Content & Technology Policy Report May 20, 2016
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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. -
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. -
The Listening Voice 6
The Listening Voice The newsletter of the Equi-Phallic Alliance & Poetry Field Club Issue 6 / Messidor CCXIII “Neither Noddyland Nor Pogles Wood” LET’S RETURN TO THE OLD WAYS! Modern antiquarians are not interested in fashioned to talk about it now. Some say stones arranged in circles or in racial or she didn’t die, but still waits patiently - This way to Utopia cultural stereotypes. They have gone into trapped in childhood - making up stories. the time before memory where they have The “mesh of narrative” - the sum total of Society’s body was never found. After the fun with the prehistory of the self! Come on all the stories told - is a psychic landscape. holidays the other children pretended not to children, this way... This ground is more real to us than geology miss her. They seemed to forget that Society and the surfaces it underpins. We walk this Antisocial Behaviour - the new had ever existed. In her place, goody-goody ground - trapped within the given meanings, Community was creeping around their lycanthropy the rules of this or that - or we break the parents and teachers, repeating all of her The concept of Society had been getting meanings down and go into the underworld, lessons as if they were true. We all know into trouble for some time, then late one beneath the roots of language. There are what antisocial behaviour is, but who can evening - as the shadows lengthened across caverns - there is the hidden machinery of describe social behaviour? Was it really the playing fields - Society vanished on her the story and how it might be told - and little more than obedience? way home. -
The Cambridge Film Festival
5-15 JULY 2007 www.cambridgefilmfestival.org.uk FUNDED BY: SPONSORED BY: MEDIA PARTNERS: WELCOME TO THE CAMBRIDGE FILM FESTIVAL CONTENTS NEWS 6 Well, another fine mess! Or, alternatively, another eclectic One really positive sign is the quality Heffer’s Award L Festival online L collection of world cinema, celebrating and highlighting new of our Festival submissions this Young Person’s Jury Festival Daily independent cinema and filmmakers working in a rapidly year. We have received over 800 THE PEOPLE’S FAVOURITE FILM AWARD 7 changing climate... films to view – shorts, features and SPECIAL EVENTS 8-13 documentaries. So many, in fact, The Festival once again brings together a huge range of OPENING AND CLOSING NIGHT FILMS 14 that we’ve decided to have a second films and related events: a programme of new German NEW FEATURES 16-39 event in late September to present a further collection from filmmakers’ work, curated by long time Festival filmmaker new filmmakers. We’re incredibly pleased that so many TIMETABLE 41-43 colleague, Monika Treut; five new titles from the London filmmakers are attending the Festival, so please give them NEW GERMAN CINEMA 44-45 Lesbian and Gay Festival; an enlarged, expanded your support – updated information will be in daily emails, Microcinema section covering artists’ films and events and DOCUMENTARIES 46-49 the Festival Daily, and the podcasts. a symposium at both the Junction and the Picturehouse. As CINECOLOGY 50-53 last year, we are also presenting a number of programmes Finally, it has been a challenge. Putting this Festival on MICROCINEMA 54-57 under FUTURE LANDSCAPE, free of charge and daily requires huge commitment from a team of people and REVIVALS 58-59 between Monday 9 and Friday 13 at 1.00 and 5.00pm. -
THE MAGIC ROUNDABOUT 2. I Love Muddy Puddles
1. Boing! Time for bed (3,5,10)...............THE MAGIC ROUNDABOUT 18. Clocked up over 3,500 episodes (9)JACKANORY/NEWSROUND 2. I love muddy puddles! Snort! (5,3).....................................PEPPA PIG 19. The No. 1 super guy quicker than the human eye (4,4,6) 3. The most important, most beautiful, the most magical (7)....BAGPUSS .....................................................................HONG KONG PHOOEY 4. I like doing this - it's fun, Geoffrey (7)..................................RAINBOW 20. He lived at Forge Cottage, Greendale (7,3)........POSTMAN PAT 5. The shop for a weekend bargain? (8,10)..SATURDAY SUPERSTORE 21. Didn't they like the music, then? (6.8). RECORD BREAKERS 6. Izzy wizzy - let's get busy (3,5,4).........................THE SOOTY SHOW 22. Bell ringers from another world? (3,8)...........THE CLANGERS 7. The world's biggest little detective (4,4,7,3)INCH HIGH PRIVATE EYE 23. TV-AM's rodent superstar (6,3)............................ROLAND RAT 8. Get ready to play. What's the day? It's.....(4,6).............PLAY SCHOOL 24. Children's quiz show about films (6,4)...............SCREEN TEST 9. Barney McGrew always got to drive! (8)............................TRUMPTON 25. You might find them in church walls! (3,11).THE FLINTSTONES 10. One for sorrow, two for joy (6).............................................MAGPIE 26. Cheesy cartoon mouse dancer (8,9)....ANGELINA BALLERINA 11.Each school fielded a team of four (3,2,3,4).......TOP OF THE FORM 27. Smarter than the average bear (4,4).........................YOGI BEAR 12. Pulling a rabbit out of a hat, maybe (6,5)..............ANIMAL MAGIC 28. How the Muppets got their big break (6,6)....SESAME STREET 13.Hammy hamster was a star (5,2,3,9).TALES OF THE RIVERBANK 29. -
'Family' in BBC Pre-School Television Abstract
‘Surely the most natural scenario in the world’: Representations of ‘Family’ in BBC Pre-school Television Abstract: Historically, the majority of work on British children’s television has adopted either an institutional or an audience focus, with the texts themselves often overlooked. This neglect has meant that questions of representation in British children’s television – including issues such as family, gender, class or ethnicity - have been infrequently analysed in the UK context. In this article, we adopt a primarily qualitative methodology and analyse the various textual manifestations of ‘family’, group, or community as represented in a selected number of BBC pre-school programmes. In doing so, we question the (limited amount of) international work that has examined representations of the family in children’s television, and argue that nuclear family structures do not predominate in this sphere. Keywords: Family * Community * Pre-school television * CBeebies * BBC * Gender 1 In 2009, Daily Mail journalist Laura Kemp discussed watching CBeebies with her young son, and she was vocal about the fact that she didn’t like what she saw: The message is clear: nursery is normal, fun and nothing to be scared of. But as a stay-at-home mum, I feel undermined, undervalued and angry. Not a single programme in the channel's repertoire is set at home with a mother - which is surely the most natural scenario in the world… But why am I left out - the woman who chooses to care for her own child? In its paranoid desperation to embrace every minority group, [she notes the apparent ethnic diversity of the channel] the BBC has overlooked the traditional family (Kemp 2009). -
Angela Wybrow - Poems
Poetry Series Angela Wybrow - poems - Publication Date: 2015 Publisher: Poemhunter.com - The World's Poetry Archive Angela Wybrow() I now live in Hampshire, UK. I have been writing poetry on and off for many years and really enjoy it. I love writing about a variety of topics and am hoping that there's something for everyone. My first collection of work, entitled 'Through My Eyes' is now available, published by United Press at the price of £3.99 plus P&P. If you would like a copy, please contact me via my Facebook page (Angela Wybrow - Writer) . I have a Facebook page dedicated to my poetry - so please 'Like' me on Facebook! www.PoemHunter.com - The World's Poetry Archive 1 (un) Evensong I just spied a drunk man up by our church; Along the pavement, he unsteadily lurched. It was early evening (about half past six) : Of alcohol, he’d no doubt had a sizeable fix. A battered blue bicycle, he wheeled by his side – That battered blue bicycle, I prayed he’d not ride. Upon a wooden bench, he sat himself down, Then, from out of his mouth, came a terrible sound. I guessed that the sound was supposed to be a song, But the words were all garbled and the tune all wrong. His musical accompaniment was his bicycle bell – What song he sang, I was quite unable to tell. I doubted he’d be on The X-Factor anytime soon, As he sat on his bench beneath a crescent-shaped moon. On the opposite side of the road, I very sensibly stayed, But a smile graced my lips as I went on my way. -
Drawing Comic Traditions’ British Television Animation from 1997 to 2010
‘Drawing Comic Traditions’ British Television Animation from 1997 to 2010 Van Norris The thesis is submitted in partial fulfilment of the requirements of the award of the degree of Doctor of Philosophy of the University of Portsmouth. School of Creative Arts, Film and Media – University of Portsmouth May 2012 1 Contents Front page............................................................................................................1 Contents...............................................................................................................2 Declaration...........................................................................................................7 Abstract................................................................................................................8 Acknowledgements...........................................................................................10 Dissemination....................................................................................................11 Introduction, Rationale, Methodology and Literature Review....................15 Rationale: Animating the industrial and cultural landscape.....17 A marker of the times....................................................................24 Animating Britain..........................................................................29 An alternative to the alternative...................................................34 Methodology...................................................................................35 Literature Review..........................................................................47 -
Histories of Technology, the Environment and Modern Britain
10 6 The Agriculture Gallery: displaying modern farming in the Science Museum David Matless Hand sowing to helicopter Until January 2017, visitors to the Science Museum’s Agriculture Gallery could look up to view agricultural progress wrought in iron. In 1952, the year after the gallery opened, curator William O’Dea described new exhibits in the Museums Journal: Above the cases on the long wall of the gallery there is a novel dec- orative feature, 100 ft long … Scenes from Egyptian, medieval and modern agriculture were made in wrought iron to drawings by Ralph Lavers, ARIBA, and are displayed against a curved fibrous plaster background illuminated by fluorescent lamps. The tech- nique is akin to that of the cyclorama and the effect is quite lively. The wrought- iron work, executed by J. Starkie Gardiner, Ltd., Merton Road, SW18, is a remarkable piece of craftsmanship.1 Designer and architect Lavers, who had strong interests in classical archaeology and Egyptology, had in 1947 designed the aluminium and steel Olympic torch used at the 1948 London Olympic Games. For the Science Museum metal was turned to another ancient- modern spectacle, the cyclorama moving from a right- hand end of silhouettes of human and oxen- drawn ploughs, and seed broadcasting in ancient Egyptian agriculture (the scenes based on Egyptian tomb drawings), through the flailing, hand sowing, scything, harrowing and bird- scaring of medieval English husbandry, humans and horse in harness (the scenes based on illustrations from the British Museum’s 101 102 fourteenth- century Luttrell Psalter), to a modern left-hand end of tractor ploughing, willow pollarding and helicopter crop spraying. -
BBC Studios and Post Production Breathes New Life Into Trumptonshire Trilogy
Regional Film & Video Volume 16: Issue 01 10 Case Study BBC Studios And Post Production Breathes New Life Into Trumptonshire Trilogy or anyone above a certain age, the towns of Trumpton, Camberwick Green and Chigley, with their weird and F wonderful collection of characters, hold a special place in our hearts. Telling the everyday tales of the inhabitants of these imaginary (yet somehow very real) places, the domestic goings-on of Windy Miller, Doctor Mopp, Captain Flack, Peter the Postman, Harry Farthing and the like have enthralled children and parents alike since the 1960s. A trilogy of groundbreaking, stop- motion animation children’s BBC TV shows – one of the first ever British TV series to be filmed in colour – they were the brainchild of its multi-talented trilogy had not delivered the quality the writer and producer, Gordon Murray. creator was searching for. As Mollett They first came to our screens way back explained, “this DVD wasn’t re- in 1966, and their characters were mastered from the original footage but expertly voiced with the dulcet tones of from a tape taken from a telecine of a Brian Cant. Bob Bura, John Hardwick conformed duplicate in the 1970s.” He and Pasquale Ferrari brought the pointed out that the footage appeared characters to life visually through warped and fuzzy in places, with low revolutionary full colour animation. resolution and flat colours. “This time But whatever happened to this famous we were anxious to get it right - we were cast – including the unforgettable fire very keen to protect the original creative crew of Pugh, Pugh, Barney McGrew, vision that my father-in-law had for the Cuthbert, Dibble and Grub - trilogy.” immortalised by these 1960s children’s Finding the original masters was cult TV classics in ye olde fantastic news. -
Free-Taster-Puzzle-Magazine.Pdf
Free ‘taster’ Puzzle Magazine FIND YOUR FAVOURITE PUZZLES AND IMPROVE YOUR PUZZLE-SOLVING SKILLS! Crossword Puzzles Code Crosswords Search Puzzles Cryptics Puzzles Sudoku Puzzles Wordfits Locate the words hidden in the word square below. ANDY PPAANDY HE MAN SCOOBY DOO ASTRO FFAARM MR BENN SUPERTED BAGPUSS MR MAGOO THE CLANGERS BANANAMAN MR MEN THE HERBS BAATTMAN PPAADDINGTON BEAR TOP CAATT BLACK BEAUTY PIPKINS TRUMPTON BOD PLAAYYSCHOOL VISION ON BUTTON MOON POKEMON YOGI BEAR Locate the words hidden in the word square below. BAA BEE BLUE JAAYY BREAATTHE BABE BEG BLUR BREEZE BABOON BEND BOAR BRICK BAD BERET BOB BUD BAG BESIEGE BOIL BUG BAIL BEST MAN BOLLTT BUILLTT BALD BET BOMB BULB BALL BIB BONDAGE BULL BAN BID BONUS BUN BAR BIG BOP BURP BASH BILL BORNE BURRYY BEACH BIN BOUND BUSH BEAGLE BIPED BOYCOTT BUT BEAK BLACK MARKET BRAG BUY BEAM BLANCH BRASS BEAR BLIP BRRAAVO BED BLITZ BRAAYY See if you can solve the clues to complete the cryptic crossword. Across 21. Coincide partially above the 6. TTeen gross attempts to make a 7. Page format - what a picture! knees? (7) singer. (8) (8) 24. It's hexagonal, sweetie! (9) 8. Lens type used by hotel's 9. Sotto voce, lots can produce a 26. Ain't bad for opposing... (4) crazy in-house poet. (9) night cat. (6) 27. Guiana's ingenious lizard. (66) 14. Horseback procession clad a 10. He's lying - to back-track. (4) 28. Hullabaloo seen dying out - cave in disguise. (9) 11. Big turtle ends up as one who unfinished business. (5,3) 16. -
KIRKLAND Handmade Aesthetics in Animation for Adults and Children
Handmade Aesthetics in Animation for Adults and Children Ewan Kirkland Animation is a medium of contradiction, a theme evident across numerous cultural histories of the form. Often characterised by a certain “innocence” or child-like simplicity, animation nevertheless employs sophisticated imaging technologies which contribute to its promotion and reception. As Mark Langer (1992) observes, technological innovation was heavily implicated in the early competition between animation studios, as evident in trade reviews, publicity and awards ceremonies. Animation often suggests an unthreatening cosy nostalgia, commonly associated with fairy tale adaptations and childhood trips to the cinema. At the same time, as screen media freed from the “realism” of photographic representation and associated classical forms of storytelling, it frequently expresses a chaotic or transgressive edge. Within American animation, Paul Wells suggests the batting eyes of Disney’s cute cartoon characters exist alongside the knowing wink of Warner Bros’ more anarchic antagonists (2002, 49). Animation incorporates an expansive range of moving image cultures, from commercial studio products to outsider work with explicitly artistic ambitions. While early animation expressed modernist, avant-garde artistic ambitions, Esther Leslie points out the form was soon integrated into the production of advertising and propaganda (2004, 9). Animation is dismissively aligned with child viewers, as detailed in Jason Mittell’s (2003) account of cartoons in the post-theatrical era.