively in the field of film and television studies, and viii Notes on the Contributors ix publications include Television Drama: Realism, Modernism and British Culture (2000). He is one of the editors of Screen, the leading interna- tional journal in film and television studies. From October 2012, he is Principal Investigator on a three-year project, ‘Early Scottish Cinema, 1896–1927’, funded by an AHRC Research Grant. James Chapman is Professor of Film Studies at the University of Leicester. His books include Licence to Thrill: A Cultural History of the James Bond Films (1999; 2nd edition 2007), Saints and Avengers: British Adventure Series of the 1960s (2002), Inside the TARDIS: The Worlds of ‘Doctor Who’ – A Cultural History (2006; 2nd edition 2013), War and Film (2008) and British Comics: A Cultural History (2011). He is a Council member of the International Association for Media and History (IAMHIST) and in 2010 became editor of the Historical Journal of Film, Radio and Television. Andrew Davies is a writer with an extensive career in television, from the 1960s to the present day. His original work includes A Very Peculiar Practice (BBC 1986–88) and A Rather English Marriage (BBC 1998), but he is better known as an adaptor of literary classics, including House of Cards (BBC 1990, Netflix 2013), Pride and Prejudice (BBC 1995), Middlemarch (BBC 1994), Bleak House (BBC 2005), The Line of Beauty (BBC 2006) and Mr Selfridge (ITV 2013). David Edgar has worked as an academic at the University of Birmingham, where he established and led the highly successful MA in Playwriting, and is a distinguished playwright, whose works for the stage include Destiny (1976), The Jail Diary of Albie Sachs (1978), The Life and Adventures of Nicholas Nickleby (1980), Maydays (1983), Entertaining Strangers (1985) and, in 2011, Written on the Heart. Tony Garnett has been a film and television producer for over 40 years. His credits include Up the Junction (as script editor, BBC 1965), Cathy Come Home (BBC 1966), Kes (1969), Days of Hope (BBC 1974), Law and Order (BBC 1978), Between the Lines (BBC 1992–94), This Life (BBC 1966–67) and The Cops (BBC 1998–2000).
Load more

Recommended publications
  • Working-Class Cinema in the Age of Digital Capitalism
    WORKING-CLASS CINEMA IN THE AGE OF DIGITAL CAPITALISM MASSIMILIANO MOLLONA he story of cinema starts with workers. The film Workers Leaving The TLumière Factory In Lyon (La Sortie des Usines Lumière à Lyon, 1895) by the brothers Louis and Auguste Lumière, 45 seconds long, shows the approximately 100 workers at a factory for photographic goods in Lyon- Montplaisir leaving through two gates and exiting the frame to both sides. But why does the story of cinema begin with the end of work? Is it because, as has been suggested, it is impossible to represent work from the perspective of labour but only from the point of view of capital, because the revolutionary horizon of the working class coincides with the end of work?1 After all, the early revolutionary art avant-garde had an ambiguous relationship with capitalism: it provided both a critique of commodification whilst also reproducing the commodity form.2 Even the cinema of Eisenstein, which so subverted the bourgeois sense of space, time, and personhood, at the same time standardized and commodified working-class reality with techniques of framing and editing that moulded images on the commodity form.3 Such dialectics between art and the commodity form continue to be played out in today’s digital capitalism, as exemplified by so-called ‘debt- artists’, like the hackers collective, Robin Hood, who appropriate the techniques and modes of sociality of financial capitalism to generate spaces of reciprocity and cooperation with the aim of disrupting their commodity logic, but which in fact end up reproducing it.4 The tension between critique and commodification is no less in play as the digital medium erases the specificity of cinema, the relation between its material bases and its poetics, opening up as it does to other relations – intertextual, lateral, and cross-media – that recall the synchronic aesthetics of the avant-garde.
    [Show full text]
  • Elgar Chadwick
    ELGAR Falstaff CHADWICK Tam O’Shanter Andrew Constantine BBC National Orchestra of Wales Timothy West Samuel West CD 1 CD 2 Sir Edward Elgar (1857-1934) Sir Edward Elgar (1857-1934) Falstaff – Symphonic Study in C minor, Op.68 Falstaff – Symphonic Study in C minor, Op.68 1 I am not only witty in myself, but the cause that wit is in other men 3.59 1 Falstaff and Prince Henry 3.05 2 Falstaff and Prince Henry 3.02 2 Eastcheap - the robbery at Gadshill - The Boar’s Head - revelry and sleep 13.25 3 What’s the matter? 3.28 3 Dream interlude: ‘Jack Falstaff, now Sir John, a boy, 4 Eastcheap - the robbery at Gadshill - The Boar’s Head - and page to Sir Thomas Mowbray, Duke of Norfolk 2.35 revelry and sleep 13.25 4 Falstaff’s March - The return through Gloucestershire 4.12 5 Dream interlude: ‘Jack Falstaff, now Sir John, a boy, and page to Thomas Mowbray, Duke of Norfolk’ 2.37 5 Interlude: Gloucestershire. Shallow’s orchard - The new king - The hurried ride to London 2.45 6 Come, sir, which men shall I have? 1.43 6 King Henry V’s progress - The repudiation of Falstaff and his death 9.22 7 Falstaff’s March - The return through Gloucestershire 4.12 8 Interlude: Shallow’s orchard - The new king - Total time 35.28 The hurried ride to London 2.44 BBC National Orchestra of Wales 9 Sir John, thy tender lambkin now is king. Harry the Fifth’s the man 2.24 Andrew Constantine 10 King Henry V’s progress - The repudiation of Falstaff and his death 9.25 George Whitefield Chadwick (1854-1931) Tam O’Shanter 11 Chadwick’s introductory note to Tam O’Shanter 4.32 12 Tam O’Shanter 19.39 Total time 71.14 BBC National Orchestra of Wales Andrew Constantine Falstaff, Timothy West Prince Henry, Samuel West George Whitefield Chadwick, Erik Chapman Robert Burns, Billy Wiz 2 Many of you might be coming to Elgar’s great masterpiece Falstaff for the very first time - I truly hope so! It has, undeniably, had a harder time working its way into the consciousness of the ‘Elgar-lover’ than most of his other great works.
    [Show full text]
  • Thin Blue Lines: Product Placement and the Drama of Pregnancy Testing in British Cinema and Television
    BJHS 50(3): 495–520, September 2017. © British Society for the History of Science 2017. This is an Open Access article, distributed under the terms of the Creative Commons Attribution licence (http://creativecommons.org/licenses/by/4.0/), which permits unrestricted re-use, distribution, and reproduction in any medium, provided the original work is properly cited. doi:10.1017/S0007087417000619 Thin blue lines: product placement and the drama of pregnancy testing in British cinema and television JESSE OLSZYNKO-GRYN* Abstract. This article uses the case of pregnancy testing in Britain to investigate the process whereby new and often controversial reproductive technologies are made visible and normal- ized in mainstream entertainment media. It shows how in the 1980s and 1990s the then nascent product placement industry was instrumental in embedding pregnancy testing in British cinema and television’s dramatic productions. In this period, the pregnancy-test close- up became a conventional trope and the thin blue lines associated with Unilever’s Clearblue rose to prominence in mainstream consumer culture. This article investigates the aestheticiza- tion of pregnancy testing and shows how increasingly visible public concerns about ‘schoolgirl mums’, abortion and the biological clock, dramatized on the big and small screen, propelled the commercial rise of Clearblue. It argues that the Clearblue close-up ambiguously concealed as much as it revealed; abstraction, ambiguity and flexibility were its keys to success. Unilever first marketed the leading Clearblue brand of home pregnancy test in the mid- 1980s. Since then home pregnancy tests have become a ubiquitous and highly familiar reproductive technology and diagnostic tool.
    [Show full text]
  • Drug Education and Its Publics in 1980S Britain
    International Journal of Drug Policy 88 (2021) 103029 Contents lists available at ScienceDirect International Journal of Drug Policy journal homepage: www.elsevier.com/locate/drugpo Policy Analysis Just say know: Drug education and its publics in 1980s Britain Alex Mold Centre for History in Public Health, London School of Hygiene & Tropical Medicine, 15-17 Tavistock Place, London, WC1H 9SH, United Kingdom ARTICLE INFO ABSTRACT Keywords: Until the 1980s, anti-drug education campaigns in the UK were rare. This article examines the reasons behind a Heroin policy shift that led to the introduction of mass media drug education in the mid 1980s. It focuses on two Drug education campaigns. ‘Heroin Screws You Up’ ran in England, and ‘Choose Life Not Drugs’ ran in Scotland. The campaigns Health education were different in tone, with ‘Heroin Screws You Up’ making use of fear and ‘shock horror’ tactics, whereas History of drug use ‘Choose Life Not Drugs’ attempted to deliver a more positive health message. ‘Heroin Screws You Up’ was criticised by many experts for its stigmatising approach. ‘Choose Life Not Drugs’ was more favourably received, but both campaigns ran into difficulties with the wider public. The messages of these campaigns were appro­ priated and deliberately subverted by some audiences. This historical policy analysis points towards a complex and nuanced relationship between drug education campaigns and their audiences, which raises wider questions about health education and its ‘publics’. In April 1986, the cast of teen TV soap, Grange Hill, released a song wanted to be seen to take action on drugs, leading to the introduction of titled ‘Just say no’.
    [Show full text]
  • Ull History Centre: Papers of Alan Plater
    Hull History Centre: Papers of Alan Plater U DPR Papers of Alan Plater 1936-2012 Accession number: 1999/16, 2004/23, 2013/07, 2013/08, 2015/13 Biographical Background: Alan Frederick Plater was born in Jarrow in April 1935, the son of Herbert and Isabella Plater. He grew up in the Hull area, and was educated at Pickering Road Junior School and Kingston High School, Hull. He then studied architecture at King's College, Newcastle upon Tyne, becoming an Associate of the Royal Institute of British Architects in 1959 (since lapsed). He worked for a short time in the profession, before becoming a full-time writer in 1960. His subsequent career has been extremely wide-ranging and remarkably successful, both in terms of his own original work, and his adaptations of literary works. He has written extensively for radio, television, films and the theatre, and for the daily and weekly press, including The Guardian, Punch, Listener, and New Statesman. His writing credits exceed 250 in number, and include: - Theatre: 'A Smashing Day'; 'Close the Coalhouse Door'; 'Trinity Tales'; 'The Fosdyke Saga' - Film: 'The Virgin and the Gypsy'; 'It Shouldn't Happen to a Vet'; 'Priest of Love' - Television: 'Z Cars'; 'The Beiderbecke Affair'; 'Barchester Chronicles'; 'The Fortunes of War'; 'A Very British Coup'; and, 'Campion' - Radio: 'Ted's Cathedral'; 'Tolpuddle'; 'The Journal of Vasilije Bogdanovic' - Books: 'The Beiderbecke Trilogy'; 'Misterioso'; 'Doggin' Around' He received numerous awards, most notably the BAFTA Writer's Award in 1988. He was made an Honorary D.Litt. of the University of Hull in 1985, and was made a Fellow of the Royal Society of Literature in 1985.
    [Show full text]
  • ESTELLE PARSONS & NAOMI LIEBLER  Monday, April 13
    SAVORING THE CLASSICAL TRADITION IN DRAMA ENGAGING PRESENTATIONS BY THE SHAKESPEARE GUILD IN COLLABORATION WITH THE NATIONAL ARTS CLUB THE ENGLISH-SPEAKING UNION THE LAMBS, NEW YORK CITY ESTELLE PARSONS & NAOMI LIEBLER Monday, April 13 For this special gathering, the GUILD is delighted to join forces with THE LAMBS, a venerable theatrical society whose early leaders founded Actors’ Equity, ASCAP, and the Screen Actors Guild. Hal Holbrook offered Mark Twain Tonight to his fellow Lambs before taking the show public. So it’s hard to imagine a better THE LAMBS setting for ESTELLE PARSONS and NAOMI LIEBLER to present 3 West 51st Street a dramatic exploration of “Shakespeare’s Old Ladies.” A Manhattan member of the American Theatre Hall of Fame and a PROGRAM 7:00 P.M. former head of The Actors Studio, Ms. Parsons has been Members $5 nominated for five Tony Awards and earned an Oscar Non-Members $10 as Blanche Barrow in Bonnie and Clyde (1967). Dr. Liebler, a professor at Montclair State, has given us such critically esteemed studies as Shakespeare’s Festive Tragedy. Following their dialogue, a hit in 2011 at the New York Public Library, they’ll engage in a wide-ranging conversation about its key themes. TERRY ALFORD Tuesday, April 14 To mark the 150th anniversary of what has been called the most dramatic moment in American history, we’re pleased to host a program with TERRY ALFORD. A prominent Civil War historian, he’ll introduce his long-awaited biography of an actor who NATIONAL ARTS CLUB co-starred with his two brothers in a November 1864 15 Gramercy Park South benefit of Julius Caesar, and who restaged a “lofty Manhattan scene” from that tragedy five months later when he PROGRAM 6:00 P.M.
    [Show full text]
  • O'connell 2013
    Towards a finer ecology: a study of fixed term subsidy for theatre in England O'Connell, C. Submitted version deposited in CURVE October 2014 Original citation & hyperlink: O'Connell, C. (2013) Towards a finer ecology: a study of fixed term subsidy for theatre in England. Unpublished MRes Thesis. Coventry: Coventry University. Copyright © and Moral Rights are retained by the author. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This item cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder(s). The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. CURVE is the Institutional Repository for Coventry University http://curve.coventry.ac.uk/open Towards a finer ecology - a study of fixed term subsidy for theatre in England. By C.O'Connell MAR September 2013 Towards a finer ecology - a study of fixed term subsidy for theatre in England. by Chris O'Connell September 2013 A thesis submitted in partial fulfilment of the Universityʼs requirements for the Degree of Master of Research Coventry University Abstract 'Towards a finer ecology - a study of fixed term subsidy for theatre in England.' This study contests that subsidy for theatre in England, as administrated by Arts Council England, is constricted by historical preoccupations that organise culture and are neither progressive to the organisation's goals as outlined in its document Great Art For Everyone (2010), nor adaptive to twenty-first century society.
    [Show full text]
  • Inmedia, 3 | 2013, « Cinema and Marketing » [Online], Online Since 22 April 2013, Connection on 22 September 2020
    InMedia The French Journal of Media Studies 3 | 2013 Cinema and Marketing Electronic version URL: http://journals.openedition.org/inmedia/524 DOI: 10.4000/inmedia.524 ISSN: 2259-4728 Publisher Center for Research on the English-Speaking World (CREW) Electronic reference InMedia, 3 | 2013, « Cinema and Marketing » [Online], Online since 22 April 2013, connection on 22 September 2020. URL : http://journals.openedition.org/inmedia/524 ; DOI : https://doi.org/10.4000/ inmedia.524 This text was automatically generated on 22 September 2020. © InMedia 1 TABLE OF CONTENTS Cinema and Marketing When Cultural Demands Meet Industrial Practices Cinema and Marketing: When Cultural Demands Meet Industrial Practices Nathalie Dupont and Joël Augros Jerry Pickman: “The Picture Worked.” Reminiscences of a Hollywood publicist Sheldon Hall “To prevent the present heat from dissipating”: Stanley Kubrick and the Marketing of Dr. Strangelove (1964) Peter Krämer Targeting American Women: Movie Marketing, Genre History, and the Hollywood Women- in-Danger Film Richard Nowell Marketing Films to the American Conservative Christians: The Case of The Chronicles of Narnia Nathalie Dupont “Paris . As You’ve Never Seen It Before!!!”: The Promotion of Hollywood Foreign Productions in the Postwar Era Daniel Steinhart The Multiple Facets of Enter the Dragon (Robert Clouse, 1973) Pierre-François Peirano Woody Allen’s French Marketing: Everyone Says Je l’aime, Or Do They? Frédérique Brisset Varia Images of the Protestants in Northern Ireland: A Cinematic Deficit or an Exclusive
    [Show full text]
  • History As a Construct.Pdf
    Hacettepe University Graduate School of Social Sciences Department of English Language and Literature English Language and Literature HISTORY AS A CONSTRUCT: CARYL CHURCHILL’S MAD FOREST, DAVID EDGAR’S PENTECOST, AND DAVID HARE’S STUFF HAPPENS Ömer Kemal GÜLTEKİN Ph.D. Dissertation Ankara, 2018 History as a Construct: Caryl Churchill’s Mad Forest, David Edgar’s Pentecost, and David Hare’s Stuff Happens Ömer Kemal GÜLTEKİN Hacettepe University School of Social Sciences Department of English Language and Literature English Language and Literature Ph.D. Dissertation Ankara, 2018 BİLDİRİM Hazırladığım tezin/raporun tamamen kendi çalışmam olduğunu ve her alıntıya kaynak gösterdiğimi taahhüt eder, tezimin/raporumun kağıt ve elektronik kopyalarının Hacettepe Üniversitesi Sosyal Bilimler Enstitüsü arşivlerinde aşağıda belirttiğim koşullarda saklanmasına izin verdiğimi onaylarım: o Tezimin/Raporumun tamamı her yerden erişime açılabilir. o Tezim/Raporum sadece Hacettepe Üniversitesi yerleşkelerinden erişime açılabilir. o Tezimin/Raporumun …… yıl süreyle erişime açılmasını istemiyorum. Bu sürenin sonunda uzatma için başvuruda bulunmadığım takdirde, tezimin/raporumun tamamı her yerden erişime açılabilir. [25.01.2018] [Ömer Kemal Gültekin] YAYIMLAMA VE FİKRİ MÜLKİYET HAKLARI BEYANI Enstitü tarafından onaylanan lisansüstü tezimin/raporumun tamamını veya herhangi bir kısmını, basılı (kâğıt) ve elektronik formatta arşivleme ve aşağıda verilen koşullarla kullanıma açma iznini Hacettepe Üniversitesine verdiğimi bildiririm. Bu izinle Üniversiteye verilen
    [Show full text]
  • Space and Time Shooting
    An Adventure in Space & Time - SHOOTING SCRIPT - 01/02/13 1. 1 TV SCREEN 1 The BBC globe spins. ANNOUNCER This is the BBC. The following programme is based on actual events. It is important to remember, however, that you can’t rewrite History. Not one line. Except, perhaps, when you embark on an Adventure in Space and Time... Fade from this black and white image into... CUT TO: 2 EXT. BARNES COMMON. FLASH-FORWARD NIGHT X [37] (18:46) 2 July 1966. Fog. Dense. Unhealthy. British. A tired-looking road sign reads ‘Barnes Common’. The fog clears a little to reveal: a police telephone box. Old. Battered. And, as we fade from black and white to colour... Blue. A sign on one door panel reads: ‘Officers and cars respond to urgent calls’. Traffic goes carefully past. Caption: 1966. One car trundles to a halt and just stays there, headlights carving yellow tunnels into the fog. The door of the Police Box opens, throwing a shaft of light into the night, and a policeman, REG, appears. He looks out towards the road and sees the stationary car, its engine ticking over. He frowns, clicks on a powerful torch and walks down to the road. CUT TO: 3 INT/EXT. BILL’S CAR. FLASH-FORWARD NIGHT X [37] (18:48) 3 Sitting at the wheel of the car, staring into space, is a grey-faced man, much older-looking than his 58 years. William Hartnell - BILL to his friends. At the moment, he doesn’t have many of those. Copyright BBC PRIVATE AND CONFIDENTIAL An Adventure in Space & Time - SHOOTING SCRIPT - 01/02/13 2.
    [Show full text]
  • Ex-MI6 Men Cleared to Write in Book
    PROFILE INSIDE ARTS SPORT 2-page sports There is My farewell Dame Kiri nothing like a MOMENTS OF calendar . to Channel 4 CA TASTROPHE Te Kanawa dame of the yearJ JEREMY ISAACS 6 PORTRAIT OF 1987 INTERVIEW 15 26, 27 I I BARRY HUMPHRIES 5 & A BRIEFLY SUMMIT MOVE Soviet Foreign Minister Eduard Shevardnadze latest information, supplied to them Yemeni Embassy in London last they will be moved to a luxurious agreed to meetings with THE TWO British women sold by EILEEN MacDONALD week as brides in the Yemen Arab by The Observer , and was arranging , but was treated as a tourist house in Taiz with their husbands Us Secretary of State to interview the husbands with the HI¦Hiam ^2IIIIIQ9L i ^ H ^ i ^ B '^^ i u^^— ^ ~~~ rather than as a relative wishing to until ' all the paperwork is done.' George Shultz in Republic will not be allowed ' visit the country. On Christmas Day, The Observer home unless they are accompa- women when they arrived in the ports, which are awaiting their visit scared they are not touching us, preparation for a new city. to the British Embassy. Zana reassured her yesterday in a ' They told me to come back on informed the Foreign Office of the summit between Mikhail nied by their husbands. The young children of the When the sisters arrived in Taiz, telephone call . Tuesday with $500, three passport latest development in the women's Gorbachov and President Nadia and Zana-, Muhsen, who women — Nadia's daughter, 21- North Yemen's second city, they The official has also told Miss Ali, photographs and a return air situation.
    [Show full text]
  • Mckinney Macartney Management Ltd
    McKinney Macartney Management Ltd MICK COULTER BSC - Director of Photography NASTY WOMEN (Feature Film) Director: Chris Addison. Producer: Roger Birnbaum and Rebel Wilson. Starring: Anne Hathaway and Rebel Wilson. Metro-Goldwyn-Mayer. SHETLAND (Series 4) Director: Rebecca Gatward. Producer: Eric Coulter. Starring: Douglas Henshall, Stephen Robertson and Alison O’Donnell. BBC Scotland. THE ESCAPE Director: Paul J. Franklin. Producers: Jessica Malik and Jessica Parker. Starring: Art Malik, Ben Miller and Olivia Williams. Parri Passu Films. BITCH aka SUKA Director: Krzysztof Lang. Producers: Wojciech Pałys and Mariusz Łukomski. Starring: Olga Bołądź, Piotr Adamczyk, Marieta Żukowska, Marcin Korcz Katarzyna Figura, Piotr Głowacki and Marian Dziędziel. Monolith Films. MALEFICENT (UK shoot) Director: Robert Stromberg. Producer: Don Hahn, Scott Michael Murray and Joe Roth. Starring: Angelina Jolie, Elle Fanning, Juno Temple, Sharito Copley and Imelda Staunton. Moving Picture Company / Walt Disney Pictures. SINGULARITY (UK shoot) Director: Roland Joffé. Producer: Paul Breuls, Guy Louthan and Ajey Jhankar. Starring Josh Hartnett, Bipasha Basu, Claire van der Boom, Billie Brown and James Mackay. Corsan NV. THE BANK JOB Director: Roger Donaldson. Producers: Steven Chasman and Charles Rosen. Starring: Jason Statham, Saffron Burrows, Stephen Campbell Moore and David Suchet. Skyline Productions. Gable House, 18 – 24 Turnham Green Terrace, London W4 1QP Tel: 020 8995 4747 Fax: 020 8995 2414 E-mail: [email protected] www.mckinneymacartney.com VAT Reg. No: 685 1851 06 MICK COULTER Contd … 2 LOVE ACTUALLY Director: Richard Curtis. Producers: Duncan Kenworthy, Tim Bevan and Eric Fellner. Starring: Alan Rickman, Hugh Grant, Liam Neeson, Bill Nighy, Colin Firth Emma Thompson, Laura Linney, Martine McCutcheon and Rowan Atkinson.
    [Show full text]