DOCSLIB.ORG

TEF Submission 157.06 KB

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Name of Provider: Royal Central School of Speech and Drama UKPRN: 10007816 TEF Year Two provider submission Provider Context The Royal Central School of Speech and Drama (hereinafter ‘Central’, or ‘the School’) is a small and specialist higher education institution that stands at the forefront of training and research in the theatre and performance arts. Placing students at the centre of its work, Central develops practitioners and researchers who shape the future of theatre and performance across the UK and beyond. This is achieved in a conservatoire environment that is vocationally focussed, industry aligned and intensely practical. We train students to high-level industry standards in specialist technical theatre practices and identify, inspire and equip cultural leaders to develop the future of the theatre industries. By creating new challenges in our training environments, and establishing ourselves as a world-leading centre for research excellence in performance, we foster a climate of creativity, artistry and innovation that prepares students not only for jobs, but for professional careers. Recognition of the School’s world-leading teaching and graduate impact was conferred on Central by HEFCE in 2016 as a result of its review of institution-specific targeted allocations (ISTA); the review panel comprised a number of international experts, and led to the School being awarded the highest possible allocation of institution-specific funding. Academic strategy and philosophy Central is committed to: maintaining our distinctive ethos as an HE conservatoire at the crossing-point of HE, industry and the theatre and performance arts community. This consists of a fluid combination of scholarship and research, industry-related vocational training and research- informed teaching; the recognition that enhancement of learning is a project for staff and students alike, and that it takes many forms and relationships; active encouragement of diversity as a basis not only for an enriched learning experience but also for an enhanced working environment; opening doors to our disciplines for new thinkers, makers and practitioners in dispersed and diverse communities and seeking to lead participation in varied but interrelated communities of interest and study. The School employs conservatoire models of intensive physical and technical training extended and informed by industry engagement, and integrated with a research environment of active staff research that is coupled with a research degree programme. It is widely known as one of the UK’s oldest drama schools, with Laurence Olivier, Harold Pinter, Vanessa Redgrave and Judi Dench among its alumni, in addition to contemporary stars such as Martin Freeman, Kit Harrington, Cush Jumbo and Riz Ahmed. Less well known to the general public are the world-leaders in stage design and technical production who graduated from Central, and the leading role graduates play in regional and community arts. From its origins as an institution that focussed on actor training it has grown and diversified to cover a full range of production, design and craft disciplines, social and community applications of drama and theatre, and specialist pedagogical practices (for example, the training of acting and voice coaches and movement directors). It is a constituent college of the University of London, with its own taught degree awarding powers, and was one of the first drama schools to situate rigorous, practice-based vocational training and learning within higher education frameworks and benchmarks. By 2015/16, 955.7 student FTEs were taught across three undergraduate programmes (640.7 FTE) and a portfolio of specialist postgraduate programmes extending from taught Masters-level courses (MA and MFA) to MPhil/PhD degrees. Postgraduate programmes (315 student FTEs in 2015/16, including those on research degrees) constitute the largest platform of specialist drama-related postgraduate provision in the UK. Page 1 of 14 Name of Provider: Royal Central School of Speech and Drama UKPRN: 10007816 Central distinctively does much more than the traditional drama conservatoire. Its research-led teaching produces graduates who challenge the parameters of the discipline and make new art. Central offers the widest range of small vocational BA and MA theatre and performance arts courses in the specialist sector, with some subjects only available at the School. It also has the largest faculty of permanently contracted, expert scholars in either the specialist HEI or university drama department sectors, extensively supplemented by visiting professional practitioners. It delivers its teaching in diverse modes and levels of instruction appropriate to the curricula, including placement learning, community production work and collaborative outreach. Through industry-related and research seminars, Central provides a forum for professional and academic peers to engage with pedagogic, and research, discourses and practices from the UK and beyond. Teaching Quality Central’s undergraduate academic provision comprises three programmes: BA (Hons) Acting, which also includes routes in Musical Theatre and Collaborative and Devised Theatre; BA (Hons) Theatre Practice, with routes in twelve theatre and performance practice specialisms, including costume construction, stage management and performance arts; BA (Hons) Drama, Applied Theatre and Education (or DATE), which includes a pathway in writing for performance. Together and separately, these programmes are regarded by current students, alumni, and peers in both academia and the theatre and performance industries as sector- and, indeed, world- leading. ‘Central graduates currently stand head and shoulders above other Drama School graduates.’ M.D., White Light – the market leader in lighting and audio-visual equipment ‘Central is a byword for high quality training both in the UK and worldwide.’ Kate Buckley, Manager, 42 – a leading management and production company ‘The BA DATE programme is exceptional: it offers an incredibly robust structure, with excellent staff inviting students to engage with an expansive range of practices and theoretical frameworks as well as providing unique placement opportunities with a range of local, national and international partners. Students clearly flourish, developing and pursing independent research interests and practical work that actively contributes to a wider body of cultural practices in educational, community and professional theatre contexts. […] It is also important to acknowledge the extraordinary commitment demonstrated by staff in the delivery of the programme.’ Dr Caoimhe McAvinchey (Queen Mary, University of London), External Examiner BA DATE, 2016 Student feedback on teaching quality The quality of Central’s teaching is attested by the high regard in which it is placed by students, something that is clearly demonstrated by the ‘double positive’ flag that the School receives in the corresponding TEF metric. In NSS 2016, 95% of respondents agreed that staff are good at explaining things; 97% agreed that staff have made the subject interesting; 97% agreed that staff are enthusiastic about what they are teaching; and 92% agreed that their course is intellectually stimulating. Central is thus placed well above its benchmark in this area, and at a course level some of the responses have been even more gratifying: 100% of BA Acting respondents in 2016 agreed with every statement in the ‘teaching on my course’ category of questions. Comments about the School from NSS respondents in 2016 confirm its high standing in their view: ‘The course is so thorough, and has really helped me develop as an artist. I am so grateful for the generosity of the teachers, with their time, enthusiasm and rigour. What I've learnt has been very Page 2 of 14 Name of Provider: Royal Central School of Speech and Drama UKPRN: 10007816 valuable, but just as valuable has been learning how to learn. I feel extremely capable, in a deep way which I don't know that I could have before Central.’ BA Acting NSS respondent, 2016 ‘The course has helped me develop as a person and an actor in a way that I don't think another institution would have enabled me to. The support the staff offer to the students is exceptional, and though they push you to your limit, there is such a high level of care behind everything that they do.’ BA DATE NSS respondent, 2016 ‘The low student-to-tutor ratio really makes your degree a personal experience and the course is able to adapt around you, your wants and your needs. All the tutors really care about you and the work you are producing.’ BA Theatre Practice NSS respondent, 2016 Central also gathers feedback from first- and second-year undergraduate students on their perceptions of teaching quality in the form of an annual survey that uses the core questions of the NSS. The responses to this survey have consistently replicated the high levels of agreement on teaching quality that the School finds in the NSS; in 2016, for example, 88% of second-year undergraduates agreed that ‘staff are enthusiastic about what they are teaching’, while 85% agreed that ‘staff have made the subject interesting’ and that ‘the course is intellectually stimulating’. A one-to-one discussion on student feedback (gathered from the NSS, internal surveys and course committees) between Course Leaders and Central’s Director of Learning, Teaching and Student Experience takes place each year, and course leaders are required to respond formally in an annual course monitoring exercise.
Recommended publications
  • DVD Movie List by Genre – Dec 2020

    DVD Movie List by Genre – Dec 2020

    Action # Movie Name Year Director Stars Category mins 560 2012 2009 Roland Emmerich John Cusack, Thandie Newton, Chiwetel Ejiofor Action 158 min 356 10'000 BC 2008 Roland Emmerich Steven Strait, Camilla Bella, Cliff Curtis Action 109 min 408 12 Rounds 2009 Renny Harlin John Cena, Ashley Scott, Aidan Gillen Action 108 min 766 13 hours 2016 Michael Bay John Krasinski, Pablo Schreiber, James Badge Dale Action 144 min 231 A Knight's Tale 2001 Brian Helgeland Heath Ledger, Mark Addy, Rufus Sewell Action 132 min 272 Agent Cody Banks 2003 Harald Zwart Frankie Muniz, Hilary Duff, Andrew Francis Action 102 min 761 American Gangster 2007 Ridley Scott Denzel Washington, Russell Crowe, Chiwetel Ejiofor Action 113 min 817 American Sniper 2014 Clint Eastwood Bradley Cooper, Sienna Miller, Kyle Gallner Action 133 min 409 Armageddon 1998 Michael Bay Bruce Willis, Billy Bob Thornton, Ben Affleck Action 151 min 517 Avengers - Infinity War 2018 Anthony & Joe RussoRobert Downey Jr., Chris Hemsworth, Mark Ruffalo Action 149 min 865 Avengers- Endgame 2019 Tony & Joe Russo Robert Downey Jr, Chris Evans, Mark Ruffalo Action 181 mins 592 Bait 2000 Antoine Fuqua Jamie Foxx, David Morse, Robert Pastorelli Action 119 min 478 Battle of Britain 1969 Guy Hamilton Michael Caine, Trevor Howard, Harry Andrews Action 132 min 551 Beowulf 2007 Robert Zemeckis Ray Winstone, Crispin Glover, Angelina Jolie Action 115 min 747 Best of the Best 1989 Robert Radler Eric Roberts, James Earl Jones, Sally Kirkland Action 97 min 518 Black Panther 2018 Ryan Coogler Chadwick Boseman, Michael B. Jordan, Lupita Nyong'o Action 134 min 526 Blade 1998 Stephen Norrington Wesley Snipes, Stephen Dorff, Kris Kristofferson Action 120 min 531 Blade 2 2002 Guillermo del Toro Wesley Snipes, Kris Kristofferson, Ron Perlman Action 117 min 527 Blade Trinity 2004 David S.
  • The Seven Ages of Musical Theatre: the Life Cycle of the Child Performer

    The Seven Ages of Musical Theatre: the Life Cycle of the Child Performer

    UNIVERSITY OF SOUTHAMPTON The Seven Ages of Musical Theatre: The life cycle of the child performer by Lyndsay Barnbrook A thesis submitted in partial fulfillment for the degree of Doctor of Philosophy in the Humanities Faculty School of Music April 2016 \A person's a person, no matter how small." Dr. Seuss UNIVERSITY OF SOUTHAMPTON Abstract Humanities Faculty School of Music Doctor of Philosophy The Seven Ages of Musical Theatre: The life cycle of the child performer by Lyndsay Barnbrook The purpose of the research reported here is to explore the part played by children in musical theatre. It aims to do this on two levels. It presents, for the first time, an historical analysis of involvement of children in theatre from its earliest beginnings to the current date. It is clear from this analysis that the role children played in the evolution of theatre has been both substantial and influential, with evidence of a number of recurring themes. Children have invariably made strong contributions in terms of music, dance and spectacle, and have been especially prominent in musical comedy. Playwrights have exploited precocity for comedic purposes, innocence to deliver difficult political messages in a way that is deemed acceptable by theatre audiences, and youth, recognising the emotional leverage to be obtained by appealing to more primitive instincts, notably sentimentality and, more contentiously, prurience. Every age has had its child prodigies and it is they who tend to make the headlines. However the influence of educators and entrepreneurs, artistically and commercially, is often underestimated. Although figures such as Wescott, Henslowe and Harris have been recognised by historians, some of the more recent architects of musical theatre, like Noreen Bush, are largely unheard of outside the theatre community.
  • The Evolution of Sherlock Holmes: Adapting Character Across Time

    The Evolution of Sherlock Holmes: Adapting Character Across Time

    The Evolution of Sherlock Holmes: Adapting Character Across Time and Text Ashley D. Polasek Thesis submitted in fulfilment of the requirements for the degree of DOCTOR OF PHILOSOPHY awarded by De Montfort University December 2014 Faculty of Art, Design, and Humanities De Montfort University Table of Contents Abstract ........................................................................................................................... iv Acknowledgements .......................................................................................................... v INTRODUCTION ........................................................................................................... 1 Theorising Character and Modern Mythology ............................................................ 1 ‘The Scarlet Thread’: Unraveling a Tangled Character ...........................................................1 ‘You Know My Methods’: Focus and Justification ..................................................................24 ‘Good Old Index’: A Review of Relevant Scholarship .............................................................29 ‘Such Individuals Exist Outside of Stories’: Constructing Modern Mythology .......................45 CHAPTER ONE: MECHANISMS OF EVOLUTION ............................................. 62 Performing Inheritance, Environment, and Mutation .............................................. 62 Introduction..............................................................................................................................62
  • Not Your Grandfather's Sherlock Holmes

    Not Your Grandfather's Sherlock Holmes

    d “nOt YOuR GRandFatHeR’S ­ SHeRlOCk HOlMeS”: ­ Guy Ritchie’s 21st Century Reboot of a ­ 19th Century british Icon ­ Ashley Liening Sherlock Holmes “has enjoyed the most vigorous afterlife of any fictional character” posits thomas leitch, adaptation scholar and author of Film Adaptation and Its Discontents (leitch 207). Indeed, a franchise has been built around Sir arthur Conan doyle’s quirky detective, so much so that Sherlock Holmes has become one of the most adapted literary figures of all time, outnumbered only by Frankenstein’s monster, tarzan, and dracula (207). Clare Parody asserts, “Franchise practice has produced and surrounded some of the highest grossing and best-known fictional texts, characters, plots, and worlds of the twentieth and twenty-first centuries,” and Sherlock Holmes is no exception (211). From 1900 till the present day, Sherlock Holmes has been portrayed by “nearly 100 actors, in over 200 films, from more than a dozen different countries,” and it does not appear like “Sir arthur Conan doyle’s violin- playing, pipe-smoking, cocaine-injecting sleuth” is going any- where anytime soon (Cook 31). In fact, the twenty-first century has experienced a resurgence in more “straightforward” Holmes adaptations, namely bbC’s Sherlock (2010), which aired in three ninety-minute episodes and portrays a tech-savvy twenty-first century Holmes, and Guy Ritchie’s 2009 and 2011 35 ­ big screen adaptations, the latter of which will be the focus of this essay. I aim to explore the ways in which Guy Ritchie’s Sher­ lock Holmes (2009) adaptation, while inextricably bound to Conan doyle’s storytelling franchise, diverges from its prede- cessors in that it is not an amalgamation of other Holmes adap- tations.
  • Phubber Sherlock, Risky London, Safe England: Remaking Holmes in the Age of Information Technology

    Phubber Sherlock, Risky London, Safe England: Remaking Holmes in the Age of Information Technology

    Concentric: Literary and Cultural Studies 43.1 March 2017: 329-347 DOI: 10.6240/concentric.lit.2017.43.1.15 Phubber Sherlock, Risky London, Safe England: Remaking Holmes in the Age of Information Technology Chung-jen Chen Department of Foreign Languages and Literatures National Taiwan University, Taiwan Abstract I intend to read the latest BBC production of Sherlock by exploring the making of digitized modernity in which confidence in science and technology is not only prominent but fundamental to instrumental rationality. Showing that violence may exist purely for the sake of violence, not for retaliation or out of self-interest, I argue that the remake of Sherlock is not concerned with criminals but criminality. By pointing out the discursive formation of digital citizenship endowed with indiscriminative rights of membership in the constant shadow of terrorist attacks, I argue that a safe England must be constructed in spite of the necessity of risk. Sherlock reveals a path leading to a digitized brave new world in which risks will be perceived as information, terrorist attacks conceived as incentives in an extended, reiterated game of prisoner’s dilemma, collective safety achieved through the calculation of coding, decoding and the networking of information technology, and every single life incarcerated within the process of capturing the torrent of big data. While digital citizenship promises a future of open access, free participation, and a lower barrier of entry, the promised democracy of information technology leads to the unavoidability of criminality and fear, leading to the coexistence of safety and risk. Keywords Sherlock, modernity, risk, governmental rationality, Benedict Cumberbatch, information technology, mobile phones 330 Concentric 43.1 March 2017 “This is my hard drive, and it only makes sense to put things in there that are useful.” —Sherlock in BBC’s “The Great Game” Since his literary birth in 1887, Sherlock Holmes has been synonymous with a detective hero who knows all, sees all, and solves all.
  • Director of Photography

    Director of Photography

    Bio I am an experienced DoP/Camera Operator with extensive working knowledge of all film, video and digital imaging formats. I enjoy filming across all genres whether it be documentary, drama, commercials or corporate productions. My particular expertise is in shooting history, anthropology, travel, science, expedition and adventure films. I am also completely comfortable working in what might be considered more ‘extreme’ and challenging environments, having filmed in over seventy countries across the world covering the full range of conditions and environments - Jungles, Deserts, Mountains and also both the Arctic and Antarctica. Before becoming a Director of Photography, I worked my way up through the ‘grades’ as a clapper-loader then focus-puller on over one hundred 16mm/35mm films including commercials, film documentaries, TV dramas, feature films, pop promos and corporates. I am also available for stills photography assignments. My work has appeared in a number of national newspapers and magazines - including The Daily Telegraph,The Times, The Daily Mail, The Daily Express, The Sun, The Daily Mirror and Hello Magazine. Expertise Expert ALPINE SKIER. [Raced at national level as a teenager] Also proficient X-COUNTRY SKIER. Experienced WHITE-WATER CANOEIST / SEA KAYAKER and MOUNTAINEER Experienced AERIALS Cameraman with many hours on both FIXED WING & HELICOPTER work. Risk Assessment in Hostile Environments Certificate [Category One] Advanced Medicine for Remote Foreign Travel Certificate. POLAR & HIGH ALTITUDE Medic Course, Alta Norway. SWIFT WATER RESCUE Technician Certificate. [SRT Level One] Industrial ROPE ACCESS / TECHNICAL CLIMBING [Certificate IRATA Level One] Valid USA I Work Visa. FPoS (I) Medic Certificate HSE First Aid at Work Certificate Page 1/11 HELEN'S POLAR CHALLENGE BBC ONE / SPORT RELIEF Director: MORAY LONDON Helen Skelton skis, kites and cycles across Antarctica to the South Pole for Sport Relief.
  • Performing Sherlock : a Study in Studio and Location Realism Hewett, RJ

    Performing Sherlock : a Study in Studio and Location Realism Hewett, RJ

    Performing Sherlock : a study in studio and location realism Hewett, RJ Title Performing Sherlock : a study in studio and location realism Authors Hewett, RJ Type Book Section URL This version is available at: http://usir.salford.ac.uk/id/eprint/34863/ Published Date 2018 USIR is a digital collection of the research output of the University of Salford. Where copyright permits, full text material held in the repository is made freely available online and can be read, downloaded and copied for non-commercial private study or research purposes. Please check the manuscript for any further copyright restrictions. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. Performing Sherlock: A Study in Studio and Location Realism Given his status as one of literature’s most popular creations, Sir Arthur Conan Doyle’s Sherlock Holmes – usually accompanied by his faithful chronicler, Doctor Watson - has been less ubiquitous on British television screens than might be imagined. Having debuted in 1951, played by Andrew Osborn in The Adventure of the Mazarin Stone (BBC), the Baker Street sleuth returned a few months later in the guise of Alan Wheatley for a series of six live plays. Viewers then had to wait until 1965 for a home-grown run of episodes,1 this time featuring Douglas Wilmer; when this production returned in 1968, it was Peter Cushing who donned the deerstalker. In 1984 Granada’s series saw Jeremy Brett injecting a seven per cent solution in the long-running and popular production, but following Brett’s death in 1995 there were few attempts to revive Holmes in the UK, and audiences had to wait until 2010 for the character’s enormously successful 21st century reimagining in the form of Sherlock (BBC, 2010- ), starring Benedict Cumberbatch.
  • The Hobbit: the Desolation of Smaug Movie Review (2013) | Roger Ebert

    The Hobbit: the Desolation of Smaug Movie Review (2013) | Roger Ebert

    In Memoriam 1942 – 2013 | ★ ★ ★ ★ ROGEREBERT.COM Choose a Section REVIEWS THE HOBBIT: THE DESOLATION OF SMAUG ★ ★ ★ ☇ | Sheila O'Malley December 13, 2013 | ☄ 29 "Fantasy (in this sense) is, I think, not a lower but a higher form of Art, indeed the most nearly pure form, and so (when achieved) the most potent." -J.R.R. Tolkien, March 8, 1939 lecture "Fairy Stories" Print Page Like Tolkien's parenthetical "when achieved" is the kicker of that statement, the acknowledgement of how difficult and rare successful Like 262 fantasy really is. You know it when you see it. This reviewer did not find that quality in "An Unexpected Journey", the first 2 installment of Peter Jackson's gigantic trilogy based on Tolkien's slim one-volume classic "The Hobbit," but it is there in spades in Tweet 35 part two, "The Desolation of Smaug." This middle chapter is about a half-hour too long, and the final third splits the story up into three pieces, weakening the narrative thrust that had been building, but no matter: By the time we get to Bilbo Baggins' confrontation with the dragon Smaug (voiced with delicious sneering evil by Benedict Cumberbatch), the real work has been done. The thematic elements are in place, the emotional tension is highly strung, and the action unfolds in a wave like the fire erupting from the dragon's mouth, overtaking all in its path. Except for a flashback which shows Gandalf (Ian McKellen) and the exiled dwarf king Thorin Oakenshield (Richard Armitage) joining forces in a dark and beer-soaked pub straight out of Chaucer's "Canterbury Tales", "The Desolation of Smaug" picks up where the last one left off, with Bilbo (Martin Freeman) and the posse of rowdy dwarves deep into their journey to reclaim the Lonely Mountain and the dwarves' lost kingdom.
  • Interview with Actor Martin Freeman See Page Eight

    Interview with Actor Martin Freeman See Page Eight

    May 2012 Spring/summer 2014 Member Matters Interview with actor Martin Freeman see page eight How a clinical trial at Great Ormond Street Hospital has helped Joe who has arthritis Contents 4 6 8 Q and A with Foundation Tracey Anthony, A chat with actor Trust news Lead Nurse, Theatres Martin Freeman 9 10 12 From birth to adulthood: I have arthritis: Understanding lives now Young People’s and for the future Joe tells his story Forum update 13 14 16 Key dates What we’ve What happens… when achieved you or your family have Key dates feedback for your diary Contents Welcome I’d like to welcome you to the spring 2014 edition of Member Matters for youth Foundation Trust members. My name is Edward Green and I’m a councillor on the I was a patient here at Members’ Council representing patients GOSH recently and feel from outside London. very privileged to be My role at Great Ormond Street Hospital (GOSH) is to represent patients outside working alongside staff London on the Members’ Council. I was to ensure the patient’s a patient at GOSH recently and feel very privileged to be working alongside staff voice is heard. to ensure the patient’s voice is heard. I would like to say a big thank you to all the members and staff who have been working hard together on events and programmes of work. Last year, we held a listening event with many of you, where we heard what we were doing well, and what we could do better.
  • Estella Programme 9Page.Indd

    Estella Programme 9Page.Indd

    ADAPTED AND DIRECTED BY KATE MCGREGOR PRODUCED BY THEATRE6 AND TALES RETOLD HHHHH “Brave, brilliant and unmissable” The Times (The Scottsboro Boys) HHHHH “Captivating” Windsor Express (Persuasion) DIRECTOR’S NOTES I’ve loved Dickens’ ‘Great Expectations’ for many years and always found myself entranced and intrigued by Miss Havisham and her adopted daughter Estella. Estella is often described as a mystery to those around her - cold, lonely and unfeeling. However, when you consider her childhood and immediate role models, it’s no wonder she has struggled to establish her own identity. Throughout the novel, Estella is kept away from the truth of her life by Pip, Jaggers and Miss Havisham and this just didn’t seem fair to me. Therefore, I wanted to write a version that put the women of ‘Great Expectations’ unapologetically front and centre. 'Estella' is about giving Estella, Molly and Miss Havisham their time in the spotlight and in doing so, releasing them from the fate of being forever underwritten and universally misunderstood. At Theatre6 we work predominantly with live actor- musicianship and this approach has been the perfect vehicle to help unlock Estella’s secrets and lay her truth bare. It’s been really exciting to fill in the gaps of Estella’s life and give her new agency. We hope that this adaptation celebrates the fascinating narratives of so many women in Victorian literature and establishes a new legacy for classic popular fiction. KATE MCGREGOR - DIRECTOR CAST Afia Abusham - Estella Afia Abusham completed her Acting training at the Stella Adler Studio of Acting in New York City.
  • Movie Data Analysis.Pdf

    Movie Data Analysis.Pdf

    FinalProject 25/08/2018, 930 PM COGS108 Final Project Group Members: Yanyi Wang Ziwen Zeng Lingfei Lu Yuhan Wang Yuqing Deng Introduction and Background Movie revenue is one of the most important measure of good and bad movies. Revenue is also the most important and intuitionistic feedback to producers, directors and actors. Therefore it is worth for us to put effort on analyzing what factors correlate to revenue, so that producers, directors and actors know how to get higher revenue on next movie by focusing on most correlated factors. Our project focuses on anaylzing all kinds of factors that correlated to revenue, for example, genres, elements in the movie, popularity, release month, runtime, vote average, vote count on website and cast etc. After analysis, we can clearly know what are the crucial factors to a movie's revenue and our analysis can be used as a guide for people shooting movies who want to earn higher renveue for their next movie. They can focus on those most correlated factors, for example, shooting specific genre and hire some actors who have higher average revenue. Reasrch Question: Various factors blend together to create a high revenue for movie, but what are the most important aspect contribute to higher revenue? What aspects should people put more effort on and what factors should people focus on when they try to higher the revenue of a movie? http://localhost:8888/nbconvert/html/Desktop/MyProjects/Pr_085/FinalProject.ipynb?download=false Page 1 of 62 FinalProject 25/08/2018, 930 PM Hypothesis: We predict that the following factors contribute the most to movie revenue.
  • BBC Norman Beaton Fellowship 2012

    BBC Norman Beaton Fellowship 2012

    BBC NORMAN BEATON FELLOWSHIP 2018 Terms and Conditions 1. BBC Norman Beaton Fellowship ("the NBF") is organised by the British Broadcasting Corporation ("the BBC"). 2. The BBC NBF 2018 event is not open to any employee of the BBC or a BBC Group company, close relative of a BBC or BBC Group company employee, or an employee of a partner organisation 3. For Applicants to be accepted, Applicants must be a member of the acting profession and must be eligible to work in the United Kingdom for the duration of the contract (Saturday 21st July 2018 to Friday 21st December 2018). They must be at least 18 years old on or before the Saturday 21st July 2018. There is no upper age limit. 4. Applicants must fully complete a registration form on arrival at the NBF workshop, indicating their recent professional work as an actor and providing the name of a verifiable referee. Applicants failing to provide the name of a referee will not progress further. 5. This information will be collected and held by the BBC for the purposes of administering the BBC Norman Beaton Fellowship 2018. Application forms of shortlisted candidates will be shared with the external judges at the Semi-Final and Final. CDs of the Finalists’ auditions may also be circulated internally within the BBC Radio Drama production departments for casting purposes for possible BBC productions. Your personal information will not be shared with any other external third parties. Your personal information will be processed in line with the requirements of the Data Protection legislation and all personal information except your name will be deleted 12 months after the Fellowship award ends, or any other production that you are selected for ends.