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BBC television and Black Britons

This book provides an institutional case study of the BBC Television Service, as it undertook the responsibility of creating programmes that addressed the impact of black Britons, their attempts to establish citizenship within England and subsequent issues of race relations and colour prejudice. Beginning in the 1930s and into the post millennium, the book provides a historical analysis of policies invoked, and practices undertaken, as the Service attempted to assist white Britons in understanding the impact of African-Caribbeans on their lives, and their assimilation into constructs of Britishness. Management soon approved talks and scientific studies as a means of examining racial tensions, as ITV challenged the discourses of British broadcasting. Soon after, BBC 2 began broadcasting, and more issues of race appeared on the TV screens, each reflecting sometimes comedic, somewhat dystopic, often problematic circumstances of integration. In the years that followed, however, social tensions, such as those demonstrated by the Nottingham and Notting Hill riots, led to transmissions that included a series of news specials on Britain's Colour Bar, and docudramas, such as A Man From the Sun, which attempted to frame the immigrant experience for British television audiences, but from the African-Caribbean point of view. Subsequent chapters include an extensive analysis of television programming, along with personal interviews. Topics include current representations of race, the future of British television, and its impact upon multiethnic audiences. Also detailed are the efforts of Black Britons working within the British media as employees of the BBC, writers, producers and actors.

Portraying medicine, poverty, and the bubonic plague in La Peste
Ragas José, Palma Patricia, and González-Donoso Guillermo

nostalgia for a time when Spain dominated the globe, the show confronts viewers with the picture of an emergent empire coexisting with the daily misery lived on the streets and on every corner of urban spaces ( Martínez Shaw, 2019 ). To assess how an early modern epidemic provided the major backdrop to such an ambitious production, we start by placing the medical narrative in the genealogy of Spanish TV dramas and note the early influence of American

in Diagnosing history
Sylvie Magerstädt

Costumes and censorship: the BBC’s Roman Empire (1970s) Part III As we have seen in Part II, from the 1950s onwards cinema had come under increasing pressure from television. Epics set in the ancient world were seen as a tool to counter this trend, with their spectacular sets, crowds and colours. Yet, by the mid-1960s, cine-antiquity had also reached a crisis point. Excessive and costly productions like Cleopatra (1963) and the dramatic failure of The Fall of the Roman Empire (1964) led to the temporary disappearance of the genre from the large screen. Maybe

in TV antiquity
An Introductory Text and Translation (Halit Refiğ, 1971)
Murat Akser and Didem Durak-Akser

Halit Refiğ had impact on debates around Turkish national cinema both as a thinker and as a practitioner. Instrumental in establishing the Turkish Film Institute under MSU along with his director colleagues like Metin Erksan and Lutfi Akad, Refiğ lectured for many years at the first cinema training department. This translation is from his 1971 collection of articles titled Ulusal Sinema Kavgasi (Fight For National Cinema). Here Refiğ elaborates on the concept of national cinema from cultural perspectives framing Turkey as a continuation of Ottoman Empire and its culture distinct and different from western ideas of capitalism, bourgeoisie art and Marxism. For Refiğ, Turkish cinema should be reflected as an extension of traditional Turkish arts. Refiğ explores the potential to form a national cinema through dialogue,and dialectic within Turkish traditional arts and against western cinematic traditions of representation.

Film Studies
Empire and identity, 1923–39
Thomas Hajkowski

1 “Jolly proud you are a Britisher:” empire and identity, 1923–39 O n the evening of December 13, 1939, Val Gielgud, Head of the BBC’s Features and Drama Department, listened to the final installment of the Drama Department’s serialized adaptation of A. E. W. Mason’s imperial adventure story The Four Feathers. The following day he wrote to the producer of the series, Peter Creswell, to congratulate him on its success. He noted to Creswell that the Director-General, F. W. Ogilvie, and the Home Service Board praised the program,1 concluding that “the romantic

in The BBC and national identity in Britain, 1922–53
The BBC and the empire, 1939–53
Thomas Hajkowski

2 From the war to ­Westminster Abbey: the BBC and the ­empire, 1939–53 F or the historian, examining the BBC’s representation of empire during the Second World War is both challenging and particularly revealing. C ­ onsistent with its policies from the 1930s, the BBC broadcast a considerable number of empire programs. As Chapter 1 made clear, these pre-war programs carried a significant amount of ideological content. But during the war, the empire and Commonwealth had to be constructed with even greater deliberation and precision. Although the BBC had resolved

in The BBC and national identity in Britain, 1922–53
Gender, nostalgia, and the making of historical heroines
Aeleah Soine

intrigues. Across the historical medical dramas examined here, the professional nurse – marked with scarlet capes, medals, or credentials – is cast as the villain. Trained and certified nurses of the British Empire in World War I wore distinctive scarlet dress capes that distinguished them from volunteer nurses, but as Australian Sister Elsie (Shepherd) Cook (Laura Brent) learned in ANZAC Girls , the professional military

in Diagnosing history
Complicating simplicity in Doctor Who
Benedict Morrison

, Charles claims that the programme's ‘covert project (buried beneath a host of liberal platitudes) is to restore and sustain the greatness, or the dregs, of the British Empire’ ( 2007 : 120). Classic Doctor Who 's both/and liberation from binary thinking, however, is not a simplistic denial of the past; it is a liberation into queer play that insists on a radical re-evaluation of the ideas that underpin prevailing cultural attitudes. This unsettling re-evaluation could lead to what Leach describes as parents’ fear of ‘television as an invasion of

in Complexity / simplicity
Representations of mental illness in the period dramas of Steven Knight
Ward Dan

: Blood and guts is the modern way to do costume drama’, Telegraph , (accessed 14 March 2019). Smith , E. ( 2017 ). ‘ “Brutalised” veterans and tragic anti-heroes: Masculinity, crime and post-war trauma in Boardwalk Empire and Peaky Blinders ’, in M. Walsh and A. Varnava (eds), The Great War

in Diagnosing history
James Zborowski

comment together with the other things we are learning about the organisation we are seeing, and surmise that, just as key figures in the Barksdale empire are insulated from direct connection with the drugs through layers of subordinates and an obfuscating division of labour (‘You don't hand no money to nobody that matters, you don't get no product from nobody that matters’), so the supply of drugs should be protected from prying eyes by a system that makes it difficult for a casual onlooker to deduce the location of that supply. The issue of the

in Complexity / simplicity