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Author: Steve Blandford

This is the first book-length study of one of the most significant of all British television writers, Jimmy McGovern. The book provides comprehensive coverage of all his work for television including early writing on Brookside, major documentary dramas such as Hillsborough and Sunday and more recent series such as The Street and Accused.

Whilst the book is firmly focused on McGovern’s own work, the range of his output over the period in which he has been working also provides something of an overview of the radical changes in television drama commissioning that have taken place during this time. Without compromising his deeply-held convictions McGovern has managed to adapt to an ever changing environment, often using his position as a sought-after writer to defy industry trends.

The book also challenges the notion of McGovern as an uncomplicated social realist in stylistic terms. Looking particularly at his later work, a case is made for McGovern employing a greater range of narrative approaches, albeit subtly and within boundaries that allow him to continue to write for large popular audiences.

Finally it is worth pointing to the book’s examination of McGovern’s role in recent years as a mentor to new voices, frequently acting as a creative producer on series that he part-writes and part brings through different less-experienced names.

Author: Karen Fricker

This book explores the development of Robert Lepage’s distinctive approach to stage direction in the early (1984–94) and middle (1995–2008) stages of his career, arguing that globalisation had a defining effect in shaping his aesthetic and professional trajectory. It combines examination of Lepage’s theatremaking techniques with discussion of his work’s effects on audiences, calling on Lepage’s own statements as well as existing scholarship and critical response. In addition to globalisation theory, the book draws on cinema studies, queer theory, and theories of affect and reception. As such, it offers an unprecedented conceptual framework, drawing together what has previously been a scattered field of research. Each of six chapters treats a particular aspect of globalisation, using this as a means to explore one or more of Lepage’s productions. These aspects include the relationship of the local (in Lepage’s case, his background in Québec) to the global; the place of individual experience within global late modernity; the effects of screen media on human perception; the particular affect of ‘feeling global’; the place of branding in contemporary creative systems; and the relationship of creative industries to neoliberal economies. Making theatre global: Robert Lepage’s original stage productions will be of interest to scholars of contemporary theatre, advanced-level undergraduates with an interest in the application of theoretical approaches to theatrical creation and reception, and arts lovers keen for new perspectives on one of the most talked-about theatre artists of the late twentieth and early twenty-first centuries.

Catholicism and devotion in The Smiths
Eoin Devereux

in a number of interviews that the Morrissey family’s adherence to Catholicism faltered quite significantly in the mid-1960s. In one interview, he referred to his family home as being ‘[q]uite vividly Catholic. Then it became vaguely Catholic.’17 In the same interview, however, he acknowledged the lasting power of a repressive Catholic childhood especially when it came to inculcating guilt and worthlessness. He described his experiences as follows: The Catholic Church has nothing in common with Christianity. I can remember being at school on Mondays and being asked

in Why pamper life's complexities?
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Alan Rosenthal

ramifications of religious fundamentalism. Inter alia he interviewed ‘born-again’ Christians, looked at the careers of 107 108 The documentary diaries Jim and Tammy Bakker, and the pursuit of money under the guise of requesting religious donations. In a later film Celibacy, Antony investigated the whole question of celibacy for ordained clergy in the Catholic church. In his opinion the thousand year-old doctrine had parallels in the Church’s attack on Galileo, who argued the earth went round the sun, not vice versa. Eventually the church came round to acknowledging

in The documentary diaries
Social contexts in L’Inchiesta and Risen
Fernando Gabriel Pagnoni Berns and Emiliano Aguilar

both films tap into social anxieties about religion and justice following their own social and cultural contexts. The biblical-procedural film: looking for justice in an unjust world For centuries, the Roman Catholic Church withstood all the currents of change in history and maintained a closely shielded orthodoxy which has always served as the centre of all Christianity. Currently, this orthodoxy is battling one of its greatest challenges: a diminished commitment to the Church. ‘Pupils, families and teachers live in the cultural noise and traffic of the twenty

in The Bible onscreen in the new millennium
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Costa-Gavras and microhistoriography: the case of Amen. (2002)
Homer B. Pettey

narrative, and imagistically providing filmic discovery of the atrocities of Nazism and the complicity of the Roman Catholic Church. His intention was not to film the play, but rather to present a microhistory of the Final Solution. Unlike in the play, Pope Pius XII is a background figure, since Costa-Gavras desires another form of history: not institutional, not a grand narrative, but a history that comes about through visual enactment of personal reactions. In this effort to combine narrative and image, Costa-Gavras interprets the conflicting political and theological

in The films of Costa-Gavras
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La mala educación
Ana María Sánchez-Arce

agony of their own wisdom, … he frames redemption itself as a process of maturity through suffering’ ( 2004 : 5). However, in creating a fictional version of his brother’s death at the hands of the person he was blackmailing, this conquest is less atonement than a fictional revision of that past, a revision where the Catholic Church takes all the blame and Juan can mourn his brother’s death as part of an obscure past left behind during Spain’s Transition to a supposedly democratic, secular country. This use of fictional memory has been called ‘prosthetic memory’ by

in The cinema of Pedro Almodóvar
Simplicity and complexity in Father Ted
Karen Quigley

's Catholicism and conservatism began seemingly to melt away. Of course, the breakdown of the relationship between the Irish people and the Catholic Church has complex and profound political, social and psychological roots, but I hope to show in what follows that culture, particularly comedy, can be central to the contemporary understanding of this relationship and its disintegration. Amongst other things, this chapter's re-evaluation of Father Ted (Channel 4, 1995–98) hopes to remind the reader of a moment in 1990s British sitcom television when the international

in Complexity / simplicity
Steve Blandford

Single plays and a conclusion 4 This chapter brings together an account of McGovern’s single plays for television and ends with a brief Conclusion to the book. In certain respects it would also have been useful to cover McGovern’s work for cinema in Priest, Heart and Liam, which offer interesting points of comparison to the single plays for television, particularly through the intensity of their scrutiny of the Catholic Church. However, strictly speaking, cinema is beyond the scope of this series, and space restrictions dictate that such a boundary needs to be

in Jimmy McGovern
Ruth Barton

are addressed as a witness. As we will shortly see, these distinctions very usefully help to understand how the history films discussed in this chapter can undercut the comfort of narrative closure through moments of intense emotional engagement. Narrating abuse The Magdalene Sisters takes its place amongst a series of exposés concerning the Catholic Church and institutional abuse. Most writers on the Irish scandals agree that child sexual abuse entered the public domain with the Kilkenny incest case of 1993 when a father of two was sentenced to

in Irish cinema in the twenty-first century