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Darrell M. Newton

3658 Paving the empire road:Layout 1 30/6/11 08:45 Page 1 Introduction A multitude of publications on British television history have both hailed and deconstructed the policies and influences of the British Broadcasting Corporation (BBC). Since 1922, the organisation has attempted to serve audiences with an intention to inform and acculturate them on every subject deemed acceptable. Within its development, a public service agenda was an essential part of programming practices, influenced greatly by Sir John Reith, who, despite his extreme dislike for both

in Paving the empire road
Abstract only
A genre comes into its own
Ben Lamb

) Cops were incidental – they were the means of finding out about people’s lives. Z Cars producer John McGrath (quoted in Laing ( 1991 ): 127) My study begins with an analysis of Z Cars (BBC, 1962–1978). I unearth the circumstances that led to Z Cars ’ commissioning and its transformative production

in You’re nicked
Richard J. Hand

There may not have been Appointment with Fear or The Man in Black in the early 1950s, but the BBC still had examples of macabre output. Do You Believe in Ghosts? (1952–53) was a series of thirty-minute programmes featuring first-hand accounts of, as a BBC memorandum of 30 July 1953 expresses it, ‘authentic and personal experiences which apparently had no

in Listen in terror
Espionage as a public service in Spooks (BBC 1, 2002–11)
Joseph Oldham

6 The precinct is political: espionage as a public service in Spooks (BBC 1, 2002–11) Although the 1990s proved something of a moribund period for the British television spy series, following the turn of the ­mil­lennium the BBC would experience great success with Spooks (BBC 1, 2002–11), an ongoing espionage-themed drama developed as a new flagship programme for its majority interest channel BBC 1. This series centred on the officers of Section D, a fictional counter-terror unit situated within the real British Security Service (MI5). Spooks made its debut in

in Paranoid visions
The creative tension
Jeffrey Richards

, no overall vision. That was provided by John Reith, Director-General of the BBC from 1923 to 1938. He provided a manifesto for public service broadcasting in his book Broadcast Over Britain , published in 1924. It is passionate, romantic, idealistic, evangelical. It is almost a Bible of broadcasting with Reith as its prophet. He outlines a firm set of principles – one is almost tempted to call them commandments: the maintenance of high standards; a unified and

in Cinema and radio in Britain and America, 1920–60
John Williamson and Martin Cloonan

focusing on the musicians being made redundant in the cinemas risks neglecting the considerable growth in other parts of the profession, especially among broadcast orchestras and the higher echelons of the dance music business. The nature and complexity of this are covered in more detail later, but throughout the 1930s the BBC’s orchestras grew in number and the Corporation increasingly engaged other musicians on a casual basis. Tschaikov highlights the BBC’s importance, claiming that ‘in its first fifteen years, the BBC’s enlightened music policy profoundly affected

in Players’ work time
Theatre plays as television drama since 1930
John Wyver

that all presentations of stage plays must be regarded as adaptations. As the following discussion outlines, television’s adaptation history of stage plays began as early as 1930, six years before the BBC started its regular television service from Alexandra Palace. The process by which an emerging medium, as television was then, takes an established one and its components as a subject has been

in Screen plays
The Harold Pinter season on Theatre 625 (BBC2, 1967)
Amanda Wrigley and Billy Smart

In 1967, three plays by Harold Pinter were shown in consecutive weeks in BBC2’s prestigious television drama strand Theatre 625 (1964–68), which specialised in experimental, innovative and challenging work—including original writing for television, literary adaptation and stage plays—which was often presented in themed seasons. The 1967 season of Pinter plays sought to

in Screen plays
Darrell M. Newton

3658 Paving the empire road:Layout 1 30/6/11 08:45 Page 16 1 Radio, race, and the Television Service Well one thing I think that will interest West Indians is what is the attitude – of the English people as a whole, – how do they take to strangers. After all West Indians are coming over here in increasing numbers, and they’d like to know what sort of person they’re going to meet, and how they’re going to be treated. (West Indian humorist and Government Public Relations officer for Jamaica, A.E.T. Henry, on the BBC radio programme We See Britain, 1 June 1949

in Paving the empire road
Jonathan Bignell

’s Comédie [ Play ] (dir. Marin Karmitz, 1966), and television adaptations of his Not I (BBC2, 1977) and Was Wo [ What Where ] (dir. Samuel Beckett and Walter Asmus, Süddeutscher Rundfunk, 1986). Each of these Beckett adaptations negotiates between a form of staging that derives from theatre, where cameras are on the edges of the acting area and look into it, and the penetration and segmentation of

in Screen plays