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Experimental British television
Laura Mulvey

free association, also produced an aesthetic of repetition and return as themes and motives weave across the six parts. Another explicit break with the realist aesthetic came from a new generation of artists, equivalent to the ‘scholarship boys’ evoked by Tony Garnett, who were turning to Pop Art. Art critic John Russell sums up its relevance to contemporary English culture: Pop was a resistance movement: a classless commando that was directed against the Establishment in general and the Art Establishment in particular . . . Pop in England was a facet of class

in Experimental British television
Making the everyday epic in Detectorists
Phil Wickham

political stance on English culture by challenging attitudes to migration and difference in traditional communities (the Sussex coast rather than rural Essex). In this programme, Jones again worked with Cairney, who produced an aesthetic based on long shots of the coast and the horizon. Detectorists itself closed its final series with another long drone shot, as the magpie's hoard of gold coins rains down on Andy and Lance while they are about to vacate their field for the last time. Instead of diluting the power of the moment

in Epic / everyday
Blackpool, Casanova, State of Play
Robin Nelson

drumbeat rather than the classical environs of Oxford or the mythical English village of St Mary Mead. The visual style of State of Play, as indicated, is sharp, the aural and visual editing rhythm is dynamic and the serial has a contemporary British feel. It is not, however, a feel-good piece. Though it entertains, it ultimately disturbs since Abbott has mixed political commentary in the British tradition of social realism with the murder mystery genre. Where Miss Marple is sedate and exemplifies “heritage television” to celebrate a myth of English culture drawing on an

in State of play
Richard Hewett

it. Jack Rosenthal wrote Manchester … And that became a very important part of English culture, or British culture … I think in a strange way the country –​or the nation –​discovered itself, and this is one of the joys of Coronation Street. (Ibid.) 87 88 T h e cha ng in g s p ac es o f t e l e vis io n  act i ng to underscoring the strangeness of what follows. The second scene of ‘An Unearthly Child’ provides a strong example of this. As the end of lesson bell rings, Barbara emerges into the corridor while asking the (off-​screen) Susan to wait for her inside

in The changing spaces of television acting
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Brian McFarlane

great tearjerkers of English culture – Sydney Carton’s imagined speech from the scaffold, Nurse Cavell’s last words, Celia Johnson’s return to her husband in Brief Encounter – … enough to start my eyes pricking’. 22 The film is in good company here, even if ‘tearjerker’ does rather undervalue the emotional power of the examples quoted. In March 2017, Jane Wheatley wrote an article about London-based, Sydney-born author and film producer Robin Dalton. Dalton claimed that her first husband ‘had employed private detectives to follow his young wife and a diary was

in The never-ending Brief Encounter
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Addressing intersectionality in the casting and performance of Chris Chibnall / Jodie Whittaker era Doctor Who
Christopher Hogg

articulating the complexities of a more diverse and complicated contemporary English culture. Indeed, the value of such decentring, typified by Whittaker’s Doctor, and allowing for the expression and celebration of more diverse forms of Englishness, is also recognized by the cast members interviewed. For example, Gill notes: I had worked on Casualty [1986–] the year before and it was filmed in the same building as Doctor Who . We walked past a door and someone said, ‘Through there

in Doctor Who – New Dawn
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Darrell M. Newton

continued to place the African-Caribbean settler in a position marginalised from the imagined mainstream of English culture. As evidenced by the work of Stephen Bourne and Jim Pines, various actors of African-Caribbean origin have chronicled their struggles within British television. However, the concerns of ‘typical coloured folk’, as the League of Coloured Peoples called them,15 eventually came to the attention of management through a series of community meetings. These assemblies brought management together with these new citizens to determine what they were

in Paving the empire road
The BBC and national identity in Scotland
Thomas Hajkowski

5 Broadcasting a nation: the BBC and national identity in Scotland T his chapter argues that the BBC and its station in Scotland played an important role in sustaining and reinforcing a complex sense of Scottish national identity during the period from 1923 to 1953. The BBC did not act as an agent in the anglicization of Scotland, nor did it seek to impose a wholly metropolitan, southern English culture or identity on Scotland. Rather, the BBC, perhaps the most powerful institution for the dissemination of information and entertainment in Scotland, constructed

in The BBC and national identity in Britain, 1922–53
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Peripheral Britain
Paul Newland

introduced here as a strategy which evokes the strangeness to be found in everyday British (or, more accurately, English) culture. Mysterious stones found on the dunes near the couple’s remote coastal home appear to hold the souls of some of the villagers, and Anthony later renders Crossley incapacitated when he finds his ‘soul stone’ and proceeds to smash it into four pieces between the soles of his shoes. Much of the story is told retrospectively. But this is not a straightforward flashback. The narrative remains ambiguous. In Film Quarterly, William Johnson pointed out

in British films of the 1970s
Martin Phillips

. ( 1995 ), ‘Urban dreams and rural reality: land and landscape in English culture, 1920–1945 ’ , Rural History: Economy, Society, Culture , 6 : 89–102 . Naismith , G . ( 2002 ), ‘Locating the local(e) in Xena Warrior Princess’ , Metro , 129/130: 217–21 . National Geographic ( 2001 ), Beyond the Movie: The Lord of the Rings The Fellowship of the Ring ( Carlshalton

in Cinematic countrysides