As the nationalist clamour multiplies through each ideological fold, the sheer reach of its cognitive, emotional and symbolic grip can seem suffocating. This chapter presents a reflection on the various, often innocuous cultural features of everyday British life and popular culture that readily lend themselves to husbanding an alternative to the nationalist political wager. It focuses on what is commonly called 'multiculture' and contends that this everyday multiculture, in its very banality, remains a widespread but underutilised cultural energy ripe for political conversion by a movement sufficiently alive to its possibilities. The effect of sealing in the social media era carries a perhaps historically unique capacity to stir the urgency with which the perceived demise of the nation is experienced. The chapter shows a peppy urban enthusiasm for Jeremy Corbyn's Labour, an urban context that is importantly also where the lived realities of multiculture and migration are most readily rooted.
Nationalism sources the entire political spectrum when assembling its ideological language, a spectrum within which conservatism is only one significant strand. It might seem surprising to disentangle neoliberalism from conservatism, given that many of those who champion neoliberal resolutions also seem to hold basic conservative talking points. This chapter synoptically unpacks those sites of British life, intellectual and cultural, where politically potent nostalgias for the nation are most prominently mainstreamed. It maps how the various modalities, through which a distinctively conservative political vision is articulated, culminate in the thickly textured and nostalgically recalled veneration of provincial Englishness, Empire and whiteness more broadly. The organising myth central to the entire edifice of a common British past is the presumed continuity of a homogeneous whiteness. The centrality of the Second World War to contemporary British history becomes constitutive of a broader brand of nationalist politics that Anthony Barnett has identified as Churchillism.
This book is about producing video content with a multi-camera set-up. The principles apply whatever the form of distribution: digital network, Internet, mobile phone or 'other'. It is intended to be used alongside practical courses or modules, both in teaching institutions and in professional training environments. The book centres on Health and Safety in TV studios, which are potentially dangerous places. It gives a lot of key information about television studios and the people who work in them. The book focuses on exercises to practise some basic principles and shows how to build on these and develop proposals and projects. It goes into more detail on Drama, Music and Action, both in the context of student projects and in the professional world. The book explains detail of television aspect ratios; and a little about the meanings of Continuity. Since many multi-camera video productions use inserts shot on single camera, there are several references to single-camera shooting. The necessary elements in multi-camera production are: a vision mixer (switcher) for selecting the images to be recorded or transmitted; a Director co-ordinating the content; an assistant to keep track of timings and where the Director is in the script; and a Camera Operator for each camera, with a tally-light to show when the particular camera is on-shot.
Culture was at the centre of the fascist political project in interwar Britain. British fascism was a cultural phenomenon as much as it was a movement for political or economic change. With regard to the former, British fascist culture developed within the broad European-wide cultural critique of liberal rationalism and positivism that originated in the 1890s, and was thus an organic element of it. Culture was imagined in a number of ways by British fascists. Indeed, like fascism and its ideology, it did not project a single uniform identity. True culture, for the fascists was meant to convey a sense of the eternal and enduring. Fascist culture was meant to convey and reinforce the idea of a harmoniously integrated society, united in its pursuit of prescribed political goals.
This chapter is intended to help cover two forms of studio demonstration: presenter plus guest demonstrator and demonstrations with a single presenter and no guest. Underlying them are the general principles for covering any kind of shooting of detail. Whatever the item and whichever method of staging the demonstration, the object is generally to show the audience how to do something that they are presumed to know little of. Clarity of thought, speech and shooting is essential. The safety shot does not have to be on the same camera all the time; the director will have seen the demonstration and should be able to make a good guess as to which camera will be most interesting at any given moment. In addition to the challenge offered by speakers reacting unpredictably, the studio team must work out how best to cover each contestant's movement across the set.
Set design is a highly complex area. In a drama-based production, the Designer would need to read the scripts to understand how the look of the set could reinforce the story, perhaps adding its own comments about period and the style of the sets' fictitious owners. The Designer will also work closely with the Costume Designer, especially in the matter of colours. A professional Costume Designer might be expected to buy, hire, design or make costumes for particular characters. Naturally, the Costume Designer must work within the allocated budget and schedule. Visual Effects Designers come from many backgrounds and all have strong practical training in at least one field of expertise. Working in films and television calls on an expansion of those skills, and, as ever, the ability to work safely to a deadline and to a budget.
Multi-camera studio drama provides some of the most popular programming on British broadcast television, judging by the figures in the weekly Broadcast magazine. This chapter begins with a brief history of British studio drama to show what has been achieved and what could be achieved. Scripts are the foundation stones of any form of drama. The writer's intentions should be fully respected and scripts should not be changed without consultation, but the writer also has to respect the artistry and craft of the actors and crew. The chapter looks at children, puppets and animals as actors. There seems to be a perception that, for students, they can offer effective and, even, easy solutions to the challenge of finding material for projects. In terms of multi-camera drama, the Director writes a camera script for the whole recording, which will allow for the generation of camera cards.
The origins of British fascism can be traced to a range of intellectual currents and developments that germinated in the period prior to 1914. Domestic fascism also grew out of the traumatic experience of the Great War. The early postwar years, however, would prove to be just as crucial for the emergence of a native fascism. In broad outline it is possible to detect traces of an incipient fascism of the type of genus that characterised the fully matured variety of the later 1920s. This chapter addresses the question of the relative importance of the early postwar organisational and publicistic forms to the emergence of 1920s fascism. Although it is vital not to underestimate the significance of the pre-fascist groups for the fascist parties that came after them, therefore, we should not forget that each, in the main, belonged to a different organisational and ideological realm.
Having worked out what the readers need to do to create their project, the next stage, once it has been commissioned, is to plan it. This takes into account the available budget and the time. A useful planning tool for any kind of project in almost any walk of life is critical path analysis. Before starting shooting on location, there should be a planning meeting. This covered all the technical and logistical details for that week and outlined what would be happening in the first studio recordings, including the special studio day we had to record the science-fiction fantasy sequences. Even a straightforward magazine show takes some planning if the readers are going to use expensive studio time efficiently; that is, to get the best out of it. 'Rehearse-record' could be the best use of available resources and the best use of time.
The development of a real project might go something like this: have the idea, turn it into a proposal, turn the proposal into a treatment, develop interactive elements, work out a budget, get a commission, work out the finance, make and distribute the show, and cash in on merchandising. Professionally, it is necessary to organise each step of production and post-production carefully with schedules and timetables because so many steps depend on earlier steps having been completed. A practical video module is not, perhaps, the place to go into a lot of detail about writing a script; there are other books and courses that cover this area most effectively. However, the success of any project or programme revolves around its script or format. If these are right, then the performers, be they hosts, actors, comedians, or members of the public, will, simply, perform better.