Search results

You are looking at 1 - 10 of 274 items for :

  • executive politics x
  • Film, Media and Music x
Clear All

order to be economically viable, and even though Garnett is at the centre of the company he is not a ‘producer’ in the same sense that he was in the BBC in the 1960s and 1970s. Neither his taste nor his politics determine every project (indeed, nearly all World’s single films and mini-series were executive produced by others, notably Sophie Balhetchet in the mid-late 1990s). Garnett has adopted two separate but connected roles within World Productions, that of head of the company, responsible to Heyman and the parent company, and that of executive producer for

in Tony Garnett
Abstract only

This is a book-length study of one of the most respected and prolific producers working in British television. From ground-breaking dramas from the 1960s such as Up the Junction and Cathy Come Home to the ‘must-see’ series in the 1990s and 2000s such as This Life and The Cops, Tony Garnett has produced some of the most important and influential British television drama. This book charts his career from his early days as an actor to his position as executive producer and head of World Productions, focusing on the ways in which he has helped to define the role of the creative producer, shaping the distinctive politics and aesthetics of the drama he has produced, and enabling and facilitating the contributions of others. Garnett's distinctive contribution to the development of a social realist aesthetic is also examined, through the documentary-inspired early single plays to the subversion of genre within popular drama series.

Abstract only

Introduction What inspires me to write, more than anything if I’m really honest, is spotting things in real life that you never see on TV. Conversations, looks, tiny looks, social behaviour. You don’t literally watch someone you’ve had round for dinner or at a party, you don’t literally lift what you have just seen; you learn how to use that frequency.1 Paul Abbott Paul Abbott is one of the most profound, passionate and political television screenwriters and showrunners of the twenty-first century, having created, crafted and contributed to projects and

in Paul Abbott
Abstract only
Telling the truth

most influential plays/films of British television history. His first play as producer was Cathy Come Home (BBC 1966), which was the first television drama that was also a social and political event (possibly one of the most auspicious debuts in television history). It is still regarded as part of the essential iconography of the decade. In the 1970s, he was part of the team that produced Days of Hope (BBC 1975), a four-part series on the 1926 British General Strike, which, despite its historical theme, created a strong contemporary political resonance. In the 1990s

in Tony Garnett
Screening Victoria

: Although the British Sovereign no longer has a political or executive role, he or she continues to play an important part in the life of the nation. As Head of State, The Monarch undertakes constitutional and representational duties which have developed over one thousand years of history. In addition to these State duties, The Monarch has a less formal role as

in The British monarchy on screen
Multimedia polymath and mainstream cult

of the most globally successful film franchises in history, Jed and Tancharoen have become, essentially, the televisual successors of Whedon. As his work has become more and more about film directing, producing and writing; and political activism, it is they who have taken the reins of the television shows that carry his name as executive producer. That said, while the show was still in its early days, Whedon

in Joss Whedon
Abstract only

–2003) and it did, indeed, change things. It changed Whedon's career; it changed the lives of tens of thousands of those who watched it; it established an expectation from fans and viewers of high quality writing on television long-form serial dramas; and much else besides. And it did this by treating television serial drama as ‘art’ and imbuing that art with a politics, in this case, ‘feminism’. He ensured that his

in Joss Whedon
Abstract only

demonstrate how scheduling, as a form of cultural distribution, ultimately determines the ability for minorities such as British Asians to produce narratives that can contribute to cultural plurality, and a progressive/radical multicultural politics.27 I show that the forms of rationalisation employed by schedulers and executive producers contain within them racialising dynamics. Specifically, I am thinking of the way British Asian texts are dispersed, where they literally come to be placed at the centre of discourse, or on the periphery, depending on their narrative. This

in Adjusting the contrast

11 Questioning the critical We have argued throughout this book that the scope of movies that can be considered ‘political’ is much broader than is often assumed. For us, all movies are political in one way or another. How, then, should we understand those films that are more ostensibly political or socially engaged? In this chapter we continue our examination of ‘socially critical’ films (as defined in chapter 10) to consider the extent to which they offer any challenge to dominant power relations with regard to nation, culture, class, gender, sexuality, race

in The cultural politics of contemporary Hollywood film
Open Access (free)

nem a of Ol iver   S to ne 94 own charismatic power to advance both the celebrity culture and personal appeal that supposedly it was criticising. While Executive Action and in particular The Parallax View were examples of Hollywood’s willingness to grapple with the spectre of dark and unyielding institutional corruption, neither film performed well at the box office. Indeed, Executive Action generated such negative press coverage because of its suggestion of a business and political cabal involved in the Kennedy assassination that it was quickly withdrawn from

in The cinema of Oliver Stone