Academic literature on the topic 'BBC Documentary'
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Journal articles on the topic "BBC Documentary"
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Hughes, Virginia. "BBC apologizes for airing AIDS 'denialist' documentary." Nature Medicine 13, no. 12 (2007): 1391. http://dx.doi.org/10.1038/nm1207-1391.
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Longhurst, Brian, and Roger Silverstone. "Framing Science: The Making of a BBC Documentary." Man 21, no. 4 (1986): 786. http://dx.doi.org/10.2307/2802956.
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Williams, Samantha. "Can you help a medical documentary for the BBC." Journal of Neonatal Nursing 14, no. 5 (2008): 176. http://dx.doi.org/10.1016/j.jnn.2008.08.002.
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Boon, Tim. "British Science Documentaries: Transitions from Film to Television." Journal of British Cinema and Television 10, no. 3 (2013): 475–97. http://dx.doi.org/10.3366/jbctv.2013.0151.
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The relationship between documentary films made for projection and television documentaries has not been studied in any sustained way. This is partially a product of the weakness of the literature on both postwar documentary and of the development of the form within the new medium. This article uses a combination of biography and formal analysis to begin to address this lacuna in the literature as it relates in particular to films and programmes with scientific themes. It examines four individuals who worked in documentary film before spending varying amounts of time in television: Duncan Ross, Paul Rotha, Michael Orrom and Ramsay Short, who joined the BBC respectively in 1947, 1953, 1954 and 1963. The analysis shows that those who stayed long term at the BBC (Ross and Short) adapted their technique to the new medium, while Rotha and Orrom – who both left after a comparatively short time – mainly sought to use TV as a medium for broadcasting existing documentary styles. It concludes that the approach of taking biographical details and formal qualities is useful, but that larger samples of programme-makers would be required to reach firm conclusions about the relationship between documentary films made for projection and television documentaries
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Klepac, Petra, Stephen Kissler, and Julia Gog. "Contagion! The BBC Four Pandemic – The model behind the documentary." Epidemics 24 (September 2018): 49–59. http://dx.doi.org/10.1016/j.epidem.2018.03.003.
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Hill, John. "‘Blurring the lines between fact and fiction’: Ken Russell, the BBC and ‘Television Biography’." Journal of British Cinema and Television 12, no. 4 (2015): 452–78. http://dx.doi.org/10.3366/jbctv.2015.0280.
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Working for the BBC arts programmes Monitor and Omnibus during the 1960s, Ken Russell was responsible for a series of biographical films based on the lives of painters and composers. Tracing the development of Russell's work from Prokofiev (1961) and Elgar (1962) through to Bela Bartok (1964) and The Debussy Film (1965), the article examines how Russell's incorporation of elements of drama into the arts documentary generated arguments, both within the BBC and beyond, about the legitimacy of mixing ‘fact’ and ‘fiction’ in such works. These debates focused, in particular, on the use of ‘dramatic reconstruction’ and subjective ‘interpretation’ and the ‘fairness’ of the films’ treatment of the artists and composers with which they dealt. As a result of its unusually explicit representations of sex and violence, Russell's film about the composer Richard Strauss, Dance of the Seven Veils (1970), took these arguments to a new level. Through an examination of the responses that the film generated, the article concludes that, due to the degree to which the programme departed from BBC norms of documentary practice and the related values of ‘impartiality’ and ‘good taste’, it became a work that tested the very limits of what the BBC then considered it possible to transmit.
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Worrall, Matt. "College to feature in flagship science documentary." Bulletin of the Royal College of Surgeons of England 90, no. 2 (2008): 59. http://dx.doi.org/10.1308/147363508x276468.
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The College is to feature in a documentary being produced for the latest series of BBC science programme, Horizon, focusing on the medical use of cadavers. The programme looks at the growth in the use of human tissue in training and surgery, and explores the practicalities involved in the supply of bodies. The film will feature footage of a course in our new Wolfson surgical skills centre and an interview with Dick Rainsbury, director of education, explaining why bodies are so important for surgical training.
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Andrews, Hannah. "BBC4 Biopics: Lessons in Trashy Respectability." Journal of British Cinema and Television 13, no. 3 (2016): 409–29. http://dx.doi.org/10.3366/jbctv.2016.0327.
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Between its launch in March 2002 and 2013, BBC4, the BBC's niche arts and culture digital channel, broadcast a cycle of biographical dramas, largely about the unhappy personal lives of British cultural and political icons of the twentieth century. Alongside stylish continental European drama imports, world cinema and documentary programmes, biopics became a key marker of the BBC4 brand and its dominant home-grown dramatic output. In scholarly work on television biopics to date, the genre has been seen as akin to tabloid newspapers, conceived as a trashy cultural form that reduces the importance and seriousness of biographical narrative. However, in recent years biographical drama has been used by upmarket television brands like HBO, Showtime or, indeed, the BBC as a mark of distinction and respectability. This article analyses this dynamic in relation to BBC biopics, exploring how a specific dramatic genre is used to reinforce the brand image of a niche digital channel. It focuses not only on the benefits of such material for attracting both within and beyond the channel's intended demographic, but also on certain of the ethical and legal challenges intrinsic to a genre that exploits the personal stories of real people.
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Holmes, Su. "‘I'm certainly not one of these women's libbers’: Revisiting Gender inThe Family." Journal of British Cinema and Television 12, no. 3 (2015): 300–320. http://dx.doi.org/10.3366/jbctv.2015.0267.
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In 1974 the BBC screened the twelve-part documentary serial The Family. Yet despite the title of the programme, and its promise to open up the gendered terrain of the domestic sphere, The Family has largely been conceptualised with regard to discourses of class rather than gender. Given the famous slogan of second-wave feminism that the ‘personal is political’, The Family provides a fertile terrain upon which to consider how discourses relating to the women's movement at the time were negotiated within a particularly (tele)visible domestic sphere. It was often at the level of the micro-political – the everyday oppressions in women's daily lives – that the second wave often sought to politicise the nature of female subjectivity (Tyler 1997). In 1974, many critics and viewers lamented the fact that the wider social insight promised by The Family's publicity failed to transpire, suggesting that it was ultimately about ‘nothing much’. In challenging this view, this article seeks to contribute to the project of writing women, at the level of representation and critical reception, back into the history of canonical documentary texts, a process which can involve revisiting documentaries that have been untouched by feminist scholarship ( Waldman and Walker 1999 ). In doing so, it draws upon archival research undertaken at the BBC Written Archive Centre as based upon press cuttings, internal production memos and BBC Audience Research reports.
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Rosenbaum, Jonathan. "Negotiating the Pleasure Principle: The Recent Work of Adam Curtis." Film Quarterly 62, no. 1 (2008): 70–75. http://dx.doi.org/10.1525/fq.2008.62.1.70.
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Abstract This essay discusses the most recent BBC documentary series by Adam Curtis: The Century of the Self, The Power of Nightmares, and The Trap. It is argued that the theses of the films are to a degree undermined by Curtis's reliance on the same persuasive, advertising-style techniques that are being critiqued.
Dissertations / Theses on the topic "BBC Documentary"
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Irwin, Mary. "BBC television documentary 1960-70 : a history." Thesis, Glasgow Caledonian University, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.492389.
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In recent years British television drama of the 1960s has been the subject of significant academic scholarship and popular retrospective interest. The British television documentary of the period is, in contrast, markedly under researched. Initial investigation suggested that while the independent television network produced two very influential documentary series in Granada's World in Action (1963-1998) and ABC/Thames This Week (1956-1992), both of which have already been the subject of academic study, it was, in the main, at the BBC that the most critically acclaimed and popularly remembered documentaries of the period were produced. Beginning by tracing the televisual climate of the late 1950s and early 1960s out of which the documentaries developed, this thesis aims to construct the first scholarly narrative history of the development of the BBC television documentary between 1960 and 1970. It examines and re evaluates some of the most significant and influential BBC television documentaries or documentary series of the period, whilst examining the lack of status afforded other particular BBC television documentaries.
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Smith, Kieron. "John Ormond and the BBC Wales Film Unit : poetry, documentary, nation." Thesis, Swansea University, 2014. https://cronfa.swan.ac.uk/Record/cronfa42379.
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This thesis is a detailed examination of the films of Swansea-born poet and BBC Wales documentary filmmaker John Ormond. It examines the uses of the documentary form within the context of a broadcasting institution that many have argued has been one of the central agents in the political and cultural development of this small nation. Given that the thesis is concerned with the work a decidedly creative figure, it seeks throughout to keep in focus Ormond's unique contribution to the documentary form. It begins with an interpretation of Ormond's broad cultural and philosophical framework as embodied in his poetry, and from here goes on to explore the ways in which this thinking impacted upon his approach to film as a medium and, particularly, the documentary as a cultural form. It positions Ormond's approach to documentary within the tradition of the Griersonian 'British Documentary Movement', in particular its post-war manifestations on British television as pioneered by producers such as Denis Mitchell, Norman Swallow and Philip Donnellan. Indeed, the thesis is, in part, an attempt to align Ormond's work with these better-known figures in British television history. The major aim of the thesis, however, is to explore the uses of this peculiarly civic cultural form within a minority national broadcasting context. To this end, it utilizes Jurgen Habermas's notion of the 'public sphere' as a lens through which to examine the ways in which Ormond's wide-ranging oeuvre interacted with and impacted upon a Welsh public sphere at a time of unprecedented political, economic, social, and cultural change. It distinguishes three broad areas of thematic concern - "culture", "historiography" and the "ethnographic" - and examines the ways in which Ormond's films reflect and contribute to a wide and shifting range of national discourses in this pivotal era in the history of Wales.
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Richards, Morgan. "Realizing animals at the BBC : new media technology and wildlife documentary." Thesis, University of Cambridge, 2010. https://www.repository.cam.ac.uk/handle/1810/265503.
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This thesis examines recent shifts in wildlife documentary by way of a detailed analysis of the genre's conception and evolution in Britain. Its title, Realizing Animals, relates to the ~ notion that the "reality" of wildlife documentary is a continually changing process, in which diversifying media technologies, the historical action of genre, and particular production institutions (in line with the uneven distribution of power to influence representations of "reality") all play a role. Realizing Animals addresses a number of inter-linked research goals. Firstly, it presents a rigorous account of the BBC's central role in the construction of wildlife documentary in Britain. It examines both how and why the BBC had such an important role in the development of this genre, and why depictions of wildlife have been so important to the BBC's evolving public service ethos. This approach emphasises the importance of linking the dynamics of genre to the actions and histories of particular institutions (such as the BBC) within a wider social space. Secondly, this thesis argues against the prevalent view that digitization, understood narrowly in terms of computer-generated imagery (CGI), is inherently destructive in its effects, severing photography and documentary's claim to the real. Instead, the effects of CGI are re-conceptualised both against the background of the histo1y of photography's origins in science and documentary, and in terms of a broader understanding of digital media in contemporary culture, which includes digital video, high-definition (HD) technologies and digital editing. Within this framework, digital media can be understood to displace (rather than destroy) wildlife documentary's claim to the real, and even to be productive in its effects (allowing the creation of previously impossible "realities"). The wildlife genre's contemporary milieu in the digital age is also analysed in terms of the rise of digital and satellite broadcasting. It is argued that the resulting shift to an increasingly global multi-channel environment (marked by both competitive and co-operative institutional relationships) is linked to the increasing divergence of the wildlife genre between, on the one hand, cheaper presenter-led series shot on digital video, and, on the other hand, hugely expensive, high-end wildlife series, some of which use CGI and HD technologies. To this end, these themes are explored in the central chapters of this thesis which each comprise one of four inter-linked case histories: the development of wildlife film in Britain, the birth of wildlife television and Attenborough's landmark series (1979-2008), the wildlife docusoap Big Cat Diary (1996) and Walking With Dinosaurs (1999). The empirical backbone of this study is formed by over forty interviews with wildlife documentary makers, extensive archival research and a short observational study of a wildlife documentary in production at the BBC. Above all, Realizing Animals sets out to show that the dynamics of genre, together with the development of new media technologies and the shifting politics of institutions, have conditioned the evolution of the wildlife genre.
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Lindner, Julianne. "Branding Images : White Saviorism and Shock Appeals by BBC Three." Thesis, Malmö universitet, Malmö högskola, Institutionen för konst, kultur och kommunikation (K3), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-39674.
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This research has focused on the representation of foreign cultures in four BBCdocumentaries. To be more precise, it looked into how public documentariesportray foreign cultures, specifically within a frame of development aid and whitesaviourism when watching documentaries by BBC Three, a channel which iscentred towards a young audience. Previous research on white saviourism andshock appeals analysed movies, documentaries and aid campaigns. Barely anyhave so far researched representation of minorities, foreign cultures and aid topicsin public documentaries. BBC Three is additionally focused only on a youngaudience and blends tv with social media engagement. This is an interesting angleas youth will be the next policy makers and as they are starting to create theirworldview. The research is based upon a visual and textual analysis, followingHall’s encoding/decoding model. It showed that all four documentaries (2016-2018) misrepresent their “subjects” by focusing more on the presenter’sperspective, e.g. concentrating on their emotional responses, asking loadedquestions, giving their opinions and solutions. All four documentaries alsopresented a simplified local situation through Scott’s shock appeals and a badgood guy perspective (where the presenters address the local government andstand up for the helpless subjects). One can therefore state that youth learn aboutforeign cultures through the eyes of a “North” girl/boy next door presenter basingupon a white saviourism perspective. The research additionally related thefindings to Goodman’s theory on iCare capitalism, the emphasis on creating abrand and self-value out of caring for others so that other’s suffering is turned intoa theatre play. This is also visible through BBC Three’s and the presenters’ socialmedia presence. This research opens the discussion and defines a need toresearch the responsibilities of public channels and the impact on youth whendeveloping opinions, views and stereotypes.
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Thornton, Karen D. "Discourses of Power and Representation in British Broadcasting Corporation Documentary Practices: 1999-2013." Thesis, University of Bradford, 2018. http://hdl.handle.net/10454/18364.
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This dissertation re-evaluates the ways in which contemporary
television documentary practices engage their audience. Bringing
together historical frameworks, and using them to analyse a range of
examples not considered together within this context previously, the
main finding is that the use of spectacle to engage the audience into
a visceral response cuts across all of the examples analysed,
regardless of the subject matter being explored.
Drawing on a media archaeological approach, the dissertation draws
parallels with the way in which pre-cinema engaged an audience
where the primary point of engagement came from the image itself,
rather than a narrative. Within a documentary context, which is
generally understood as a genre which is there to educate or inform
an audience, the primacy of spectacle calls for a re-evaluation of the
form and function of documentary itself. Are twenty-first century
documentary practices manufacturing an emotional connection to
engage the audience over attempting to persuade with reasoning
and logic? The answer contained within this dissertation is that they
are.
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Hoare, Lottie. "Secondary education in BBC broadcast, 1944-1965 : drawing out networks of conversation and visions of reform." Thesis, University of Cambridge, 2017. https://www.repository.cam.ac.uk/handle/1810/273980.
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This study examines the representation of Local Education Authority (LEA) secondary schooling in England and Wales as it was portrayed in non-fiction British Broadcasting Corporation (BBC) programmes in the twenty-one years that followed the 1944 Education Act. The primary sources drawn on for this study include the surviving microfilmed radio scripts, dating from 1944–1965 and held at the BBC Written Archives (BBC WAC). The correspondence files from contributors to programmes also provide a key source from BBC WAC. The majority of the programmes considered are radio broadcast, however some documentary films on the topic of secondary education, made by the BBC and transmitted on television, are also analysed. Where audio-visual copies have survived, the programmes were viewed at the BFI Viewing Services. The study draws on 235 BBC programmes in total, made in the years 1944–1965. The details of these broadcasts can be seen in the three Appendices accompanying this study. The study also employs the use of drawing to present key ideas. This study explores how broadcasts are formed as cultural products. The research questions address: what was the content of these programmes? Who collaborated to create and edit these programmes and how were the programmes devised to inform the public about the provision of secondary education? What was the role of the All Souls Group (ASG) in this collaboration? The public included a domestic audience in England and Wales and an overseas audience for whom distinct broadcasts were usually created. A further element of the research is a scrutiny of the BBC as an organization that positions itself as neutral. The considered programmes enabled a group of eloquent educationalists to use their rehearsed and edited ‘conversation’ on a public stage. As the study unfolds it becomes apparent that the members of the informal education discussion group, the ASG, were lobbying to encourage the topic of secondary education to resurface sufficiently often on air. The study concludes with recognition that the reinforcing of loyalties between overlapping networks, such as the BBC and the ASG, should no longer be approached with reticence in academic research.
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MacLean, Diane. "Position, commission and production : a self-reflexive investigation into the generation of ethnographic knowledge through documentary production for BBC Alba." Thesis, Edinburgh Napier University, 2014. http://researchrepository.napier.ac.uk/Output/8850.
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This thesis takes as its object of study issues emerging from the synthesis of documentary practice and theoretical discourse. Its context is formed by the production of four published works commissioned and broadcast by the BBC in 2011/2012. These comprise: a drama-documentary, an observational documentary and two radio programmes. The programmes gathered archival and recorded memories and oral histories from Scarp, a small, now abandoned, island off the coast of Harris in the Outer Hebrides whose oral history and memories are in danger of being lost forever. The thesis argues for the acknowledgement of the 'situatedness' of the producer by exploring background, cultulral positioning and professional training, specifically within the context of Gaelic culture and broadcasting. The thesis makes the specific claim that the published works and the research appendices, in combination with the critical essay, make an important contribution not only to our understanding and ethnographic knowledge of island cultures on the west coast of Scotland, but also to our understanding of the processes of media production and respresentation as critically reflected upon by an academic practitioner. Through a cross-disciplinary engagement with debates within documentary, ethnography and oral history, this thesis will also demonstrate that narrative, subjectivity, generic delivery, commissioning constraints and intervention need not exclude television programmes, and the research produced to create them, from containing valuable ethnographic information that (under academic analysis) makes a contribution to our understanding of culture. A self-reflexive methodology reveals the extent to which the producer intervenes in, changes, and brings their own subjective perspective to, any work of ethnographic data gathering or oral history collection, and how this research is constrained by the commissioner.
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Holmes, Georgina Wilby. "Caught on camera : the 1994 genocide in Rwanda and the gendered international politics of revisionism, a study of BBC documentary films 1994-2009." Thesis, SOAS, University of London, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.688355.
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Herrelko, Elizabeth S. "An assessment of the development of a cognitive research programme and introductions in zoo-housed chimpanzees." Thesis, University of Stirling, 2011. http://hdl.handle.net/1893/3654.
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Zoological institutions emphasise the importance of excelling in the areas of animal welfare, conservation, education, and research, not only to better the lives of the animals under their care, but to also influence the general population in the pursuit to conserve the natural world. As a result, zoo life is anything but simple. This research project monitored the lives of a captive group of chimpanzees over a two-and-a-half-year period, during which time we explored four research topics while assessing the development of a cognitive research programme and chimpanzee (Pan troglodytes) introductions in a zoo: welfare, cognition, public engagement with science, and animal management. The project’s use of touchscreen technology and on-exhibit research was the first of its kind for the Royal Zoological Society of Scotland’s Edinburgh Zoo. As a result, the researchers placed a great deal of importance not only on assessing the welfare of the chimpanzees throughout training and testing phases, but also assessing the public’s perception of cognitive research being conducted through an internationally broadcast documentary about the project. In the short duration of the project, these research naïve chimpanzees did not fully grasp the concept of video selection in our free-choice activity, but overall, the introduction of a cognitive research programme did not compromise welfare, and the chimpanzees’ repeated interest suggests that chimpanzees found the research to be reinforcing. Partly funded by the BBC, the Chimpcam Project was shown in the UK (broadcast January 2010) and in a variety of other countries, including the United States and Canada (on Animal Planet in 2011). The broadcast allowed us to gather information over the internet on the wider public’s perception of conducting research with great apes in zoos, to complement data collected on visitors to the exhibit itself. Our assessment of the documentary’s impact on public perception showed that it had a positive influence on perceptions of zoo research, scientists, welfare, and the importance of choice for animals. During this research project, a new group of chimpanzees arrived in Edinburgh as part of the international breeding programme for western chimpanzees (Pan troglodytes verus). As the zoo’s focus switched to helping the two chimpanzee groups merge into one, we took the opportunity to apply psychological research to this context, namely the use of video as a research tool and the recognition of the importance of individual differences in response to challenge. The project maintained the cognition and welfare focus by using video introductions (allowing the chimpanzees to watch video footage of the individuals they were about to meet and track the formation of other sub-groups). In addition, personality ratings and chimpanzee behaviour during the visual access period (an animal management technique used prior to physical introductions where the groups could see each other without physical contact) were collected to examine the efficacy of these measures in guiding introductions in order to reduce risk. Personality ratings and behaviours observed during the video introductions could predict the chimpanzees’ behaviour during the physical introductions, however, the visual access period had no predictive power. The welfare implications of the introduction process were also assessed and suggested that: the choice of location (i.e. options of where to be) was more important than the total amount of available space; having individuals removed from your group was more stressful than having individuals added; self-directed behaviour (SDB) performance was context-specific where rubbing significantly increased during periods of uncertainty that were not necessarily negatively valenced; regurgitation and reingestion (R/R) decreased over time; and both in-group members and those of high ranks spent more time grooming others. Overall our data indicate that the chimpanzees coped well with both cognitive challenges and social upheaval during introductions. Despite being regularly studied in captivity and in the wild, chimpanzees have a great deal more to teach us about their world. In order to provide the best welfare for the chimpanzees in our care, we need to understand how research and management practices affect their lives and how the public interpret what we do as researchers. By understanding these aspects of their world, we can better serve those in captivity and influence public opinion on the importance of conserving those in the wild.
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Korzen, Eva Janina [Verfasser]. "Direct Mail als Kommunikationsmedium im Kulturmarketing : Eine empirische Wirkungsanalyse am Beispiel der documenta 12 unter Berücksichtigung von B2B- und B2C-Zielgruppen / Eva Janina Korzen." Kassel : Kassel University Press, 2011. http://d-nb.info/1017997101/34.
Full textBooks on the topic "BBC Documentary"
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Clay, Catrine. Master race: The Lebensborn experiment in Nazi Germany. Hodder & Stoughton, 1995.
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Alexander-Culton, Sarah. Alexander, a documentary of Scotch-Irish family history: The people, places, and events from 4000 B.C. to 2002 A.D. S. Alexander-Culton, 2002.
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Chapters in the formative history of Judaism: Fourth series : form-historical studies and the documentary hypothesis. University Press of America, 2010.
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Michael, Wood. In the footsteps of Alexander the Great: A journey from Greece to Asia. University of California Press, 1997.
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Michael, Wood. In the footsteps of Alexander the Great: A journey from Greece to Asia. BBC Books, 1997.
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Srinivasan, Priya. Domesticating Dance. Edited by Rebekah J. Kowal, Gerald Siegmund, and Randy Martin. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199928187.013.27.
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This chapter examines three scenes of “movement”—from the 2004 Tamil film Chandramukhi, the controversial documentary India’s Daughter that aired on BBC in March 2015, and the Star Plus Television serial of the Mahabharata focusing on the “Draupadi Vastra Haran” in 2014—to question how women’s bodies continue to be domesticated to delegitimize the upwardly mobile woman’s desire for remaking herself. The chapter suggests that neoliberalism has specific choreographies of violence perpetrated against women’s bodies. In particular, the author argues that within the choreographies of neoliberalism, neither public nor private space is safe for women in India. The chapter suggests that where women’s erotic dancing has been domesticated by institutionalized patriarchy in the service of capitalist systems, haunting and possession emerge as movement possibilities of the corporeal/incorporeal body that can negotiate the public/private space of a permeating neoliberal order.
Book chapters on the topic "BBC Documentary"
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Pullen, Christopher. "Documentary and Performance." In Straight Girls and Queer Guys. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9780748694846.003.0006.
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This chapter considers the representation of the straight girl and the queer guy within varying documentary media forms, considering the notions of social agency and performativity. Foregrounding both documentary theory and performance studies, the documentary biographical film drama Carrington (Christopher Hampton 1995, UK), offers a historical precedent in the representation of the straight girl and queer guy, all the while foregrounding notions of devotion and intensity. The context of the social actor is further examined in more recent documentary case studies such as Fag Hags: Women Who Love Gay Men (Justine Pimlott 2005, Canada), My Husband Is Gay (Benetta Adamson 2005, UK) and My Husband Is Not Gay (TLC 2015, US), framing the intense relationships between straight girls and queer guys – in many instances relating legal marriages and questioning issues of fidelity. Also the performative potential of reality television is explored in Would Like to Meet (BBC 2001, UK), Boy Meets Boy (Bravo 2003, US) and Queer Eye for the Straight Guy (Bravo 2003–7, US), through examining the confines and opportunity of television formats.
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Wyver, John. "The Beginnings of Civilisation: Television Travels to Greece with Mortimer Wheeler and Compton Mackenzie." In Ancient Greece on British Television. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474412599.003.0004.
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This chapter considers two early BBC television documentary series about ancient Greece and its legacy: Armchair Voyage: Hellenic Cruise (1958) written and presented by Sir Mortimer Wheeler, and Sir Compton Mackenzie’s The Glory that was Greece (1959). Making use of archival documentation from the BBC Written Archives Centre, including audience research reports, the chapter details the network of influences on the series. It is argued that these series draw on earlier forms of encounters with and depictions of the sites of ancient Greece, including the Grand Tour, 19<sup>th</sup>-century photography, tourism, film travelogues and radio programming. In addition, the chapter details the ways in which these two series contributed centrally to establishing the fundamentals of the emerging form of the presenter-led documentary. This approach to documentary flourished a decade later in the BBC series Civilisation (1969), with Sir Kenneth Clark. Similar series centred on a journey with a presenter who acts as a surrogate for the viewer remain dominant in history and arts programming for television.
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"Krieg spielen. Ein britischer wissenschaftlicher Film (1918) und eine BBC-Documentary (2002." In Äpfel und Birnen. transcript-Verlag, 2006. http://dx.doi.org/10.14361/9783839404980-005.
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LoBrutto, Vincent. "The Professional." In Ridley Scott. University Press of Kentucky, 2019. http://dx.doi.org/10.5810/kentucky/9780813177083.003.0004.
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After Ridley Scott graduates from the Royal College of Art, he is awarded a year-long traveling scholarship from Schweppes, the beverage company, and in New York works with legendary documentary filmmakers D.A. Pennebaker and Richard Leacock. He works in the design department at the BBC and moonlights overnight on commercials. In 1964 he marries his first wife, Felicity Heywood, with whom he has two sons, Jake and Luke. The marriage ended in divorce in 1975. Tony Scott attends the Royal College of Art and makes a short film, One of the Missing, based on a short story by Ambrose Bierce. Ridley Scott directs a short version of Stanley Kubrick’s Paths of Glory. It was never aired on the BBC because of legal reasons. Scott directs television programs for the BBC and learns the proper way to direct actors. In 1965 Scott directed many commercials in New York City and gains a deep understanding of cinematography. Scott opens Ridley Scott Associates (RSA).
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Davison, Claire. "European Peace in Pieces?" In Virginia Woolf, Europe, and Peace. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781949979350.003.0002.
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The “Scrapbook Series” was a popular, long-running BBC broadcast launched in the late 1920s; conceived as a ‘microphone medley’ or ‘sonic pageant’, it revisited the acoustic highlights since the advent of recording technology. This remarkable audio documentary provides the starting-point for this Chapter, which explores essential links between cooperative broadcasting policies, Woolf’s heightened acoustic sensibility in the 1930s, and the era’s awareness of itself as being, for the first time in history, dimensioned by reiterable sound. Retracing the evolution of the European Broadcasting Union via sound archives, wave-length legislation, and primetime BBC programmes, the chapter charts the richest, most overlooked experiments in cultural diplomacy on air, designing a safer, more harmonious Europe which linked common listeners at home via the boldly trans-European resonance of music.
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Wrigley, Amanda. "Tragedy for Teens: Ancient Greek Tragedy on BBC and ITV Schools Television in the 1960s." In Ancient Greece on British Television. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474412599.003.0005.
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This chapter offers a comparative impression of how the BBC and the independent television company Associated-Rediffusion produced Greek tragedy for non-specialist teen audiences via schools drama strands in the early 1960s, considering the different ways in which these dramas were presented in order to address the potency of teenagers and their imagined role in society at the beginning of this socially and culturally progressive decade. An assessment of the archival evidence for a number of schools productions of Greek tragedy in this period, together with textual analysis of extant programmes, suggests characteristic differences in pedagogic style and broader motivations between the BBC and Associated-Rediffusion, with the BBC focusing on the modernity of the theatrical canon and the independent company being primarily concerned with the imaginative and emotional engagement of the teen viewer. The evidence for audience engagement (pupils and teachers) bears out the greater success of the ITV broadcasts in communicating with teenagers in 1960s secondary moderns (where these ‘off-syllabus’ programmes were most often viewed), especially via the documentary framing techniques which integrated welcome contextual and historical information within the dramatic presentation.
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Özdemir, Murat. "The West-East From Two Children's Points of View." In Advances in Media, Entertainment, and the Arts. IGI Global, 2021. http://dx.doi.org/10.4018/978-1-7998-7180-4.ch048.
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This study discussed whether the media is a tool that produces orientalist representations and whether the media is effective in the internalization of orientalism. The aim of the study is to identify the orientalist discourse in the language and culture of the media through discourse analysis method, and to discuss the effects of the media on the formation of self-orientalism as well as the instrumentality of the media on this issue. In the study, a sample of the documentary named Istanbul and Bristol in 1971 From Two Children's Point of View, which is a co-production of BBC-TRT, was taken, and the documentary was analysed with the orientalist discourse analysis method of Edward Said. As a result of the research, it was seen that the media has a discourse that alienates Eastern culture and is also a tool in the production and internalization of orientalism.
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Raboin, Thibaut. "Narrating LGBT asylum." In Discourses on LGBT Asylum in the Uk. Manchester University Press, 2017. http://dx.doi.org/10.7228/manchester/9780719099632.003.0002.
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This chapter considers the narrativisation of seventeen asylum cases in British newspapers between 2003 and 2014 in around 150 press articles, a BBC Two documentary, documentation produced by NGOs and some international legal documents. The chapter unpacks three aspects that are crucial for the problematisation of asylum: firstly, the way narratives produce a specific temporality allowing for the exposition of happier futures in the UK, and the expression of colonial imaginaries. Secondly, the importance of LGBT human rights in the way the social problem is perceived, and consequently, can be solved. Finally, the way LGBT asylum cases serve to powerfully stage the position of the British state and its liberal subjects in an LGBT-positive state: they are a site for the negotiation of what it means to uphold sexual rights.
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Madichie, Nnamdi O., and Abdullah Promise Opute. "Consumer Protection in Sub-Saharan Africa." In Advances in Marketing, Customer Relationship Management, and E-Services. IGI Global, 2016. http://dx.doi.org/10.4018/978-1-5225-0282-1.ch014.
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This chapter explores two key areas of the text – notably “children as consumers: A focus on developing countries” and “consumerism and consumer protection in developing nations.” By integrating these two streams the chapter highlights the implications of the marketing activities undertaken by tobacco companies (i.e. Big Tobacco) in Sub-Saharan Africa (SSA) for consumer protection in these countries and especially in the case of vulnerable groups such as children. By highlighting the marketing practices of global tobacco giants exploiting the weak regulatory environment in SSA, notably Malawi, Mauritius, and Nigeria. The choice of countries is based on a BBC (British Broadcasting Corporation) documentary, which highlighted the marketing practices of Big Tobacco in these countries. In terms of structure, the chapter focuses primarily on the promotion element of the traditional marketing-mix as well as the public policy implications emerging from these.
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Ginatempo, Maria, and Andrea Giorgi. "Documentary Sources for the History of Medieval Settlements in Tuscany." In Reconstructing Past Population Trends in Mediterranean Europe (3000 BC - AD 1800). Oxbow Books, 2016. http://dx.doi.org/10.2307/j.ctvh1dqhd.20.
Full textConference papers on the topic "BBC Documentary"
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Gao, Qingxue. "An Analysis of the BBC Documentary qthe Earthq from the Perspective of Audio-visual Language." In 4th International Conference on Education, Language, Art and Intercultural Communication (ICELAIC 2017). Atlantis Press, 2017. http://dx.doi.org/10.2991/icelaic-17.2017.141.
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Radicioni, Fabio, Pietro Matracchi, Aurelio Stoppini, Grazia Tosi, and Laura Marconi. "THE ETRUSCAN CITY GATES OF PERUGIA: GEOMATIC TECHNIQUES FOR THE DOCUMENTATION AND STUDY OF AN URBAN HISTORY HERITAGE." In ARQUEOLÓGICA 2.0 - 9th International Congress & 3rd GEORES - GEOmatics and pREServation. Editorial Universitat Politécnica de Valéncia, 2021. http://dx.doi.org/10.4995/arqueologica9.2021.12058.
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The Engineering Department of the University of Perugia and the Architecture Department of the University of Florence have started a research project on the ancient city gates of Perugia, belonging to the Etruscan city, dating between the third and second centuries b.C., and to the subsequent city wall completed in the twelfth century. In this paper, focus is placed on three Etruscan gates - Porta Eburnea (also called Porta della Mandorla), Porta Cornea and Porta Trasimena – which have in common profound Middle Age transformations and further significant context changes following the loss of function as defensive walls. Due to the decommissioning of this urban infrastructure, the gates have assumed a marginal role; nowadays they are almost completely absorbed by residential buildings, almost losing the memory of their origins and of the important Etruscan remains that are still preserved in the gates. Geomatic surveys on the three Etruscan gates were carried out by the Geomatics Laboratory of Perugia University in the frame of a research project financed by the Cassa di Risparmio di Perugia Foundation. The survey was carried out by means of a coordinated use of more Geomatic techniques: GNSS, Total Station, Terrestrial LIDAR and Digital Photogrammetry. From LIDAR and photogrammetry were derived dense point clouds, beside CAD plans, sections and elevations. The information acquired with these detailed surveys provide a completely new and accurate documentary evidence of the gates’ consistency, allowing to identify the actions and interventions that have changed their structure over time.