Favourite TV Programmes

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Favourite TV Programmes 1900 First used the word Television at the first International Electricity Congress in Paris 1907 First silhouette images 1923 First Radio Times published 1925 Transmission of human face 1926 First demonstration by Baird of a mechanical colour television system 1927 First Live football Arsenal against Sheffield United 1930’s Baird installs a television at 10 Downing Street 1932 First regular programmes 1939 BBC suspends service owing to the outbreak of War 1946 First children’s television For the Children 1949 First Weather forecast 1955 TV Times first published. Limited to 50 hrs a week for BBC and forthcoming ITV 195524 Sept ATV 1956 The first Eurovision Song Contest 1967 BBC2 first regular colour transmissions Watch with Mother Muffin the mule was 12 years old by the time he appeared on the TV screens in 1946 with Annette Mills. Final performance in 1955 Andy Pandy appeared after the second World War on July 11th 1950. He first appeared solo and then joined by Teddy and later Looby Loo. 26 episodes were originally made. Products available in 1970 13 new episodes were made in colour 1955 on Fridays Picture Book on Mondays 1955 Bill and Ben the flower pot men Flibadobs and flobadobs First on the radio with Liston with Mother in 1951 The little house They were shown in 1952 on Wednesdays. Flower Pot, large gardening gloves and hob nailed boots Rag Tag and Bob tail Thursdays 1953 First appeared 1963 – 1989 2005 - present Dads Army, Home guard during 2nd World War 9 series, 80 episodes 1968-1877 18 million viewers (30 minutes) Coronation Street 1960 1949 Come dancing Emergency Ward Ten 1953 Panorama and the Coronation of Angels Elizabeth 11 Simpsons 1955 Alfred Hitchcock presents, Black and White Minstrel Show 1958 Dixon of Dock Green London Palladium 1958 Blue Peter Tom and Jerry 1959 The twilight Zone Hancock’s half hour 1961 The Morecambe and Wise Show The Poseidon adventure 1964 Crossroads Foyle’s War 1966 Till death us do part, The Likely Lads 1964 Cathy come Home enormous impact Miss World James Herriot Fanny’s kitchen 1955,1957, 1961 Delia Smith Only Fools and Horses Ground Force Pebble Mill Bewitched 1964 The prisoner Candid Camera Z Cars 1962 .

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2 a Quotation of Normality – the Family Myth 3 'C'mon Mum, Monday
Notes 2 A Quotation of Normality – The Family Myth 1 . A less obvious antecedent that The Simpsons benefitted directly and indirectly from was Hanna-Barbera’s Wait ‘til Your Father Gets Home (NBC 1972–1974). This was an attempt to exploit the ratings successes of Norman Lear’s stable of grittier 1970s’ US sitcoms, but as a stepping stone it is entirely noteworthy through its prioritisation of the suburban narrative over the fantastical (i.e., shows like The Flintstones , The Jetsons et al.). 2 . Nelvana was renowned for producing well-regarded production-line chil- dren’s animation throughout the 1980s. It was extended from the 1960s studio Laff-Arts, and formed in 1971 by Michael Hirsh, Patrick Loubert and Clive Smith. Its success was built on a portfolio of highly commercial TV animated work that did not conform to a ‘house-style’ and allowed for more creative practice in television and feature projects (Mazurkewich, 1999, pp. 104–115). 3 . The NBC US version recast Feeble with the voice of The Simpsons regular Hank Azaria, and the emphasis shifted to an American living in England. The show was pulled off the schedules after only three episodes for failing to connect with audiences (Bermam, 1999, para 3). 4 . Aardman’s Lab Animals (2002), planned originally for ITV, sought to make an ironic juxtaposition between the mistreatment of animals as material for scientific experiment and the direct commentary from the animals them- selves, which defines the show. It was quickly assessed as unsuitable for the family slot that it was intended for (Lane, 2003 p.
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Ÿþm I C R O S O F T W O R
Save Kids’ TV Campaign British children’s television - on the BBC, Channel 4, ITV and Five - has been widely acknowledged as amongst the most creative and innovative in the world. But changes in children’s viewing patterns, and the ban on certain types of advertising to children, are putting huge strains on commercial broadcasters. Channel 4 no longer makes children’s programmes and ITV (until recently the UK’s second largest kids’ TV commissioner) has ceased all new children’s production. They are deserting the children’s audience because it doesn’t provide enough revenue. Channel FIVE have cut back their children’s programming too. The international channels - Disney, Nickelodeon and Cartoon Network - produce some programming here, but not enough to fill the gap, and much of that has to be international in its focus so that it can be used on their channels in other territories. The recent Ofcom report on the health of children’s broadcasting in the UK has revealed that despite the appearance of enormous choice in children’s viewing, the many channels available offer only a tiny number of programmes produced in the UK with British kids’ interests at their core. The figures are shocking – only 1% of what’s available to our kids is new programming made in the UK. To help us save the variety and quality of children’s television in the UK sign the e-petition on the 10 Downing Street website or on http://www.SaveKidsTV.org.uk ends Save Kids' TV - Name These Characters and Personalities 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 Help save the quality in UK children's television Go to www.savekidstv.org.uk Save Kids TV - Answers 1 Parsley The Lion The Herbs/The Adventures of Parsley 2 Custard Roobarb and Custard 3 Timothy Claypole Rentaghost 4 Chorlton Chorlton and the Wheelies 5 Aunt Sally Worzel Gummidge 6 Errol The Hamster Roland's Rat Race, Roland Rat on TV-AM etc 7 Roland Browning Grange Hill 8 Floella Benjamin TV Presenter 9 Wizbit Wizbit 10 Zelda Terrahawks 11 Johnny Ball Presenter 12 Nobby The Sheep Ghost Train, It's Wicked, Gimme 5 etc.
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Television for Women: Generation, Gender and the Everyday Study submitted in part fulfilment of the requirement for the award of PhD Hazel Collie March, 2014 To be awarded by De Montfort University, and undertaken in collaboration with the University of Warwick. Sponsored by the Arts and Humanities Research Council 1 Declaration I declare that this is my own, original work and that all sources used have been cited. Name: Hazel Collie Signed: Date: 2 Abstract This study is part of the AHRC funded project “A History of Television for Women in Britain, 1947-1989”. The research is based upon the data gathered from interviews carried out with thirty geographically and generationally dispersed women about their memories of watching television in Britain between 1947 and 1989. I have used generation and gender as analytical categories, and have paid particular attention to the role of memory work in this type of historical research. This thesis aims to build upon previous work which has investigated the connection between generation and interaction with popular culture, but which has not theorised those relationships (Press, 1991; Moseley, 2002). The shifts and, indeed, continuities in the lives of different generations of British women are considered to gain a sense of the importance of generation in the production of identity. Significant differences arose between generations in terms of reflexivity and around questions of quality, value and taste as generations intersected with feminist and neoliberal cultures at different life stages. What was particularly interesting, however, was that despite the dramatic social change wrought by this post-war period, the narratives of women of different generations were surprisingly similar in terms of their everyday lives.
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