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John Williamson and Martin Cloonan

comprehensively defeated not just Murdock but also Greenwood, Batten, and Newton Williams’ letter of resignation is reported but not archived. Bill Batten served continuously as Secretary of the Union’s Central London Branch between 1914 and 1940, and was heavily involved in negotiations with both the BBC and the Ministry of Labour in the 1920s and 1930s. After the Second World War he served on (and briefly chaired) the EC and remained interested in Union affairs, attending a Biennial Conference in 1967 at the age of ninety-four. 10 Bertram Newton Brooke was a Union

in Players’ work time
UK artists’ film on television
A. L. Rees

TV. Sometimes short really meant short, as in the oneminute films made for the BBC’s Late Show, to pioneer a now-global format for film and video competitions and festivals.1 This expansion was due both to the internal constitution of the new channel and forces external to it. First of all, Channel 4 was a commercial television station, the first to be in competition with the BBC since the arrival of ITV in 1955. Next, under Labour governments in the 1970s, independent filmmakers (and others) had lobbied for a fourth terrestrial ‘cultural’ channel that would

in Experimental British television
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Horror acting in the 1970s British television drama
Richard J. Hand

British television drama in the 1970s had a special interest in the genre of horror. Examples of horror television included works with a supernatural theme, such as the BBC’s A Ghost Story for Christmas series (1971-78), most familiarly featuring adaptations of the short stories of M. R. James, but also works by Nigel Kneale for both the BBC (The Stone Tape [1972]) and ITV (Beasts [1976]). Of

in Genre and performance
Diary of a Young Man
John Hill

3049 Experimental British Tele 16/5/07 08:02 Page 48 3 A ‘new drama for television’?: Diary of a Young Man1 John Hill Diary of a Young Man was a six-part series broadcast on BBC1 in August and September 1964. Billed in the Radio Times as an example of ‘a new kind of writing for television’, it was a self-consciously ‘experimental’ work, intended to extend the boundaries of television drama through the employment of new techniques.2 Written by Troy Kennedy Martin and John McGrath, produced by James MacTaggart and directed by Ken Loach and Peter Duguid, it

in Experimental British television
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Scottish cinema in an age of devolved public service broadcasting
Christopher Meir

, those being the BBC and its devolved incarnation BBC Scotland. Before looking at the importance of devolving the BBC 42 Scottish cinema we should begin by briefly examining the role that television networks, especially public service broadcasters, have played within the British and Scottish film industries. In so doing, we see a number of institutional shifts towards ‘cross-over’ models that closely mirror larger trends in public and private sector funding for filmmaking. As is the case with all of the films under consideration in this volume, we see throughout

in Scottish cinema
Lez Cooke

become one of the most cited articles in the history of television studies. In his book Television Drama: Realism, Modernism and British Culture, John Caughie devotes ten pages to it, noting how ‘the underlying insistence of the article is not simply that television drama needs this or that practice, but that television drama needs a greater degree of theoretical elaboration and that this requires a greater degree of theoretical debate’ (Caughie, 2000: 93). ‘Nats Go Home’ was the product of debates which had been going on in the Drama Department at the BBC for some

in Troy Kennedy Martin
The Langham Group and the search for a new television drama
John Hill

3049 Experimental British Tele 16/5/07 08:02 Page 17 1 ‘Creative in its own right’: the Langham Group and the search for a new television drama John Hill The Langham Group, an experimental outfit established within the BBC in 1959, occupies an unusual position in the history of British television drama. While most accounts of the development of TV drama in Britain pay lip-service to the group’s efforts, these have mainly been written off as unsuccessful. Such a view appears to have settled into a critical orthodoxy in the early 1960s and has prevailed ever

in Experimental British television
Sound and image in Alan Clarke’s Road
Paul Elliott

national theatre of the period, that it reflected the psychology and structure of feeling of 1960s and 1970s Britain more than more established dramatic forms. 1 It is against this background that this chapter examines Alan Clarke's TV version of Jim Cartwright's play Road and especially the relationship between image and sound. 2 Part of the BBC's Screenplay (1986–93) series, Road was both harshly realist and non

in Sound / image
Open Access (free)
Different voices, voicing difference
Gilli Bush-Bailey

add greatly to their number.1 As the voice of BBC Radio’s The Buggins Family, Mabel Constanduros was among a new generation of performers to make her name on the ‘wireless’ in the safety of the studio broadcast, where her audience was imagined but unseen. Broadcasting fame soon led to the demand for live stage appearances where, at the London Coliseum, her very visible audience were arranged over three vast tiers of seating and could number anything up to 2,500 people. The ‘nervousness in her new environment’, picked up here by the Stage reviewer, is hardly

in Stage women, 1900–50
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Natalie Bradbury

Work Newspaper – Natalie Bradbury In 2011, in a bid to redress an imbalance in regional reporting, the BBC moved thousands of its staff from London to Salford Quays. A purpose-built complex, three miles from Manchester city centre, created a new area known as MediaCity. Sports and children’s programming moved wholesale, and the famous Blue Peter Garden was recreated on the banks of the Manchester Ship Canal. Hundreds of acres of former dockland were rebuilt with not just broadcast facilities and studios, but also apartments, restaurants and bars to serve the new

in Manchester