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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
Roger Singleton-Turner

) screens showing many sources on one screen, like those in Plate 4B and 5 . Any of these will be selectable to the main vision mixer. For convenience, I’ll refer to each image as a ‘monitor’. Big, live productions might also have monitors (real or virtual) for external sources such as remote studios and outside broadcast (OB) units. There will also be at least one larger preview monitor and a TX (transmission) monitor (real or virtual), sometimes called ‘programme’ or ‘programme out’ (abbreviated to ‘PGM’). Either could be real or virtual, like the ones in Plate

in Cue and Cut
Callan (ITV, 1967–72) as an existential thriller for television
Joseph Oldham

hardboiled tradition and reapplies it to interrogate specifically British class tensions. Ironically, this American influence was undoubtedly a key factor undermining the possibility of exporting the series to the US during the network era. The spy who came in to the studio: the production and aesthetics of Callan Unlike The Avengers or the ITC adventure series, Callan was recorded on videotape, retaining the as-if-live production style developed at the turn of the 1960s. Indeed, with the exception of productions designed with an eye on sales to US networks, British

in Paranoid visions
Richard Hewett

i ng One live production to depart entirely from the studio realist model was Frankenstein’s Wedding (BBC, 2011), a re-​telling of Mary Shelley’s gothic novel that combined drama, musical and audience participation, and was broadcast in real time from Kirkstall Abbey in Leeds. Rather than being a traditional studio production, director Colin Teague’s cast and OB crew were required to perform a feat that was arguably closer in nature to a live concert. The production was subsequently nominated in the Sport and Live Event category at the British Academy Television

in The changing spaces of television acting
Kevin Clifton

-​ lived production company called Transatlantic Pictures Corporation. This company allowed Hitchcock to promote Rope as he saw fit, thus asserting his creative independence away from the standard marketing procedures of the time (see Clifton, 2013a). The movie trailer for Rope, which Hitchcock himself directed, is unique in that he used ‘special shoot footage’ not seen in the feature film. In fact, the movie trailer provides a compelling backstory for the film akin to a filmic prequel in that we are introduced to David and Janet as a couple in New York City’s iconic

in Partners in suspense
Bernard Herrmann and The Man Who Knew Too Much
Murray Pomerance

-​denominational standard would most likely have been selected by Herrmann himself from a repertory of available public-​domain materials in the Paramount library, then arranged for a small ‘choir’ of forty-​two churchgoer extras, rehearsed with the singers by Herrmann himself on set (since he did not frequently use assistants),5 and then recorded as live production sound while the camera turned. As one listens to the Ambrose Chapel sequence, one hears in this singing, and especially as the vocal scale climbs up to a woeful dominant, a sharp, unsure and reverberant tone that is not

in Partners in suspense
Kate Nichols and Sarah Victoria Turner

teaching.35 Local artists including Henrietta Rae studied and sketched the cast collections. Women were often excluded from the academic life class, so the Palace played an important role in providing female art students with access to the unclothed (albeit lifeless) form. The Palace also became a site for the live production and performance of contemporary art. Here, Ann Roberts’s chapter explores the Palace as a space of commercial art entertainment through case studies of disabled artist Bartram Hiles, and ‘lightning cartoonist’ Herbert Beecroft. The Palace’s role in

in After 1851
Kate McLuskie and Kate Rumbold

. Performances of Shakespeare and Mahler too, require larger numbers of more extensively trained performers than Coldplay or Madonna and have less capacity to balance the costs of live production with mass-market sales of recordings. The Madonna of the Pinks involves a more direct form of expenditure. It includes the costs of acquisition as well as the subsequent costs of conservation, insurance and secure and

in Cultural value in twenty-first-century England
The case of Shoot the Messenger
Sarita Malik

themes in British television drama, it is apparent that when a ‘Black story’ was to be produced it was up to the usually white, male and middle-class writer to fight the Black corner, and specifically in the  mode of the newly emerging form of socially conscious drama of the 1950s and 1960s. John Elliot’s A Man From The Sun (BBC, 1956), a live production featuring a range of Black British acting talent, was 94 Adjusting the contrast the first drama about the lives of Caribbean settlers in Britain, or what Elliot described as ‘the clash between this mythical Britain

in Adjusting the contrast
Abstract only
Richard Hewett

Acting aims to address that lack, utilising a selection of science fiction case studies from the world of BBC television drama to investigate how small screen performance and its various determinants have altered since the days of live production. Television science fiction provides a particularly useful starting point, this being a genre that is almost as old as the medium itself, and –​ as will be demonstrated –​one that is arguably less inflected by genre-​specific performance tropes than other styles such as crime drama or period adaptation. While a multi

in The changing spaces of television acting