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Michael Winterbottom is the most prolific and the most audacious of British filmmakers in the last twenty years. His television career began in the cutting-rooms at Thames Television, and his first directing experience was on the Thames TV documentaries, Ingmar Bergman: The Magic Lantern and Ingmar Bergman: The Director, made in 1988. Winterbottom has featured in top ten lists in Britain and his name has become a moniker of distinction in the promotion of his own films. This book articulates the ideas which have led to the name 'Michael Winterbottom' being associated with a particular body of work and, second, by turning to those factors which tend to dissipate the idea of Winterbottom as the single source of a world view and style, and to relocate his films within a constellation of directors, films and (principally European) national cinemas. It is important to acknowledge that all of his films employ realism across a variety of styles, genres and historical representations. The book focuses on Welcome to Sarajevo, Wonderland, In This World and The Road to Guantánamo, with a brief reference to 24 Hour Party People as five very different films that have particular relationships with the historical world that they represent. It considers what Winterbottom has done with such popular genres as the road movie, the musical and the sciencefiction thriller, how far he has adapted their conventions to contemporary film practice and ideology, and whether these films, in reworking Hollywood genres, exhibit any peculiarly British inflections.

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Russell T Davies, the epic and the everyday
James Walters

, he understands the punch – a brief, somewhat crude climax to a comedic set up – to offer a forceful encapsulation of the programme's egregious (or, at least, careless) representation of human beings on screen (evoking homophobia for a cheap laugh). The content of the article is pertinent, given that Davies’ sensitivity to the powerful connections between small-scale detail and large-scale themes can be found throughout his television career, to the extent that it can be viewed as a central authorial concern. The epic and the

in Epic / everyday
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Dave Rolinson

within which writers and directors could develop their own voices, or at least test themselves on a variety of projects. As W. Stephen Gilbert (1990) noted, ‘No director now building a television career can hope to enjoy the opportunities that Clarke’s generation took for granted. And for that reason (but not only for that reason), television will never again be rewarded with the engagement and the courage of an Alan Clarke.’ This situation seems paradoxical, because, in the period covered by this book, television drama’s hierarchies changed. Directors gained more

in Alan Clarke
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Brian McFarlane
Deane Williams

lack of venturesomeness. He would surely have respected what these two young men, whose early careers he fostered, have achieved. Winterbottom’s television career began in the cutting-rooms at Thames Television, and his first directing experience was on the Thames TV documentaries, Ingmar Bergman: The Magic Lantern and Ingmar Bergman: The Director , made in 1988 and first screened on ITV and Channel 4

in Michael Winterbottom
Richard Hewett

rehearsal. You will probably have discussions and line rehearsals in the hotel the night before, but even this may not happen if other actors are unavailable, and you may meet your partner for the first time in front of the camera’ (1985: 28). Location filming meant that characterisations created in the earliest part of the production process, before a significant period of preparation and discussion could take place, would have to be adhered to later in the studio for the sake of continuity. Patrick Malahide, who began his television career around this time and later

in The changing spaces of television acting
Richard Hewett

culmination of a decade’s screen experience, Isabel Dean’s role as Judith Carroon came comparatively early in her television career. However, she continued to work regularly in the medium until her death in 1997. Analysis of her performance in I, Claudius (BBC, 1976) shows that, even at a remove of two decades, certain of the physical mannerisms she displayed in ‘Contact has been Established’ were still present, but that increased experience had informed and modified her deployment of them. In the episode ‘Queen of Heaven’ Dean plays Lollia, a noblewoman who reveals to her

in The changing spaces of television acting
A figurative dance suite
David Cooper

orchestration –​to $15,000 for this film. Hearing Herrmann’s Hitchcock scores in the light of Murray’s music for To Catch a Thief is revealing. Murray had come under the influence of Herrmann as a contractor, mentor and friend since the 1930s, when Herrmann had called on him to help with arrangements of popular music for his radio work. By 1955, Murray had scored at least nine films, many radio programmes and had made a huge number of musical arrangements, not least for his own chorus, the Lyn Murray Singers.2 He would go on to a particularly successful television career

in Partners in suspense
Andrew Spicer

The BBC broadcast BBC World Theatre (1957–59) and Sunday Night Theatre (1950–9), which became The Sunday Night Play in 1960. Independent Television (ITV), which began broadcasting in September 1955, created additional drama series, most notably Associated Rediffusion's Television Playhouse (1956–63) and Associated British Corporation's Armchair Theatre (1956–74). During this first phase of his television career, Connery worked exclusively for the BBC, through to his ‘breakthrough’ role in Requiem for a Heavyweight (1957

in Sean Connery
The Mother Country – ‘a beginning at last’
Ruvani Ranasinha

episode of Rumpole of the Bailey the year before. Fywell remembers that ‘Gregory was great; but so well-brought up and well-mannered it was hard to get him to play Imran's rebellious side’. Enigmatic Joe was played by Peter Sproule who had acted in Lindsay Anderson's savage satire on English public school life, If (1968). The starry presence of the engaging, irrepressible 48-year-old Indian actor Saeed Jaffrey, who played Hussein, greatly boosted The Mother Country . Well known for a film, theatre and TV career that spanned India and Broadway, Jaffrey's role in

in Hanif Kureishi
Richard Hewett

episodes of EastEnders and Inspector Morse in the late 1990s, the opportunity offered by the former, a multi-​camera production, ‘to play the entire scene facilitates the imagination and [offers] real stimuli for the generation of a reaction’ (2002: 88). By contrast, for the close-​up reaction shots of Inspector Morse’s single camera model, ‘one [has] to create the illusion of the stimulus’ (ibid.: 92). Having begun her television career in the late 1990s, Julia Dalkin was habituated to single camera filming when she appeared in two 2009 episodes of EastEnders, and found

in The changing spaces of television acting