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An aesthetic controversy during the establishment of the BBC Radiophonic Workshop and the radiophonic poem Private Dreams and Public Nightmares
Tatiana Eichenberger

Tatiana Eichenberger Introduction: ‘Noises on the Air’ or even ‘Horror on the Third’ 1 ‘You may detest this programme, but I hope you won’t dismiss it. Certainly nothing quite like it has come out of your loudspeaker before; every single sound in it has been specially manufactured for the occasion’ (McWhinnie, 1957a : 27). With these thoughtful words in the Radio Times issue from Friday, 4 October 1957, BBC producer Donald McWhinnie introduced the upcoming first broadcast of his new experimental production, the radiophonic poem Private Dreams and

in Tuning in to the neo-avant-garde
The ‘mainstream’ media
Bill Jones

during the war roused sympathy for the beleaguered Brits and helped swing the United States into joining the fight against Hitler.) In the present day, radio still has an important role to play. BBC’s Radio 4 maintains a constant output of news-based programmes, which help inform the station’s primarily middle-class, educated audience. Foremost is the Today programme, which runs from 6.00 a.m. to 9.00 a.m. every weekday and features nationally known presenters like John Humphrys and James Naughtie. Because it attracts an audience of over a million decision

in British politics today
John Williamson and Martin Cloonan

the BBC orchestras, culminating in a strike in 1980; the referral by the Association of Independent Radio Contractors (AIRC) to the PRT in the same year; and an investigation into collective licensing by the Monopolies and Mergers Commission (MMC) in 1988. Significantly, all were connected to broadcasting. The first part of this chapter concentrates on the developments within the Union, particularly with regard to its outlook and personnel. The second focuses on the aforementioned challenges to its power, placing them in the wider political context. We argue that a

in Players’ work time
Editor: Laura Mulvey
Author: Jamie Sexton

This book addresses the aesthetics of British television programmes, charting some key examples of experiment and formal or stylistic innovation, drawing mostly on arts documentaries and drama productions. It turns to the work of the little known Langham Group. In contrast to the populism of Armchair Theatre, the group emerged from a British Broadcasting Corporation (BBC) initiative to consider 'the problem of experimental television programmes'. The book discusses very varied examples of experimental television that flourished during the 1960s. It also introduces Channel 4 with an insider's account of a world of utopian hopes and the snares of the schedule. The book then looks at two series that attempted to experiment with the presentation of art to British television viewers: New Tempo and Who Is?. It explores the relationship between the series and Troy Kennedy Martin's 'Nats Go Home' manifesto, a polemic against naturalism in television drama which provided a theoretical rationale for the experimentalism of Diary of a Young Man. The book further examines the product of that experiment, placing it in the context of John McGrath's other work and his own 1979 'manifesto' for progressive television. It argues that Dennis Potter's drama, and particularly The Singing Detective, contributes to experimental television through systematic comment on, and elaboration of, the medium's inherent polysemic nature. Finally, the book focuses on the presentation of pop music on television, specifically the pop promo, rather than the dedicated music television programme.

Richard J. Hand

Throughout this study we have seen that the adaptation of fiction has been a central process in radio drama since the very beginning of the form. Adaptation has been at the heart of the most popular broadcasts on British radio: for example, the radio ‘institution’ BBC’s Woman’s Hour (1946 onwards) has, for many years, featured a fifteen-minute dose of drama in each

in Listen in terror
Neil Taylor

UK. Even before BBC2 broadcast all thirty-seven of his plays between 1978 and 1985 in the BBC Television Shakespeare series, all but four ( Henry VIII , Pericles , Timon of Athens and Titus Andronicus ) had already been produced and broadcast on BBC Television, some of them many times over. Furthermore, the audience reach of television Shakespeare has been huge. The original BBC

in Screen plays
Continuity and change
Erin Bell and Ann Gray

INTRODUCTION British television has had a long, and not always happy, relationship with the Crown, but since Richard Cawston’s documentary The Royal Family (BBC, 1969) the Windsors have acknowledged the necessary evil of allowing the cameras in to record less formal aspects of their life and work. The Queen herself has since been the subject of three such observational

in The British monarchy on screen
Abstract only
Su Holmes

M1380 - HOLMES TEXT.qxp:Andy Q7 24/6/08 14:23 Page 1 Introduction In 1955, the Producer of the BBC’s fictional serial The Grove Family (1954–57) made the following comment about the programme’s billing in the Radio Times: I understand . . . that . . . [the] word “popular” was deleted from our billing. This may be policy, but I thought we were fighting against Commercial [television] and that some of our ideas may be changed. It’s a small point, but you may wish to take it up.1 He received a scribbled reply from Ronald Waldman, the Head of Light

in Entertaining television
Sylvie Magerstädt

subtle ways in which antiquity appeared on-screen. A more in-depth examination of the broadcasting market in the US and the UK reveals that the ancient world was more prominent on early television than we might have previously thought. Similar to cinema’s attempt at distinguishing itself from television, producers of television shows were discussing during this period ways in which their programmes could be different from cinema. The serial format was one such advantage and the ‘BBC saw the serial as the way forward, particularly if it had a historical setting and thus

in TV antiquity
Hosting horror
Richard J. Hand

, however, the crude and deplorable quality of the material rendered me, personally, incapable of assessing its purely technical merits. There is, of course, a place in art for horror – provided always that a place is found in horror for art. But [now] the B.B.C., our One-and-Only-and-Practically-National-Theatre, competes with the columns of the less

in Listen in terror