DOCSLIB.ORG

2015/16 BFI Annual Review

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
2015/16 BFI Annual Review 2015/2016 REVIEW ANNUAL 1 OUR MISSION & VA LUES The BFI serves a public role which Film Forever is our strategic covers the cultural, creative and plan for 2012–2017, which covers economic aspects of film in the UK. all BFI activity, and focuses on three priority areas: Founded in 1933, the BFI is a registered charity governed by Royal Charter. – Expanding education and learning Under the Royal Charter, the BFI has and boosting audience choice; five objectives: – Supporting the future success of British film; – To encourage the development of – Unlocking our film and television the arts of film, television and the heritage. moving image throughout the UK; – To promote their use as a record of contemporary life and manners; In carrying out our duties, we undertake to: – To promote education about film, television and the moving image – Consider the views of the industry, generally, and their impact on society; our audiences and our partners – To promote access to and appreciation – Be efficient, effective and accessible of the widest possible range of British and world cinema; – Be honest, open and accountable for our actions – To establish, care for and develop collections reflecting the moving – Provide clear and appropriate image history and heritage of the UK. information, guidance and feedback – Share and learn best practice in order to continually improve the services The BFI is the distributor of National on offer. Lottery funds for film. 2 3 CONTENTS CINEMAS & EVENTS ON THE PAGE 18 INTERNATIONAL STAGE CHAIR & CHIEF EXECUTIVE’S REPORT ENGAGING WITH THE PAGE 38 PAGE 4 CONTEMPORARY PAGE 20 UNLOCKING OUR FILM HERITAGE FOR EXPANDING EVERYONE TO ENJOY EDUCATION BFI LONDON AND BOOSTING FILM FESTIVAL PAGE 42 AUDIENCE CHOICE IN PARTNERSHIP WITH PAGE 6 AMERICAN EXPRESS® DIGITISATION PAGE 22 PAGE 44 BFI FLARE: LONDON KEY BFI LGBT FILM FESTIVAL RESTORATIONS PAGE 24 & REMASTERED FILMS PAGE 46 UK WIDE ACTIVITIES PAGE 26 PUBLIC POLICY, LEADERSHIP NURTURING YOUNG & ADVOCACY TALENT AND SKILLS SUPPORTING THE PAGE 48 PAGE 10 FUTURE SUCCESS OF BRITISH FILM PAGE 34 FUNDRAISING & GROWING AUDIENCES PHILANTHROPHY & CHOICE UK WIDE PAGE 50 PAGE 12 DIVERSITY PAGE 32 BFI INCOME BFI DIGITAL & EXPENDITURE PAGE 14 SUPPORTING FUTURE FILMMAKING PAGE 54 PAGE 34 THE BFI CULTURAL PROGRAMME 4 PAGE 16 5 CHAIR & CHIEF Meanwhile, our education partner, Into Film, distinctive British voices, is demonstrably In a continuing challenging financial ready to launch the new strategy in celebrated at reaching over 9,000 schools working. Alumni from the first year environment we are particularly pleased the autumn. with active film clubs. A particular note are already finding their way into the to see growth in earned income from all EXECUTIVE’S of gratitude should be made here for the Industry, while others are undertaking our charitable activities. We set ourselves Finally after eight years our Chair, 9,000 teacher volunteers leading these further film training, including a lucky tough targets and as well as growing our Greg Dyke, came to the end of his second great initiatives. few who have been selected for places at existing activities, we have created new term in February 2016. Greg has had the National Film & Television School. income sources, such as an international a profound influence upon modern REPORT Our partners across the Film Audience For emerging filmmakers, BFI NET.WORK learning course in modern film archive television and popular culture and he The 59th BFI London Film Festival opened Network – nine leading not-for-profit film partners with Creative England, Creative care which attracted paying participants has made a massive impact on so many and closed with two standout British films. theatres around the UK working with their Scotland, Northern Ireland Screen from countries as far afield as China, other sectors from film to journalism Suffragette, proudly supported by the network of over a 1,000 partners – joined and Ffilm Cymru Wales on a range of Russia and Japan. We are also seeing and sport. His contribution to the BFI BFI and FILM4, was our opening gala forces with the BFI to bring an astonishing initiatives to support talented individuals individuals, corporate partners and cannot be overstated. In challenging film, while Danny Boyle’s biopic of Steve range of dynamic opportunities for in furthering their careers and projects. trusts and foundations place a growing times he has provided inspirational Jobs brought the Festival to a wonderful audiences to enjoy a wide range of film. value on the importance of our activities. leadership to the Board and organisation. conclusion. Making it to the top slots in These included sell-out screenings in our Alongside our mission to find and support In a competitive environment the Festival His ambition and passion for the BFI the programme, these two great British LOVE blockbuster season, ranging from future filmmakers, it is a privilege to was supported by increased sponsorship National Archive, improving diversity, films had to really stand out against Wings of a Dove at Paisley Abbey and support those already making their way and our bi-annual fundraising Gala educational opportunities and our stiff competition from the rest of the A Matter of Life and Death at Norton successfully in the industry. Many BFI- ‘Luminous’ far exceeded our expectation. digital capabilities, together with his world. The number of distinctive British Aerodrome, to the Nottingham Games backed films such as Brooklyn, High Rise, determination to make the BFI UK-wide films winning critical acclaim on the Festival’s exploration of amorous The Lobster, and 45 Years have achieved We would like to record our thanks to the has been transformative. We were world festival circuit has increased storytelling in games. critical success with BAFTA and Oscar® Department for Culture Media and Sport, delighted to bestow a Fellowship on steadily in recent years, and a reminder nominations and proved popular with who supported our income generating him for his outstanding contribution that success can’t be measured just in Our pledge to digitise and make available audiences internationally. ambitions with a capital grant to further to television and film. Greg leaves a economic terms, but driven by creativity 10,000 titles from the BFI National Archive commercialise our estate at Stephen Street significant legacy; one that we, the Board – something the Brits have in spades. and significant regional archives connected With a firm look to the future, the BFI and BFI Southbank. and the wider organisation are proud with audiences with a level of exuberant made a major commitment to diversity to build on. Our role is to do all we can to bring enthusiasm that even the most optimistic and inclusion by introducing the Diversity As we approach the end of Film Forever, forward the next generation of creative could only have dreamed of. In the first Standards for all those seeking funding our five–year strategy for film 2012-17, As we move into the next era, we are people, to give opportunity where it nine months following the launch of the from us. The scheme has received we have begun the process of developing delighted to welcome to the Chair, might not exist. Our mission is to make first 3,000 titles on ‘Britain on Film’ we had recognition from Government and is our direction for the next five years. Josh Berger. Josh has been on the BFI sure that film, television and all the arts over 8.5 million views across all channels, being solidly supported by the industry During the first three months of 2016 Board for the last five years, and so of the Moving Image are central to all including online. Having established the as an important agent for change to we have been evaluating and reviewing brings a winning combination of wider our cultural and creative lives. size of the public appetite to see and make opportunity available where it learnings from Film Forever, taking early industry knowledge and an experienced enjoy their own moving history, we hasn’t always existed before. During the soundings from the industry. It is clear understanding of the BFI. With Josh’s This Report is ample proof that it has are excited about the next instalment, year there was a particular emphasis on from these initial discussions that the proven energy and commitment we been a very exciting year for the BFI, ‘Rural Britain’, to be launched next year. gender and the BFI London Film Festival, strategic priorities captured in Film will be able to sustain the momentum packed with a richness of cultural for instance, opened with the female-led Forever remain the right ones and that established under Greg’s great leadership, programmes and creative opportunities The BFI Film Academy, which operates Suffragette and, for the first time ever we should build on them going forward. and push ahead with our ambitious which we and our partners have in every corner of the UK seeking out outside the US, hosted the Geena Davis However, there is recognition that times plans for the future. delivered for everyone across the UK, those young people aged 16-19 who are Institute’s Global Symposium on Gender have changed since the publication of wherever you live, whatever your age. thinking of a career in the industry, in Media. Looking at the year overall, Film Forever and there are new challenges JOSH BERGER CBE was financially supported for a third 50% of films backed by the BFI were and opportunities for our screen industries CHAIR, BOARD OF GOVERNORS Education is the foundation stone, year by the Department for Education. produced by women and over 30% had and culture. A number of key themes AMANDA NEVILL CBE and this year we led a panel of experts The initiative, with its focus on creating a female director.
Load more

Recommended publications
  • Demarcating Dramaturgy
    Demarcating Dramaturgy Mapping Theory onto Practice Jacqueline Louise Bolton Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds Workshop Theatre, School of English August 2011 The candidate confirms that the work submitted is his/her own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. 11 Acknowledgements This PhD research into Dramaturgy and Literary Management has been conducted under the aegis of an Arts and Humanities Research Council Collaborative Doctoral Award; a collaboration between the University of Leeds and West Yorkshire Playhouse which commenced in September 2005. I am extremely grateful to Alex Chisholm, Associate Director (Literary) at West Yorkshire Playhouse, and Professor Stephen Bottoms and Dr. Kara McKechnie at the University of Leeds for their intellectual and emotional support. Special thanks to Professor Bottoms for his continued commitment over the last eighteen months, for the time and care he has dedicated to reading and responding to my work. I would like to take this opportunity to thank everybody who agreed to be interviewed as part of this research. Thanks in particular to Dr. Peter Boenisch, Gudula Kienemund, Birgit Rasch and Anke Roeder for their insights into German theatre and for making me so welcome in Germany. Special thanks also to Dr. Gilli Bush-Bailey (a.k.a the delightful Miss. Fanny Kelly), Jack Bradley, Sarah Dickenson and Professor Dan Rebellato, for their faith and continued encouragement.
    [Show full text]
  • February 2018 at BFI Southbank Events
    BFI SOUTHBANK EVENTS LISTINGS FOR FEBRUARY 2018 PREVIEWS Catch the latest film and TV alongside Q&As and special events Preview: The Shape of Water USA 2017. Dir Guillermo del Toro. With Sally Hawkins, Michael Shannon, Doug Jones, Octavia Spencer. Digital. 123min. Courtesy of Twentieth Century Fox Sally Hawkins shines as Elisa, a curious woman rendered mute in a childhood accident, who is now working as a janitor in a research center in early 1960s Baltimore. Her comfortable, albeit lonely, routine is thrown when a newly-discovered humanoid sea creature is brought into the facility. Del Toro’s fascination with the creature features of the 50s is beautifully translated here into a supernatural romance with dark fairy tale flourishes. Tickets £15, concs £12 (Members pay £2 less) WED 7 FEB 20:30 NFT1 Preview: Dark River UK 2017. Dir Clio Barnard. With Ruth Wilson, Mark Stanley, Sean Bean. Digital. 89min. Courtesy of Arrow Films After the death of her father, Alice (Wilson) returns to her family farm for the first time in 15 years, with the intention to take over the failing business. Her alcoholic older brother Joe (Stanley) has other ideas though, and Alice’s return conjures up the family’s dark and dysfunctional past. Writer-director Clio Barnard’s new film, which premiered at the BFI London Film Festival, incorporates gothic landscapes and stunning performances. Tickets £15, concs £12 (Members pay £2 less) MON 12 FEB 20:30 NFT1 Preview: You Were Never Really Here + extended intro by director Lynne Ramsay UK 2017. Dir Lynne Ramsay. With Joaquin Phoenix, Ekaterina Samsonov, Alessandro Nivola.
    [Show full text]
  • 2012 Annual Report
    2012 ANNUAL REPORT Table of Contents Letter from the President & CEO ......................................................................................................................5 About The Paley Center for Media ................................................................................................................... 7 Board Lists Board of Trustees ........................................................................................................................................8 Los Angeles Board of Governors ................................................................................................................ 10 Public Programs Media As Community Events ......................................................................................................................14 INSIDEMEDIA/ONSTAGE Events ................................................................................................................15 PALEYDOCFEST ......................................................................................................................................20 PALEYFEST: Fall TV Preview Parties ...........................................................................................................21 PALEYFEST: William S. Paley Television Festival ......................................................................................... 22 Special Screenings .................................................................................................................................... 23 Robert M.
    [Show full text]
  • Dive Into the Hornets Nest with Hang
    Media Contact: Dawn Kellogg Communications Manager (585) 420-2059 [email protected] FOR IMMEDIATE RELEASE DIVE INTO THE HORNETS’ NEST AT GEVA THEATRE CENTER The 13th Season of Geva’s nationally-recognized program of thought-provoking theatre continues on February 3rd with hang by debbie tucker green. Rochester, N.Y., January 21, 2020 - Few experiences can ignite a great conversation like a thrilling night in the theatre. The Hornets’ Nest series has theatre-goers itching for that conversation. The Hornets’ Nest series of script-in-hand readings with professional actors and directors returns with three plays investigating the most challenging and controversial ethical dilemmas of our time. Following each reading, audience members will have the opportunity to engage in open discussion with key figures from the Rochester community. Since its inception in 2007, the Hornets’ Nest series of readings has become nationally recognized and lauded as one of the most innovative theatrical initiatives in the country. The 2019-2020 series continues on February 3 with hang by debbie tucker green and directed by Pirronne Yousefzadeh. A crime has been committed. The victim has a choice to make. The criminal is waiting. In an undefined space, three unnamed characters (One, Two and Three) are engaged in a judicial process. One and Two are officials overseeing the case, while Three (a Black woman) is there to decide the fate of a man who has committed an unspecified crime against her family. hang is shattering play about one woman's unspeakable decision. What is the line between criminal justice and revenge? Should repentance impact a demand for justice? debbie tucker green is a British playwright, screenwriter, and director.
    [Show full text]
  • HBO: Brand Management and Subscriber Aggregation: 1972-2007
    1 HBO: Brand Management and Subscriber Aggregation: 1972-2007 Submitted by Gareth Andrew James to the University of Exeter as a thesis for the degree of Doctor of Philosophy in English, January 2011. This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. ........................................ 2 Abstract The thesis offers a revised institutional history of US cable network Home Box Office that expands on its under-examined identity as a monthly subscriber service from 1972 to 1994. This is used to better explain extensive discussions of HBO‟s rebranding from 1995 to 2007 around high-quality original content and experimentation with new media platforms. The first half of the thesis particularly expands on HBO‟s origins and early identity as part of publisher Time Inc. from 1972 to 1988, before examining how this affected the network‟s programming strategies as part of global conglomerate Time Warner from 1989 to 1994. Within this, evidence of ongoing processes for aggregating subscribers, or packaging multiple entertainment attractions around stable production cycles, are identified as defining HBO‟s promotion of general monthly value over rivals. Arguing that these specific exhibition and production strategies are glossed over in existing HBO scholarship as a result of an over-valuing of post-1995 examples of „quality‟ television, their ongoing importance to the network‟s contemporary management of its brand across media platforms is mapped over distinctions from rivals to 2007.
    [Show full text]
  • Terrible Rage)
    JCDE 2018; 6(1): 15–39 Dan Rebellato* Nation and Negation (Terrible Rage) https://doi.org/10.1515/jcde-2018-0009 Abstract: The aftermath of the Brexit referendum has revealed a deeply divided Britain, with anger on both sides and seemingly little desire to seek compromise or mutual understanding. Remainers denounce Leavers as ignorant bigots. Lea- vers denounce Remainers as metropolitan elitists. Theresa May went even further, characterizing supporters of open borders and free movement as ‘citizens of nowhere’ whose lack of attachment to nation suggests they simply don’t under- stand what citizenship means. Given the UK’s regional correlation between high levels of theatregoing and high support for Remain, this is a challenge for theatre- makers and scholars. One strong feature of contemporary British playwriting is a detachment from place; in numerous recent plays, place is estranged, unspeci- fied, annulled, orphaned, globalized, generalized, combined, relativized and scenographically anonymized. Does this represent an absence of nation? No, because this would be to accept the rigid oppositions of the Leave campaign between nations and open borders, between the local and the global. Instead, there is a restless deconstructive movement within the very identification of nation that moves to transcend it and this is captured and embodied in the heterotopic ambiguities of the spatially specific performance of the placeless play. Keywords: theatre, playwriting, dramaturgy, Brexit, European Union, space, place, nation, state, globalization, heterotopia, David Goodhart, Dani Rodrik, Jean-Luc Nancy, Jeremy Bentham, Michel Foucault, Joanne Tompkins Caryl Churchill can tell the future. Top Girls was a magnificent commentary on the 1980 s, written at the beginning, not the end, of the decade.
    [Show full text]
  • Nadine Marshall
    www.hamiltonhodell.co.uk Nadine Marshall Talent Representation Telephone Madeleine Dewhirst & Sian Smyth +44 (0) 20 7636 1221 [email protected] Address Hamilton Hodell, 20 Golden Square London, W1F 9JL, United Kingdom Television Title Role Director Production Company TIME Alicia Lewis Arnold BBC Studios SMALL AXE Jesse Steve McQueen BBC SITTING IN LIMBO Janet Stella Corradi Left Bank Pictures/BBC PLEBS Attica Mars Sam Leifer Rise Films/ITV2 THE END OF THE F***ING WORLD Bonnie's Mother Various Channel 4/Netflix THE VICTIM Simone Marshall Niall MacCormick STV/BBC 4STORIES: A MOTHER'S LOVE Josephine Anwar Boulifa Channel 4 World Productions/Sky SAVE ME Series 1 & 2 DS Shola O'Halloran Nick Murphy Atlantic Farren Blackburn/Jamie THE INNOCENTS Christine New Pictures/Netflix Donoughue LOADED Opposing Lawyer Ian Fitzgibbon Channel 4 DEATH IN PARADISE Series 6 Sabrina Martin Jermain Julien Red Planet/BBC NATIONAL TREASURE D.I. Patel Marc Munden Channel 4 NEW TRICKS Series 12 Alison Downing Sarah O'Gorman Wall To Wall/BBC VERA Series 5 Ellie Thorn Will Sinclair ITV WATERLOO ROAD Series 10 Steph Norton Various BBC CHASING SHADOWS Donna Davis Chris Menaul ITV OLD JACK'S BOAT Series 1, 2 & 3 Sam Spinnaker/Various Dominic Macdonald BBC THE SPA Vron Sandy Johnson Tiger Aspect/Sky Living THE GATES Melissa Sam Cadman Feelgood Fiction RANDOM Nominated for the Best Leading Actress Award, BAFTA Television Awards, 2012 Winner of the Best Single Drama Award, BAFTA Television Awards, 2012 Sister Debbie Tucker Green Hillbilly Films/C4 Winner of the Best
    [Show full text]
  • Image to Infinity: Rethinking Description and Detail in the Cinema
    IMAGE TO INFINITY: RETHINKING DESCRIPTION AND DETAIL IN THE CINEMA by Alison L. Patterson BS, University of Pittsburgh, 1997 MA, Cinema Studies New York University, 2001 Submitted to the Graduate Faculty of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Critical and Cultural Studies University of Pittsburgh 2011 UNIVERSITY OF PITTSBURGH FACULTY OF ARTS AND SCIENCES This dissertation was presented by Alison L. Patterson It was defended on February 23, 2011 and approved by Troy Boone, PhD, Associate Professor, English Adam Lowenstein, PhD, Associate Professor, English Colin MacCabe, PhD, Distinguished University Professor, English Randall Halle, PhD, Klaus W. Jonas Professor of German and Film Studies Dissertation Director: Marcia Landy, PhD, Distinguished Professor, English ii Copyright © Alison L. Patterson 2011 All Rights Reserved iii IMAGE TO INFINITY: RETHINKING DESCRIPTION AND DETAIL IN THE CINEMA Alison L. Patterson, PhD University of Pittsburgh, 2011 In the late 1980s, historian Hayden White suggested the possibility of forms of historical thought unique to filmed history. White proposed the study of “historiophoty,” an imagistic alternative to written history. Subsequently, much scholarly attention has been paid to the category of History Film. Yet popular concerns for historical re‐presentation and heritage have not fully addressed aesthetic effects of prior history films and emergent imagistic‐historiographic practices. This dissertation identifies and elaborates one such alternative historiographic practice on film, via inter‐medial study attending to British and American history films, an instance of multi‐platform digital historiography, and an animated film – a category of film often overlooked in history film studies.
    [Show full text]
  • 'Good' Starring David Tennant to Launch Dominic Cooke
    TUESDAY 11 FEBRUARY 2020 WEST END REVIVAL OF C.P TAYLOR’S ‘GOOD’ STARRING DAVID TENNANT TO LAUNCH DOMINIC COOKE AND KATE HORTON’S NEW COMPANY FICTIONHOUSE • David Tennant returns to the West End in a new production of the acclaimed play GOOD by C. P. Taylor. • GOOD will also star Fenella Woolgar and Elliot Levey, running at the Playhouse Theatre from Tuesday 6 October, directed by Dominic Cooke and designed by Vicki Mortimer. • GOOD is the first production for Fictionhouse, launched by Dominic Cooke and Kate Horton, who reunite following their tenure at the Royal Court as Artistic Director and Executive Director. • Fictionhouse will produce theatre, TV and film projects in the UK and internationally. Today Dominic Cooke and Kate Horton launch their company Fictionhouse with a new West End production of C. P. Taylor’s GOOD, starring David Tennant, Fenella Woolgar and Elliot Levey. Produced by Fictionhouse and Playful Productions, GOOD will play at the Playhouse Theatre for a strictly limited season from Tuesday 6 October (Press performance Wednesday 14 October). John Halder is a good man. But John Halder must adapt to survive. How is it possible to be a good person when things are falling apart? As the world faces its Second World War, John Halder, a decent, intelligent, music-loving German professor, finds himself swept along in a movement that crescendos towards an unthinkable finale. Good is a warning for our times. Olivier Award-winning director Dominic Cooke reimagines one of Britain’s most powerful, political plays with David Tennant returning to the West End, for 10 weeks only.
    [Show full text]
  • Debbie Tucker Green and Dona Daley: Two Neo-Millennial Black British Women Playwrights*
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Universidade de Caxias do Sul: UCS Revistas debbie tucker green and Dona Daley: Two Neo-millennial Black British Women Playwrights* debbie tucker green e Dona Daley: duas dramaturgas britânicas negras do novo milênio Deirdre Osborne** Abstract In the new millennium where white men still dominate the theatrical terrain, the staging of Black British women’s drama remains at best, rare. debbie tucker green and Dona Daley distinctivelydramatize articulations of the experientially uncharacteristic in British theatre. They produce sustained experimentation with form, style and subject matter inasserting black experience as universal not marginal. Whilst Daley employs unqualified naturalism in her dramatization of the mundane intimacies that weave lives together, tucker green blitzes the comfort zones of theatrical realism through linguistic free-fall and taboo topics. Theyexemplify women dramatists’ articulations of sensibilities and perspectives as arising from positions within culture and theatre that are distinct from those of their male contemporaries. Keywords Black British, women playwrights, experimental writing, contemporary drama, feminism, African diaspora. Resumo No novo milênio, em que homens brancos ainda dominam o terreno teatral, o teatro de mulheres britânicas negras permanece, na melhor das hipóteses, raro. debbie tucker green e Dona Daley dramatizam distintivamente articulações do experimentalismo não-característico no teatro britânico. Elas produzem experimentações sustentadas em forma, estilo e assunto para exercer a experiência negra como universal, e não marginal. Enquanto Daley emprega um naturalismo não qualificado na sua dramatização das intimidades mundanas que nós vivemos juntos, tucker green ataca as zonas de conforto do realismo teatral através de linguística em queda-livre e tópicos tabus.
    [Show full text]
  • Well Basically He Wants to Write a Paper About How Well The
    This Planet Has Four Walls: How early Doctor Who narrative was influenced by techniques and technology to overcome the confines of studio recording Andrew Ireland Subject Leader for Television Production, The Media School, Bournemouth University, Talbot Campus, Poole, Dorset, BH12 5BB, UK [email protected] Abstract This Planet Has Four Walls: How early Doctor Who narrative was influenced by techniques and technology to overcome the confines of studio recording "The Dalek Invasion of Earth" (1965) marked a turning point in the series. Not only did it see the first change to the line-up of regular characters (Susan Foreman, played by Carole Ann Ford, left at the conclusion of the story) but it was the first to feature material filmed on location. Up until this point, all episodes had been filmed entirely within the confines of a studio. This paper will examine the relationships and effects between narratives, production techniques and technology in this studio- bound era; how the programme makers told stories that in terms of direction, reach, and geography, far outstripped the limiting four walls of the studio space. In addition, the paper will discuss how production techniques developed to allow creativity to flourish in order to escape the trappings of the studio. Techniques such as forced perspective, front and back projection, and lighting will be discussed, along with how they’ve been employed to assist the telling of the story in a number of Doctor Who episodes, including "An Unearthly Child", "The Daleks", "Marco Polo," and "The Keys of Marinus". The central question to be explored is the idea that there is an inverse relationship between television production technology, and the creativity and ambition of geography in the narratives.
    [Show full text]
  • Bloomsbury Digital Resources 2020
    loomsbury Digital Resources provides creative online learning Benvironments that support scholarly research and inspire students throughout the world. We seek to engage our users with academically rigorous, editorially crafted content that encourages people to think and explore. We believe in working in partnership with librarians, researchers, and instructors to offer flexible solutions and unparalleled customer support, and we strive to create a culture of excellence and entrepreneurial thinking that is solutions-focused and rewards innovation. Table of Contents Humanities and Social Sciences 2 Bloomsbury Collections 3 Bloomsbury Food Library 4 Bloomsbury Cultural History 5 Bloomsbury Medieval Studies 6 Bloomsbury Encyclopedia of Philosophers 7–8 Theology & Religion Online Visual Arts and Design 9 Bloomsbury Design Library 10 Bloomsbury Architecture Library Bloomsbury Fashion Central 11 Berg Fashion Library 12 Bloomsbury Fashion Business Cases 13 Fashion Photography Archive 14 Bloomsbury Fashion Video Archive 15 Fairchild Books Library 16 FS 17 Bloomsbury Applied Visual Arts 18 Bloomsbury Education and Childhood Studies Film, Music, and Performing Arts 19–24 Drama Online 25 Bloomsbury Popular Music 26 Screen Studies History, Reference, and Distribution Partners 27 Churchill Archive 28 Arcadian Library Online 29–30 Bloomsbury Professional Arbitration and UK Tax Law 31 manchesterhive 32 Rowman & Littlefield 33 Human Kinetics Library 34 Whitaker’s Almanack 35 Features and Benefits 36–37 Bloomsbury Digital Resources Sales Rep Info www.bloomsburydigitalresources.com 1 Available Title by Title “ ...librarians who know their community will be able to add valuable editions to their eBook collection using this resource.” —Library Journal loomsbury Collections offers excellence and originality in Bscholarship in the arts, humanities, and social sciences.
    [Show full text]