Tuesday 18.04.17
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Special Issue
ISSUE 750 / 19 OCTOBER 2017 15 TOP 5 MUST-READ ARTICLES record of the week } Post Malone scored Leave A Light On Billboard Hot 100 No. 1 with “sneaky” Tom Walker YouTube scheme. Relentless Records (Fader) out now Tom Walker is enjoying a meteoric rise. His new single Leave } Spotify moves A Light On, released last Friday, is a brilliant emotional piano to formalise pitch led song which builds to a crescendo of skittering drums and process for slots in pitched-up synths. Co-written and produced by Steve Mac 1 as part of the Brit List. Streaming support is big too, with top CONTENTS its Browse section. (Ed Sheeran, Clean Bandit, P!nk, Rita Ora, Liam Payne), we placement on Spotify, Apple and others helping to generate (MusicAlly) love the deliberate sense of space and depth within the mix over 50 million plays across his repertoire so far. Active on which allows Tom’s powerful vocals to resonate with strength. the road, he is currently supporting The Script in the US and P2 Editorial: Paul Scaife, } Universal Music Support for the Glasgow-born, Manchester-raised singer has will embark on an eight date UK headline tour next month RotD at 15 years announces been building all year with TV performances at Glastonbury including a London show at The Garage on 29 November P8 Special feature: ‘accelerator Treehouse on BBC2 and on the Today Show in the US. before hotfooting across Europe with Hurts. With the quality Happy Birthday engagement network’. Recent press includes Sunday Times Culture “Breaking Act”, of this single, Tom’s on the edge of the big time and we’re Record of the Day! (PRNewswire) The Sun (Bizarre), Pigeons & Planes, Clash, Shortlist and certain to see him in the mix for Brits Critics’ Choice for 2018. -
Extending the Aerial: Uncovering Histories of Teletext and Telesoftware in Britain 2015-09-09
Repositorium für die Medienwissenschaft Alison Gazzard Extending the Aerial: Uncovering Histories of Teletext and Telesoftware in Britain 2015-09-09 https://doi.org/10.25969/mediarep/14121 Veröffentlichungsversion / published version Zeitschriftenartikel / journal article Empfohlene Zitierung / Suggested Citation: Gazzard, Alison: Extending the Aerial: Uncovering Histories of Teletext and Telesoftware in Britain. In: VIEW Journal of European Television History and Culture, Jg. 4 (2015-09-09), Nr. 7, S. 90– 98. DOI: https://doi.org/10.25969/mediarep/14121. Erstmalig hier erschienen / Initial publication here: https://doi.org/10.18146/2213-0969.2015.jethc083 Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Weitergabe unter gleichen Bedingungen 4.0 Attribution - Share Alike 4.0 License. For more information see: Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz http://creativecommons.org/licenses/by-sa/4.0 finden Sie hier: http://creativecommons.org/licenses/by-sa/4.0 volume 4 issue 7/2015 EXTENDING THE AERIAL UNCOVERING HISTORIES OF TELETEXT AND TELESOFTWARE IN BRITAIN Alison Gazzard Lecturer in Media Arts London Knowledge Lab UCL Institute of Education 23-29 Emerald Street London, WC1N 3QS [email protected] Abstract: Beyond their roles of broadcasting programmed content into the homes of people around the country, Britain’s British Broadcasting Corporation and Independent Television stations delivered additional content via home television sets. This article will explore the history of British teletext and telesoftware in the broader context of microprocessing developments during the late 1970s and early 1980s through a media archaeological framework of the terminology and traits. -
Ten Years Supporting, Delivering & Promoting the Whole Spectrum of Animation
TEN YEARS SUPPORTING, DELIVERING & PROMOTING THE WHOLE SPECTRUM OF ANIMATION Directors Message Wow – we made it to our 10th anniversary!! Who would have thought it? From very humble beginnings – our first festival in 2004 screened at the now-defunct Rupert Street Cinema in Piccadilly – to LIAF 2013, 10 days at 3 different venues. We have survived - sort of. Over 10 years we’ve received more than 12,000 entries, screened more than 2,500 films, and had some of the most talented animators in the world come and hang out with us. And we’ve had a ball on the way. It’s time to blow our own trumpet. As well as being the largest festival of it’s kind in the UK in terms of films and programmes screened, we have a substantial touring component and we run satellite events all year-round. We’ve screened at festivals, cinemas, theatres and colleges all around the world and in the UK and hopefully we have spread the word that animation is a valid artform that is only limited by the animator’s imagination. In short, our maxim is that in animation anything can happen. Long may this be. There are far too may people to thank here (hopefully you know who you are) but the guidance and immense work-rate of my co-Director Malcolm Turner has to be acknowledged. Way back when in our ground zero - actually in the year 1999 - I still vividly recall that very first meeting Malcolm and I had with our then-colleague Susi Allender in the back garden of our Melbourne flat. -
Communications
50 Communications How Long the Wait until We Can Call It Television Jerry BORRELL: Congressional Research sharing service that provides more than Service, Library of Congress, Washington, 100 different (nonbibliographic) data bases D.C* to about 5,000 users. The Warner and American Express joint project, QUBE This brief article will review videotex (also Columbus-based), utilizes cable and teletext. There is little need to define broadcast with a limited interactive capa terminology because new hybrid systems bility. It does not allow for on-demand are being devised almost constantly (hats provision of information; rather, it uses a off to OCLC's latest buzzword-Viewtel). polling technique. Antiope, the French Ylost useful of all would be an examination teletext system, used at KSL in St. Louis of the types of technology being used for last year and undergoing further tests in information provision. The basic require Los Angeles at KNXT in the coming year, ment for all systems is a data base-i.e., is only part of a complex data transmission data stored so as to allow its retrieval and system known as DIDon. Antiope is also display on a television screen. The interac at an experimental stage in France, with tions between the computer and the tele 2,500 terminals scheduled for use in 1981. vision screens are means to distinguish CEEFAX and Oracle, broadcast teletext technologies. In teletext and videotex a by the BBC and IBC in Britain, have an device known as a decoder uses data en estimated 100,000 users currently. Two coded onto the lines of a broadcast signal thousand adapted television sets are being (whatever the medium of transmission) to sold every month. -
2 April 2021 Page 1 of 10 SATURDAY 27 MARCH 2021 Robin Was a Furniture Designer Best Known for His Injection Nali
Radio 4 Extra Listings for 27 March – 2 April 2021 Page 1 of 10 SATURDAY 27 MARCH 2021 Robin was a furniture designer best known for his injection Nali ...... Nina Conti moulded polypropylene stacking chair, of which over 20 million Libby ...... Sarah Kendall SAT 00:00 Dream Story by Arthur Schnitzler (m000tg86) have been manufactured. Joan ...... Sarah Thom Episode 5 The Days shared a vision of good, affordable design for all. Mrs Singh ...... Nina Wadia Having infiltrated a secret masked ball where the female Together they established themselves as Britain's most Cilla ...... Gbemisola Ikumelo revellers are naked, Fridolin is discovered and must face his celebrated post-war designer couple, often been compared to Zoanna ...... Gbemisola Ikumelo hosts. US contemporaries, Charles Eames and Ray Eames. Roland ...... Colin Hoult Read by Paul Rhys. But despite their growing fame in the 1950s and 60s they Producer: Alexandra Smith Published in 1926, Arthur Schnitzler’s ‘Dream Story’ was remained uncomfortable with the public attention they received. A BBC Studios production for BBC Radio 4 first broadcast in alternately titled ‘Rhapsody’ and, in the original German, They shared a passion for nature and spent more and more time November 2016. ‘Traumnovelle’. outdoors. Lucienne drew much of her inspiration from plants SAT 05:30 Stand-Up Specials (m000tcl3) Credited as the novella that inspired Stanley Kubrick's last film. and flowers and Robin was a talented and obsessive mountain Jacob Hawley: Class Act Translated by JMQ Davies. climber. Stevenage soft lad Jacob Hawley left his hometown behind a Producer: Eugene Murphy Wayne reflects on the many layers to Robin and Lucienne and, decade ago and has ascended Britain's social class system, Made for BBC7 and first broadcast in September 2003. -
We Taller to Radio
SEPTEMBER 23, 2000 Music Volume 17, Issue 39 £3.95 Wyclef's new single,It Doesn't Matter (Colum- bia), is this week's Euro- peanHot 100Singles Highest New Entry. Media®we taller to radio M&M chart toppers this week Majors wheel out the biggestMiddelhoff aims for number one Eurochart Hot 100 Singles guns in seasonal campaign MADONNA by Adam White Music a Music & Media staff report such a heavy flow. But they (Maverick) remain optimistic about the HANOVER - Bertelsmann chair- LONDON - Record labels finaloutcome. "Although man/CEO Thomas Middelhoff European Top 100 Albums andradio programmers highlycompetitiveIfeel repeated on September 13 his wish THE CORKS across Europe are getting greataboutthe coming to see BMG Enter- In Blue ready for the busiest season months," says BMG UK & tainment become (Atlantic) of the year, which will see Ireland chairman and presi- top dog in the global European Radio Top 50 new releases by such inter- dent BMG Entertainment music business by nationalheavyweightsas Central Europe Richard Grif- the end of the year. ROBBIE WILLIAMS Madonna, U2, Fat Boy Slim, fiths. "The quality of the com- "Don't say that Rock DJ Sade, the Spice Girls, All binedreleasesfromthe we haven't achieved (Chrysalis) Saints, Ricky Martin, Rod record companies is stagger- our objective until European Dance Traxx Stewart, Radiohead, Kylie ing and can only expand the December 31,"he DARUDE Minogue, Texas, Elton John market." declared during a financial presen- Sandstorm and The Beatles. On the programming tation at Expo 2000 in Hanover. (16 Inch) The sheer volume of front, head of music at Middelhoff would not give any pre- product-a complete Radio 102 in Norway, cisedetails on how such world overview of major inter- Egil Houeland says his domination wouldbeachieved, Inside M&M this week national releases is pub- main problem is thathowever, beyond alluding-as he lished on page 7-8-has the bulk of releases is has done before-to the promise of label executives and pro- concentrated on the end continued on page 25 BMG GETS CHEEKY. -
Onthefrontline
★ Paul Flynn ★ Seán Moncrieff ★ Roe McDermott ★ 7-day TV &Radio Saturday, April 25, 2020 MES TI SH IRI MATHE GAZINE On the front line Aday inside St Vincent’s Hospital Ticket INSIDE nthe last few weeks, the peopleof rear-viewmirror, there was nothing samey Ireland could feasibly be brokeninto or oppressivelyboring or pedestrian about Inside two factions:the haves and the suburban Dublinatall. Come to think of it, have-nots.Nope, nothing to do with the whys and wherefores of the estate I Ichildren, or holiday homes, or even grew up on were absolutely bewitching.As employment.Instead, I’m talking gardens. kids, we’d duck in and out of each other’s How I’ve enviedmysocialmediafriends houses: ahuge,boisterous,fluid tribe. with their lush, landscaped gardens, or Friends would stay for dinner if there were COLUMNISTS their functionalpatio furniture, or even enough Findus Crispy Pancakes to go 4 SeánMoncrieff their small paddling pools.AnInstagram round.Sometimes –and Idon’tknow how 6 Ross photo of someone enjoying sundownersin or why we ever did this –myfriends and I O’Carroll-Kelly their own back gardenisenough to tip me would swap bedrooms for the night,sothat 17 RoeMcDermott over the edge. Honestly, Icould never have they would be sleeping in my house and Iin 20 LauraKennedy foreseen ascenario in whichI’d look at theirs. Perhaps we fancied ourselvesas someone’smodest back garden and feel characters in our own high-concept, COVERSTORY genuine envy (and, as an interesting body-swap story.Yet no one’s parents 8 chaser, guilt for worrying aboutgardens seemed to mind. -
Dialogue Coach Cv a Mccourt 06022021
CURRICULUM VITAE Adrian McCourt DIALOGUE COACH Italy cell: 00393388555361 U.K cell: 0044(0)7774297524 E-mail: [email protected] Date and place of birth: May 5th 1961, London. WEB SITE: www.adrianmccourtvoicecoach.com Michael Madsen, Tom Arnold, Douglas Dean, Katie McGovern. Director: Francesco Cinquemani. Comedy. (General American accent) Minerva productions. “THE CHRISTMAS WITCH” (2021) Liam Cunningham (Game of Thrones), Kasia Smutniak, Isabella Rossellini, Darrell D’Silva, Earl Cave, Lex Shrapnel, Brian Mccardie, Michael McNulty, Ben Batt, Claire Forlani, Christine Bottomley, Antohny Barclay, Alexandra Moloney, Oliver Huntingdon, Colette Tchantcho, Melodie Wakivuamina, Bailey Spalding, Merch Huset, Alex Lanipekun, Liah O’Prey, Liam Garrigan, Peter Campion, Ewan Horrocks, Finn Bennett, Joseph Ollman, Oliver Dench, Mark Rowley, Greg Hicks, Anthony Calf, Claudia Stecher, Alais Lawson, Emma Canning, Pedro Leandro, Martina Galletta, Emily Bevan, Naike Silipo, Kevin Lettieri, Nadia Parkes. “DOMINA” - Season One (end of 2020/ 2019) SKY/ Fifty Fathoms/ Cattleya series. (Engl RP etc) Directors: David Evans/ Claire Mccarthy/ Debs Paterson. Alan Cox, Antonio Fazzini, Tori Frazer, Dickran Tulane, M.Tomlinson, Mathew Sanders, Giacomo Rocchini. “DANTE”. DOCUMENTARY DIRECTED BY RIC BURNS. PRODUCED BY STEEPLECHASE FILMS, NEW YORK, FOR PBS/BBC (2020 Florence. 2019 London) (Engl RP and ITALIAN voice coaching). Patrick Dempsey (Grey’s Anatomy), Alessandro Borghi (Suburra), Laia Costa (Victoria, Duck butter) , Lars Mikkelsen (Sherlock), Kasia Smutniak -
Comedy and Entertainment Commissioning Round Autumn 2015
COMEDY AND ENTERTAINMENT COMMISSIONING ROUND AUTUMN 2015 Proteus round: 2016 2017 – 2 Welcome to the Radio 4 comedy commissioning round. This commissioning process is open to all BBC departments and registered independent companies with the necessary expertise, as indicated in the briefs (section 4). Please only offer a proposal if you can demonstrate that you have this expertise. 1 THE COMMISSIONING PROCESS 2 TIMETABLE 2 HOW TO SUBMIT AN IDEA TO RADIO 4 3 HOW THE COMMISSIONING BRIEFS WORK 5 FAQ ON THE COMMISSIONING PROCESS 6 RESPONSES TO PROPOSALS 8 BBC EDITORIAL GUIDELINES & COMPLIANCE 9 2 SUPPORTING MATERIALS FORM 10 3 THE BBC RADIO 4 AUDIENCE 12 4 COMEDY AND ENTERTAINMENT COMMISSIONING BRIEFS 14 5 WORKING WITH RADIO 4 31 1 1 THE COMMISSIONING PROCESS TIMETABLE Guidelines published 18th September Pre-offers deadline 8th October at 1200 noon Pre-offers results 16th October Final offers deadline 10th November at 1200 noon Results released Early December 2 HOW TO SUBMIT AN IDEA TO RADIO 4 Pre-offers submissions This first stage of the round invites you to submit brief outlines of your ideas. These will be sifted by commissioning editors who will shortlist those they think worth developing for the final offers stage. All ideas must be entered in the Proteus website by the stated deadline. We do not require hard copies of any proposal. Enter comedy proposals, selecting: 2016 2017 – 2 Each commissioning brief indicates the track record we require in suppliers to that slot. Please do not offer proposals unless you have the necessary expertise. For pre-offers we require only the minimum information to enable short-listing. -
SAM PINNELL Producer / Writer
SAM PINNELL Producer / Writer Producing 2020 – 2021 PRINCESS SERIES PRODUCER BBC STUDIOS for APPLE+ TV 2020 THE FIRST TEAM SERIES PRODUCER FUDGE PARK for BBC TWO 2019 MOTHERLAND SERIES TWO: BBC2 SERIES PRODUCER MERMAN 2018-9 DERRY GIRLS SERIES TWO: C4 SERIES PRODUCER HAT TRICK PRODUCTIONS 6 x half hour comedy series written by Lisa McGee 2017 FLOWERS SERIES TWO: C4 SERIES PRODUCER HOOTENANNY PICTURES / KUDOS LTD 6 x half hour comedy/drama written by Will Sharpe Director: Will Sharpe. Executive Producer: Naomi De Pear 2016 DRIFTERS SERIES FOUR: E4 /C4 SERIES PRODUCER BWARK/FUDGE PARK PRODUCTIONS 6 x half hour sitcom written by and starring Jessica Knappett Director: Al Campbell. Executive Producers: Iain Morris, Simon Wilson 2015 DRIFTERS SERIES THREE: E4 SERIES PRODUCER BWARK PRODUCTIONS 6 x half hour sitcom written by and starring Jessica Knappett Director: Al Campbell. Executive Producers: Damon Beesley, Iain Morris 2014 DRIFTERS SERIES TWO: E4 SERIES PRODUCER BWARK PRODUCTIONS 6 x half hour sitcom written by and starring Jessica Knappett Director: Tom Marshall. Executive Producers: Damon Beesley, Simon Wilson 2013 DRIFTERS SERIES ONE: E4 SERIES PRODUCER BWARK PRODUCTIONS 6 x half hour sitcom written by and starring Jessica Knappett Director: Simon Delaney. Executive Producers: Damon Beesley, Simon Wilson 2012 CHARLIE vs THE INTERNET : BBC AMERICA SERIES PRODUCER TWO FOUR Pilot clips and chat show hosted by Charlie Baker with guests from USA and UK. Director Paul Wheeler. Executive Producer: Darren Smith DRIFTERS: E4 SERIES PRODUCER BWARK PRODUCTIONS 30 min sitcom pilot written by and starring Jessica Knappett Director: Chloe Thomas. Executive Producers: Damon Beesley, Simon Wilson BITESIZE SERIES 3: BBC ONLINE SERIES PRODUCER ZEPPOTRON Comedy sketches based on classics of English Literature 2011 THE BRITISH COMEDY AWARDS NOMINATIONS SHOW: C4 PRODUCER UNIQUE 70 min special featuring clips and interviews from the award nominees THE INBETWEENERS TOP TEN MOMENTS: E4 & CHANNEL 4 SERIES PRODUCER BWARK PRODUCTIONS 1 hour special. -
Beauty Is Only Skin-Deep, but So Was This Film
10 1G T Wednesday August 14 2019 | the times television & radio Beauty is only skin-deep, but so was this film Burke’s bugbear, understandably, is popularised “heroin chic”. “You have Chris the obscene beauty standard foisted to look at fashion as fantasy — what on women by Love Island, Instagram you are seeing in a magazine is not and the like, jostling more and more real,” were his weasel words. These Bennion young people into therapy or under things look pretty real — in the knife. She began with a visit to the magazines, on television, on social Love Island alumna Megan Barton- media — to teenage girls. Burke said TV review Hanson, a woman not afraid of that heroin chic was “repulsive”. But scalpels. “I don’t want young girls to she said it to the camera, not Rankin. have unrealistic expectations,” said An opportunity missed. Barton-Hanson, a walking unrealistic Beauty is only skin-deep was the expectation. Burke frowned. message Burke kept falling back on, Would a visit to a different idea of but everywhere she turned there were feminine beauty help? Burke has a lot young women desperate to conform to of time for Sue Tilley, the model for a homogenised physical ideal. Burke’s Lucian Freud’s 1995 painting Benefits well-meaning film, alas, was skin-deep Kathy Burke’s All Woman Supervisor Sleeping, a woman entirely too, amounting to an hour of fretting Channel 4 comfortable with her “magnificent and beautifully phrased Burkeisms. {{{(( piles of flesh”. Freud, said Tilley, “Where does this insecurity come Inside the Factory thought that libraries should be from?” Burke asked. -
An Introductory History of British Broadcasting
An Introductory History of British Broadcasting ‘. a timely and provocative combination of historical narrative and social analysis. Crisell’s book provides an important historical and analytical introduc- tion to a subject which has long needed an overview of this kind.’ Sian Nicholas, Historical Journal of Film, Radio and Television ‘Absolutely excellent for an overview of British broadcasting history: detailed, systematic and written in an engaging style.’ Stephen Gordon, Sandwell College An Introductory History of British Broadcasting is a concise and accessible history of British radio and television. It begins with the birth of radio at the beginning of the twentieth century and discusses key moments in media history, from the first wireless broadcast in 1920 through to recent developments in digital broadcasting and the internet. Distinguishing broadcasting from other kinds of mass media, and evaluating the way in which audiences have experienced the medium, Andrew Crisell considers the nature and evolution of broadcasting, the growth of broadcasting institutions and the relation of broadcasting to a wider political and social context. This fully updated and expanded second edition includes: ■ The latest developments in digital broadcasting and the internet ■ Broadcasting in a multimedia era and its prospects for the future ■ The concept of public service broadcasting and its changing role in an era of interactivity, multiple channels and pay per view ■ An evaluation of recent political pressures on the BBC and ITV duopoly ■ A timeline of key broadcasting events and annotated advice on further reading Andrew Crisell is Professor of Broadcasting Studies at the University of Sunderland. He is the author of Understanding Radio, also published by Routledge.