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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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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 and 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
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
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Der Schwarze Kanal
Frank Engelmann-del Mestre

– im übertragenen Sinne.’ (This and subsequent translations are by the author.) 4 ‘Spezialgewehr, Zielfernrohr – 150m Distanz – Kopfschuss für Kennedy … Das ist perfekt organisiert, zielbewußt.’ 5 Von Schnitzler started his television career on the GDR news programme ­Aktuelle Kamera (Current Camera), for which he once critically commented on the West German Chancellor Konrad Adenauer by using and interpreting quotations taken from one of Adenauer’s speeches. This re-­ different style of political commentary was well received by members of the Socialist Unity

in Popular television in authoritarian Europe
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Sara Upstone

counterbalance to her more ethnically specific name. Equally, while Maya shows a young Asian woman, the cover image of Transmission is abstract. The universal nature of Srivastava’s stories is represented by the problems faced by her protagonists. In neither novel are these issues principally related to matters of ethnicity. In Transmission, Angie’s central dilemma is whether to exploit her relationship with Lol to further her television career. In Maya, Mira must confront the reality of her relationship with a married man. In both cases a universalised ethical dilemma forms

in British Asian fiction
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Sara Upstone

, yet the critique of both white and Asian communities implicit in these issues can be more effectively transmitted through humour rather than didactic moralising. Here Syal’s television career does genuinely become relevant; this method of critique is precisely the same strategy employed in Goodness Gracious Me, where the prejudices of both white English and Asian communities are exposed in a format that makes the viewer more receptive than they might be to a more direct criticism.41 This strategy has particular relevance in a British Asian female context. It is a

in British Asian fiction