Search results

You are looking at 1 - 10 of 14 items for :

  • "multi-camera studios" x
  • Manchester Film and Media Studies x
  • Refine by access: All content x
Clear All
From studio realism to location realism in BBC television drama
Author: Richard Hewett

Until recently, little work had been conducted on television acting per se, let alone the various coalescing factors that underpin and help shape it. This book addresses that lack, utilising a selection of science fiction case studies from the world of BBC television drama to investigate how small screen performance has altered since the days of live production. This then-and-now comparison of performing for British television drama focuses on science fiction case studies to provide a multi-perspectival examination of the historical development of acting in UK television drama. By the mid-1970s, studio realism might be expected to have reached its apotheosis, yet it was by no means all-encompassing as a style of television acting. A new approach was therefore required, with much of the performance preparation now taking place on location rather than being perfected beforehand in a separate rehearsal space: the seeds of location realism. One of the most notable contrasts between early television drama and the modern day is the shift from multi-camera studio to single camera location filming. Comparing the original versions of The Quatermass Experiment, Doctor Who and Survivors with their respective modern-day re-makes, the book unpacks the developments that have resulted from the shift from multi-camera studio to single camera location production. Examining changing acting styles from distinct eras of television production, the book makes a unique contribution to both television and performance studies, unpacking the various determinants that have combined to influence how performers work in the medium.

Abstract only
Richard Hewett

neglected, and given its commonalities with studio realism (rehearsal process, multi-​camera studio production –​but with the added ingredient of a live audience) and the more recent move towards a single camera model, this might provide some interesting contrasts and similarities. The particular styles employed for other dramatic formats such as the soap, the episodic drama and the single play also warrant investigation, and given the increased reliance in British drama schools upon Stanislavski –​so often confused with the ‘Method’ style of C o n cl us io n 241 241

in The changing spaces of television acting
Abstract only
Richard Hewett

television itself, its case studies offering a valuable index to the times in which they were produced. One of the most notable contrasts between early television drama and the modern day is the shift from multi-​camera studio (initially transmitted live, and later pre-​recorded on videotape) to single camera location filming. The consequences of this were felt only gradually, and due to various other contributing factors were in a constant state of flux. However, studio and location provide a useful starting point for analysing both the changing determinants of British

in The changing spaces of television acting
Abstract only
Dave Rolinson

critical respect afforded to television directors: the specificity of television. Although my approaches to some of Clarke’s filmed work demonstrate a fluid interplay between Television and Film Studies approaches, I also devote much space to those productions which require a different methodology: television plays recorded in multi-camera studios and on Outside Broadcast. By doing so, I attend to Clarke’s experiences and skills as a director, and also attend to issues of aesthetics. The lack of writing on television directors is all the more surprising since they played

in Alan Clarke
Abstract only
‘It’s not a question of ignorance, Laurence, it’s a question of taste’
Ruth Adams

enduring popularity. Michael Coveney describes the broadcast version as looking like ‘some weird episode of The Good Life with a kind of acid undertow to it’. 9 This is due in part to the use of the multi-camera studio method which at the time was the dominant production method for both comedy and drama. Of the 298 Play for Today s transmitted between 1970 and 1984, only

in Screen plays
Richard Hewett

as The Way Ahead (1944), Brighton Rock (1947) and Escape (1948), it was his vulnerable performance as a rugby talent scout in Lindsay Anderson’s This Sporting Life (1963) which caught Verity Lambert’s attention. Hartnell was also well used to the pressures of multi-​camera studio, having played CSM Bullimore for two years of the live sitcom The Army Game (ITV, 1957–​61). Co-​stars William Russell and Jacqueline Hill, playing teachers Ian Chesterton and Barbara Wright, also possessed a mix of stage and screen experience. Russell had started in repertory, while Hill

in The changing spaces of television acting
Richard Hewett

’s far better to do a multi-​camera studio course, because you really learn about angles, and what each camera can give you, and how you can cut that together; you learn to edit. And then when you go and do single camera it’s not easier; it’s just there’s something you’ve already got into your brain. You know how to angle the camera and get all the different angles to make it look attractive and interesting. (Ibid.) 139 140 T h e cha ng in g s p ac es o f t e l e vis io n  act i ng off the hook in close-​up on the right of the screen (Figure 3.7). The next shot is

in The changing spaces of television acting
Abstract only
Amanda Wrigley and John Wyver

Pinter and Henrik Ibsen, respectively. Greenhalgh suggests that the survival of all seven television productions of Middleton to date—all but one of which are multi-camera studio recordings—allows a rare and important opportunity ‘to compare the televisual treatment of the content and conventions of one body of early modern theatre plays from the mid-1960s to the first decade of the twenty-first century

in Screen plays
Richard Hewett

rehearsal process makes the production similar to stage work, the absence of a live audience does not seem to be as relevant a factor to Woodyatt as to Gatiss –​perhaps because the EastEnders actor is more accustomed to (audience-​less) multi-​ camera studio production. As seen earlier, multi-​camera requires actors to maintain continuity of performance while remaining conscious of various technical issues such as blocking. In his live scenes the experienced Woodyatt demonstrates a keen awareness of the importance of physical positioning, both within the set and in the

in The changing spaces of television acting
Middleton’s tragedies on television, 1965–2009
Susanne Greenhalgh

—all dramaturgical elements that potentially pose challenges for successful television adaptation. As Sarah Cardwell ( 2014 ) has argued, adaptations of the same text can produce markedly different aesthetic effects resulting from the technological practices prevalent in different decades. As all but one of the adaptations are multi-camera studio productions, they particularly invite comparison of the ways in which script, setting and

in Screen plays