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Vision on
Vision On narrates the turbulent yet distinguished history of one of the fundamental pillars of British broadcasting--the arts. This volume chronicles the years of dynamic and often controversial collaboration between broadcasters and the Arts Council, a key player in bringing art films to the wider public audience. Beginning with the earliest TV documentaries, the arts became central to the remit of public broadcasters, and by the 1980s Channel 4 and the Arts Council were boldly redefining the relationship of the arts and the media by commissioning and airing exclusive and innovative films. With detailed discussion of the cultural role of television programmes such as Civilisation (1966) and Arena (1974 onwards), close analysis of over 25 films and exclusive access to the Arts Council's collection of the 450 films supported between 1953 and 1999, this volume illuminates the vanguard role the arts have played in the proud history of British public broadcasting, and attempts to locate the place of arts broadcasting in today's multi-channel, multi-media world.
Screen Plays
Screen plays is a ground-breaking volume thatchronicles the rich and surprising history of stage plays produced for the small screen between 1930 and today. The collection makes a compelling case for the centrality of the theatre to the past and present of British television drama.
The Moving Image
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Seeing by Electricity
Already in the late nineteenth century, electricians, physicists, and telegraph technicians dreamed of inventing televisual communication apparatuses that would “see” by electricity as a means of extending human perception. In Seeing by Electricity Doron Galili traces the early history of television, from fantastical image transmission devices initially imagined in the 1870s such as the Telectroscope, the Phantoscope, and the Distant Seer to the emergence of broadcast television in the 1930s. Galili examines how televisual technologies were understood in relation to film at different cultural moments—whether as a perfection of cinema, a threat to the Hollywood industry, or an alternative medium for avant-garde experimentation. Highlighting points of overlap and divergence in the histories of television and cinema, Galili demonstrates that the intermedial relationship between the two media did not start with their economic and institutional rivalry of the late 1940s but rather goes back to their very origins. In so doing, he brings film studies and television studies together in ways that advance contemporary debates in media theory.
Screening the Royal Shakespeare Company
No theatre company has been involved in such a broad range of adaptations for television and cinema as the Royal Shakespeare Company. Starting with Richard III filmed in the Shakespeare Memorial Theatre before World War One, the RSC's accomplishments continue today with highly successful live cinema broadcasts. The Wars of the Roses (BBC, 1965), Peter Brook's film of King Lear (1971), Channel 4's epic version of Nicholas Nickleby (1982) and Hamlet with David Tennant (BBC, 2009) are among their most iconic adaptations. Many other RSC productions live on as extracts in documentaries, as archival recordings, in trailers and in other fragmentary forms. Screening the Royal Shakespeare Company exp...
The Quay Brothers
The complex, special power of the Quay Brothers' puppet animation poetics.
Playing Real
Playing Real: Mimesis, Media, and Mischief explores the integration and interaction of mimetic theatricality and representational media in twentieth- and twenty‐first-century performance. It brings together carefully chosen sites of performance—including live broadcasts of theatrical productions, reality television, and alternate-reality gaming—in which mediatization and mimesis compete and collude to represent the real to audiences. Lindsay Brandon Hunter reads such performances as forcing confrontation between notions of authenticity, sincerity, and spontaneity and their various others: the fake, the feigned, the staged, or the rehearsed. Each site examined in Playing Real purports t...
Shakespeare and Digital Performance in Practice
Shakespeare and Digital Performance in Practice explores the impact of digital technologies on the theatrical performance of Shakespeare in the twenty-first century, both in terms of widening cultural access and developing new forms of artistry. Through close analysis of dozens of productions, both high-profile and lesser known, it examines the rise of live broadcasting and recording in the theatre, the growing use of live video feeds and dynamic projections on the mainstream stage, and experiments in born-digital theatre-making, including social media, virtual reality, and video-conferencing adaptations. In doing so, it argues that technologically adventurous performances of Shakespeare allow performers and audiences to test what they believe theatre to be, as well as to reflect on what it means to be present—with a work of art, with others, with oneself—in an increasingly online world.
The Intimate Screen
This book explores the formative period of British television drama, concentrating on the years 1936-55. It examines the continuities and changes of early television drama, and the impact this had upon the subsequent 'golden age'. In particular, it questions the caricature of early television drama as 'photographed stage plays' and argues that early television pioneers in fact produced a diverse range of innovative drama productions, using a wide range of techniques.
John Ormonds Organic Mosaic
This book is the only extended study of John Ormond’s poetry and films. It is a contribution to the history of BBC television. It is a contribution to the history of the documentary film form, particularly in a national context. It is a contribution to the cultural history of Wales. It is a case study in inter-artistic creative practice.
