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Ordinary Lies
Ordinary Lies TX: Tuesday 17 March 2015 (TBC) BBC One 6 x 60min For further information: Katy Ardagh: 020 7292 7358 / [email protected] Ruth Bray: 020 7292 8348 / [email protected] Amy Shacklady: 020 7292 7373 / [email protected] 1 Contents Press Release 3 Cast List 4 Cast Interviews Danny Brocklehurst Series creator and writer 5 Jason Manford Plays Marty McLean 7 Jo Joyner Plays Beth Corbin 9 Sally Lindsay Plays Kathy Kavanagh 11 Episode 1 Synopsis 13 2 Ordinary Lies How well do you really know the people who work around you? From RED Production Company, creators of hit series Happy Valley and Last Tango In Halifax, comes highly-anticipated new primetime drama, Ordinary Lies, penned by BAFTA and International Emmy award-winning writer, Danny Brocklehurst (Accused, Shameless). We all tell little white lies everyday be it for self-protection, success or for love. But what happens when a spur-of-the-moment mistruth snowballs and begins to take over? Is it possible get away with it, or will the lie inevitably come undone to devastating effect? Set in a car showroom, Ordinary Lies is a compelling drama about how a simple lie can spiral out of control. With drama, tragedy, warmth and humour, each episode focuses on one of the colleagues and friends of JS Motors. From party-loving receptionists, Tracy (Michelle Keegan) and Viv (Cherelle Skeet) and ambitious company boss, Mike (Max Beesley) to enigmatic salesman, Pete (Mackenzie Crook) and mothering PA, Kathy (Sally Lindsay), each new and individual story questions just how well we know the people we work with. -
“Dear Shameless Death” Via Magical Realism
FROM SIMILITUDE TO THE BEYOND ALTERNATIVE FEMALE SUBJECTIVITY IN “DEAR SHAMELESS DEATH” VIA MAGICAL REALISM By Deniz Gundogan Submitted to Central European University Department of Gender Studies In partial fulfillment of the requirements for the degree of Gender Studies M.A Supervisor: Dr. Sophie Howlett CEU eTD Collection Budapest, Hungary 2009 ACKNOWLEDGMENTS I would like to express my deep gratitude to Sophie Howlett, my supervisor, who indebted a great deal of labour in this thesis. I would like to thank for her patience and belief in this challenging “magical” project. I would like to extend my warm gratitude to Jasmina Lukic, my second reader, who gave me a friendly support and encouraged me with her brilliant ideas during the whole year. I would also like to thank her for the pleasant literature courses during the semester. I debt thanks to CEU Gender Department for creating such a warm and friendly atmosphere throughout the year. I also debt thanks to my dear “Gender Kids” for being such a dynamic and lovely friends. I would like to thank especially Fatma Oya Aktas, for embarking on this CEU adventure with me far from Istanbul, for being with me in times of laughter, pain and especially during thesis craze. I would also like to thank Seda Saluk and Defne Karakaya for being such a lovely friends during this time. I would also like to thank my dear professor Ozden Sozalan who always with her all kindness encouraged my aspirations, for mu further studying studies. Thanks to my dearest friends Yasemin KuyucaklÕ Ellison and Nurseli Yesim Sunbuloglu, for their endless support, care and for their invaluable friendship during my study at CEU and for the last seven years. -
Michelle Heaney Editor
AMANDA MCALLISTER PERSONAL MANAGEMENT LTD 74 Claxton Grove, London W6 8HE • Telephone: +44 (0) 207 244 1159 www.ampmgt.com • e-mail: [email protected] MICHELLE HEANEY EDITOR CREDITS INCLUDE: THE REUNION Director Bill Eagles Thriller Drama Series Producer Sydney Gallonde Episodes 2, 4 & 6 (Remote editing) Production Co. MGM International TV Prods / Make It Happen Studio / France Télévisions STAY CLOSE Director Lindy Heymann 8 x 1hr Contemporary Drama Producer Juliet Charlesworth Episodes 5 & 6 Exec. Producers Nicola Shindler, Harlan Coben, Richard Fee, Danny Brocklehurst Production Co. Red Production Company / Netflix TRACES Director Rebecca Gatward 2 x 1hr Crime Mystery Thriller Drama Producer Juliet Charlesworth (Additional Editor) Exec. Producers Nicola Shindler, Michaela Fereday, Liam Keelan Philippa Collie Cousins, Val McDermid Production Co. Red Production Company / ALIBI BAFTA Nomination Best Drama Series THE WORST WITCH Director Dermot Boyd 4 x ½hr Children’s Drama Series Producer Kim Crowther Exec. Producer Sue Knott Production Co. CBBC / Netflix / ZDF Enterprises THE STRANGER Director Daniel O’Hara 3 x 1hr Mystery Crime Drama Producer Madonna Baptiste (1st Assistant Editor) Exec. Producers Nicola Shindler, Harlan Coben, Danny Brocklehurst, Richard Fee Editor Steve Singleton Production Co. Red Production Company / Netflix BRASSIC Directors Daniel O'Hara, Jon Wright 6 x 1hr Comedy Series Producer Juliet Charlesworth (1st Assistant Editor/ Assembly Editor) Exec. Producers David Livingston, Joe Gilgun, Danny Brocklehurst, Jon Montague Editors Annie Kocur, Rachel Hoult Production Co. SKY / Calamity Films THE ROOK Director Kari Skogland 3 x 1hr Fantasy Thriller Drama Series Producer Steve Clark-Hall (1st Assistant Editor) Exec. Producer Stephen Garrett Editor Oral Ottey Production Co. -
Versailles: French TV Goes Global Brexit: Who Benefits? with K5 You Can
July/August 2016 Versailles: French TV goes global Brexit: Who benefits? With K5 you can The trusted cloud service helping you serve the digital age. 3384-RTS_Television_Advert_v01.indd 3 29/06/2016 13:52:47 Journal of The Royal Television Society July/August 2016 l Volume 53/7 From the CEO It’s not often that I Huw and Graeme for all their dedica- this month. Don’t miss Tara Conlan’s can say this but, com- tion and hard work. piece on the gender pay gap in TV or pared with what’s Our energetic digital editor, Tim Raymond Snoddy’s look at how Brexit happening in politics, Dickens, is off to work in a new sector. is likely to affect the broadcasting and the television sector Good luck and thank you for a mas- production sectors. Somehow, I’ve got looks relatively calm. sive contribution to the RTS. And a feeling that this won’t be the last At the RTS, however, congratulations to Tim’s successor, word on Brexit. there have been a few changes. Pippa Shawley, who started with us Advance bookings for September’s I am very pleased to welcome Lynn two years ago as one of our talented RTS London Conference are ahead of Barlow to the Board of Trustees as the digital interns. our expectations. To secure your place new English regions representative. It may be high summer, but RTS please go to our website. She is taking over from the wonderful Futures held a truly brilliant event in Finally, I’d like to take this opportu- Graeme Thompson. -
Brexit and Columns the Rhetorical Figures That Are Used in the Guardian and the Daily Mail
Arissen, s4341791/1 Brexit and Columns The Rhetorical Figures that are used in The Guardian and The Daily Mail Inge Arissen, s4341791 BA Thesis, English Literature August 2018 Supervisor: Chris Louttit Second Supervisor: Usha Wilbers Arissen, s4341791/2 ENGELSE TAAL EN CULTUUR Teacher who will receive this document: C. Louttit Title of document:Resubmission Thesis Name of course: Bachelor Thesis Date of submission: 5 August 2018 The work submitted here is the sole responsibility of the undersigned, who has neither committed plagiarism nor colluded in its production. Signed Name of student: Inge Arissen Student number: s4341791 Arissen, s4341791/3 Abstract This research will deal with newspapers and their columns on Brexit from January 2015 up till December 2016. The newspapers that will be discussed are The Guardian and The Daily Mail and their columnists John Crace and Stephen Glover. The rhetorical figures of each column are collected and the percentages of use is calculated. From these data, the most common rhetorical figures can be deduced and most their function will be described. To understand the theoretical frame of the research, background information on columns and interpreting rhetorical figures is given as well. The claim of this study is that each author uses different rhetorical devices in their columns, since their both on a different side in the Brexit discussion. Key Words: Brexit; Columns; Rhetorical Figures; The Guardian; The Daily Mail; Politics Arissen, s4341791/4 Table of Content Introduction …………………………………………………………………………….p5 -
The Well and the Shallows- G.K.Chesterton
The Well and the Shallows By G.K. Chesterton The Well and the Shallows By G.K. Chesterton (1935) CONTENTS INTRODUCTION AN APOLOGY FOR BUFFOONS MY SIX CONVERSIONS I. THE RELIGION OF FOSSILS II. WHEN THE WORLD TURNED BACK III. THE SURRENDER UPON SEX IV. THE PRAYER-BOOK PROBLEM V. THE COLLAPSE OF MATERIALISM VI. THE CASE OF SPAIN VII. THE WELL AND THE SHALLOWS THE RETURN TO RELIGION THE REACTION OF THE INTELLECTUALS LEVITY--OR LEVITATION THE CASE FOR HERMITS KILLING THE NERVE THE CASE OF CLAUDEL THE HIGHER NlHILISM THE ASCETIC AT LARGE THE BACKWARD BOLSHIE THE LAST TURN THE NEW LUTHER BABIES AND DlSTRIBUTISM THREE FOES OF THE FAMILY THE DON AND THE CAVALIER THE CHURCH AND AGORAPHOBIA BACK IN THE FOG THE HISTORIC MOMENT MARY AND THE CONVERT A CENTURY OF EMANCIPATION TRADE TERMS FROZEN FREE THOUGHT SHOCKING THE MODERNISTS A GRAMMAR OF KNIGHTHOOD REFLECTIONS ON A ROTTEN APPLE SEX AND PROPERTY ST. THOMAS MORE THE RETURN OF CAESAR AUSTRIA THE SCRIPTURE READER AN EXPLANATION WHY PROTESTANTS PROHIBIT WHERE IS THE PARADOX? -/- INTRODUCTORY NOTE I WAS monstrously attracted by a suggestion that these essays should bear the general title of "Joking Apart." It seemed to me a simple and sensible way of saying that the reader of these pages must not look for many jokes, certainly not merely for jokes, because these are controversial essays, covering all subjects on which a controversialist is challenged, and not particular subjects chosen as they are chosen by an essayist. It is an awful revelation of the world of unreason into which we have wandered, that people more practical than I are convinced that if I say that this is apart from joking, everyone will think it is a joke. -
Shameless Sociology
Shameless Sociology Shameless Sociology: Critical Perspectives on a Popular Television Series Edited by Jennifer Beggs Weber and Pamela M. Hunt Shameless Sociology: Critical Perspectives on a Popular Television Series Edited by Jennifer Beggs Weber and Pamela M. Hunt This book first published 2020 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2020 by Jennifer Beggs Weber, Pamela M. Hunt and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-5744-8 ISBN (13): 978-1-5275-5744-4 For Nathan, my partner in crime. – Jennifer For Perry and Grace. – Pam TABLE OF CONTENTS Acknowledgments ..................................................................................... ix Introduction ................................................................................................ 1 Pamela M. Hunt and Jennifer Beggs Weber Part 1: Social Class Dominant Hasslin’ and Subordinate Hustlin’: A Content Analysis Using the Generic Processes that Reproduce Inequality ............................ 8 Alexis P. Hilling, Erin Andro, and Kayla Cagwin Shamefully Shameless: Critical Theory and Contemporary Television ... 29 Robert J. Leonard and Kyra -
Radio 4 Extra Listings for 14 – 20 March 2015
Radio 4 Extra Listings for 14 – 20 March 2015 Page 1 of 9 SATURDAY 14 MARCH 2015 Marie Antoinette, Alexandrine Zola, Adolf Hitler and Charles Although it's the Poldarks that brought Winston Graham the de Gaulle who lighten and darken the city's streets most fame, he also wrote more than 30 other novels, six of SAT 00:00 The Seventh Test by Vikas Swarup (b044jh6l) in five episodes for BOOK OF THE WEEK. The series which have been filmed including the thriller, Marnie directed The Noose narrator is Stephen Boxer. by Alfred Hitchcock in 1964. Sapna Sinha works as a sales assistant in a TV showroom in In this final episode, we witness gunshots at Notre Dame, which This selection celebrates the range of his work and offers a New Delhi. Being the only bread-winner in the family she heralds decades of danger for glimpse into the enduring appeal of his most famous characters, works long hours to provide for her widowed mother and a new French leader... Reader Stephen Boxer. Ross and Demelza who are set to return to BBC screens in a younger sister. But then a man walks into her life with an SAT 01:00 The Museum of Curiosity (b0167zkv) new adaptation. extraordinary proposition: pass seven "life" tests of his choosing Series 4 Made for BBC Radio 4 Extra by The Waters Partnership. and she will have wealth and power. At first the tests seem easy, Haynes, McCandless, Crystal SAT 04:15 Neil Brand - Joanna (b00r9xm6) but things are not quite as they seem. -
No Offence the Aims of This Factsheet Are to Demonstrate the Way the Theoretical Abbot Has a Long Relationship with Channel 4
Media Studies www.curriculum-press.co.uk Number 184 Applying the Theoretical Framework: No Offence The aims of this Factsheet are to demonstrate the way the theoretical Abbot has a long relationship with Channel 4. Channel 4 are a framework can be applied to the television CSP, No Offence including commercial broadcaster but they also receive some government the industrial context of No Offence and the way the programme uses funding. To receive the public money, Channel 4 has to ensure media language: that (amongst other things) its programming is innovative, offers • To position the programme as part of a genre. alternative points of view and reflects the cultural diversity of the country. • To create narrative. Channel 4 buys programming from production companies and, when • To construct representations. doing so, will consider how the programme will help support its • To appeal to audiences. remit. Programmes which fit into Channel 4’s brand identity are No Offence is one of the options available for the study of television more likely to be bought by the broadcaster. products for AQA’s AS and A Level qualifications. Having a distinctive production background and being a ‘Channel • For AS Media Studies, it is a targeted CSP and should be 4 programme’ adds to the branding of No Offence itself and helps studied considering Audience and Industry ideas. audiences know what to expect from the programme. With no other • For A Level Media Studies, it is an in-depth CSP and information about the show, audiences would assume it would have should be studied considering all areas of the framework an irreverent approach to storytelling and may provide representations – Media Language, Representation, Audience and and storylines that are unconventional. -
John Yorke Interview Part 1.Pdf
INTERVIEW: JOHN YORKE J Friedmann The Yorkie bar kid JohnYorke When the BBC announced two years ago that John Yorke had developing younger-skewing drama series and serials. been appointed Controller of In-House Drama, Alan Yentob, Nicolas Brown would join BBC In-House Drama in the the Director of Drama, Entertainment and Children's, said that newly-created role of Director of Drama Production and Sally the move would bring together all BBC England In-House Woodward Gentle would become Creative Director in charge Drama Production into a single department. Yorke would have of all development in the department. special responsibility for continuing drama series and sin- Alan Yentob said: 'The new department will become the gles and would be joined by Kate Harwood, Executive largest developer and producer of drama in the UK with the Producer, EastEnders, as Head of Series and Serials. broadest range of output and best array of talent.' Diederick Santer was subsequently appointed Executive So, two years later, ScriptWriter magazine asked John Yorke Producer, EastEnders, with additional responsibility for what it was like coming back to the BBC after being at Channel 4. March 2007 39 INTERVIEW: JOHN YORKE John Yorke: Coming back was very writer - an incredibly experienced writer - encourage them, you’re going to find exciting. Channel 4 is a fantastic place to Tony McHale, who is absolutely in charge yourself in a real hole eventually. work but you don't get to make very of the entire direction of the show. On much. So I went from a team of eight EastEnders we created a core writing JF: So what you are saying is that you are people making 26 hours of drama a year group of twelve writers who each write allowing a group of writers to have much to a team of about 300 people making twelve episodes a year and it is they who more hands-on control: you have your 400 hours of drama. -
John Simm ~ 47 Screen Credits and More
John Simm ~ 47 Screen Credits and more The eldest of three children, actor and musician John Ronald Simm was born on 10 July 1970 in Leeds, West Yorkshire and grew up in Nelson, Lancashire. He attended Edge End High School, Nelson followed by Blackpool Drama College at 16 and The Drama Centre, London at 19. He lives in North London with his wife, actress Kate Magowan and their children Ryan, born on 13 August 2001 and Molly, born on 9 February 2007. Simm won the Best Actor award at the Valencia Film Festival for his film debut in Boston Kickout (1995) and has been twice BAFTA nominated (to date) for Life On Mars (2006) and Exile (2011). He supports Man U, is "a Beatles nut" and owns seven guitars. John Simm quotes I think I can be closed in. I can close this outer shell, cut myself off and be quite cold. I can cut other people off if I need to. I don't think I'm angry, though. Maybe my wife would disagree. I love Manchester. I always have, ever since I was a kid, and I go back as much as I can. Manchester's my spiritual home. I've been in London for 22 years now but Manchester's the only other place ... in the country that I could live. You never undertake a project because you think other people will like it - because that way lies madness - but rather because you believe in it. Twitter has restored my faith in humanity. I thought I'd hate it, but while there are lots of knobheads, there are even more lovely people. -
THE STRANGER Dock10 Has Completed Post Production of the Stranger, an 8 X 60 Minute 4K HDR Drama Series for RED Production Company Commissioned by Netflix Originals
DOCK10 COMPLETES POST PRODUCTION OF RED PRODUCTION COMPANY’S 4K NETFLIX THRILLER THE STRANGER dock10 has completed post production of The Stranger, an 8 x 60 minute 4K HDR drama series for RED Production Company commissioned by Netflix Originals. dock10 provided Manchester’s first end-to-end post production for a Netflix Original scripted series for The Stranger being made by Red Production Company. Post Production, from initial planning stages and ingest of dailies to delivery of the final, finished episodes to Netflix, for this 8 x 60-minute 4K HDR drama, based on Harlan Coben’s novel and written by Danny Brocklehurst, and starring Richard Armitage, Siobhan Finneran, Jennifer Saunders, Anthony Head and Hannah John-Kamen, was completed over the course of almost a year at dock10’s facilities in MediaCityUK – the first Netflix Original scripted project to be wholly post produced in Manchester. Alongside the series post production, dock10’s VFX team created over 350 individual VFX shots spanning green screen, digital matte painting, CG set extensions, destruction effects, digital stunt work, digital art direction and digital make up. Several key scenes for this series relied on our VFX team for the recreation and destruction of an existing Liverpool street location. To achieve this, the VFX team used extensive photographic references to accurately recreate the street, with principle photography taking place on the studio back lot using a section of replica housing against a green screen. Working closely with the director, director of photography and production designer, these scenes were previsualised in CG, at full scale, both to help in creating the sequences and also to provide the dimensions and distances of the green screen needed by the construction department.