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Journal articles on the topic 'BBC Films'

Author: Grafiati

Published: 4 June 2021

Last updated: 9 February 2022

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1

dos Reis, Glaydson Simões, Sylvia H. Larsson, Mikael Thyrel, et al. "Preparation and Application of Efficient Biobased Carbon Adsorbents Prepared from Spruce Bark Residues for Efficient Removal of Reactive Dyes and Colors from Synthetic Effluents." Coatings 11, no. 7 (2021): 772. http://dx.doi.org/10.3390/coatings11070772.

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Biobased carbon materials (BBC) obtained from Norway spruce (Picea abies Karst.) bark was produced by single-step chemical activation with ZnCl2 or KOH, and pyrolysis at 800 °C for one hour. The chemical activation reagent had a significant impact on the properties of the BBCs. KOH-biobased carbon material (KOH-BBC) had a higher specific surface area (SBET), equal to 1067 m2 g−1, larger pore volume (0.558 cm3 g−1), more mesopores, and a more hydrophilic surface than ZnCl2-BBC. However, the carbon yield for KOH-BBC was 63% lower than for ZnCl2-BBC. Batch adsorption experiments were performed to evaluate the ability of the two BBCs to remove two dyes, reactive orange 16 (RO-16) and reactive blue 4 (RB-4), and treat synthetic effluents. The general order model was most suitable for modeling the adsorption kinetics of both dyes and BBCs. The equilibrium parameters at 22 °C were calculated using the Liu model. Upon adsorption of RO-16, Qmax was 90.1 mg g−1 for ZnCl2-BBC and 354.8 mg g−1 for KOH-BBC. With RB-4, Qmax was 332.9 mg g−1 for ZnCl2-BBC and 582.5 mg g−1 for KOH-BBC. Based on characterization and experimental data, it was suggested that electrostatic interactions and hydrogen bonds between BBCs and RO-16 and RB-4 dyes played the most crucial role in the adsorption process. The biobased carbon materials showed high efficiency for removing RO-16 and RB-4, comparable to the best examples from the literature. Additionally, both the KOH- and ZnCl2-BBC showed a high ability to purify two synthetic effluents, but the KOH-BBC was superior.

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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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Bombola, Gina. "Florence Foster Jenkins. Stephen Frears, director. Qwerty Films, Pathé Pictures International, and BBC Films, 2016." Journal of the Society for American Music 12, no. 3 (2018): 380–82. http://dx.doi.org/10.1017/s1752196318000305.

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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.

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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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Cooke, Lez. "Six and ‘Five More’: Experiments in Filmed Drama for BBC2." Journal of British Cinema and Television 14, no. 3 (2017): 298–323. http://dx.doi.org/10.3366/jbctv.2017.0375.

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In 1964–6 John McGrath produced two series of filmed dramas for BBC2, the first under the series title Six, while the second series, provisionally titled ‘Five More’, was transmitted without a series title. At a time when most drama was being produced from the television studio, some of it still being transmitted live, this was a new departure, with the first six films pre-dating Up the Junction (1965) and the second series predating Cathy Come Home (1966), the two Wednesday Plays which have been celebrated for making the breakthrough to filmed drama at the BBC. Unlike the Loach/Garnett films, which were made by the Drama Department, McGrath's series were commissioned by Huw Wheldon's Documentary and Music Programmes department, which also produced Peter Watkins’ Culloden (1964), and were described as a hybrid of ‘documentary fiction’. In fact, they were an eclectic mix of different forms and styles, from Ken Russell's silent cinema pastiche, The Diary of a Nobody (1964) to Philip Saville's experimental The Logic Game (1965) and John Irvin's lyrical Strangers (1966). This article seeks to reconsider these films as examples of forgotten television drama from the mid-1960s and to examine the claim that they represent a new form of ‘documentary fiction’.

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Cook, John R. "Who Banned The War Game? A Fifty-Year Controversy Reassessed." Journal of British Cinema and Television 14, no. 1 (2017): 39–63. http://dx.doi.org/10.3366/jbctv.2017.0351.

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The War Game (BBC TV, 1965), directed by Peter Watkins, is one of the most famous films from the 1960s. Banned from TV for twenty years, it gained a limited cinema release which saw it go on to win an Oscar in 1967. Suspicions have long circulated that the BBC's decision to ban the film from TV arose as a result of pressure from government amid fears of the effect that Watkins' documentary dramatisation of a nuclear attack on the UK might have on mass TV audiences. On the fiftieth anniversary of the censorship of the film, this article takes a fresh look at the controversy, examining previously classified Cabinet Office papers and tracing in greater detail than ever before how ministers and civil servants working for Harold Wilson's 1964–70 Labour government reacted to and dealt with the issue. From this evidence, the article argues that the TV censorship of The War Game involved a complex interaction between civil servants in Whitehall, government ministers, including Prime Minister Harold Wilson himself, the Director-General of the BBC and the Chairman of the BBC Board of Governors. The article traces the close relationship between Whitehall and the upper echelons of the BBC during this Cold War period, and argues that The War Game offers a very interesting historical case study which raises disturbing questions both about the limits of the BBC's professed liberalism of the 1960s and about the true extent of its much-vaunted independence from government. The latter is particularly important in the light of more recent and current threats to that independence.

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Ismail, Lizah. "Films on Demand Master Academic Video Collection." Charleston Advisor 21, no. 4 (2020): 27–30. http://dx.doi.org/10.5260/chara.21.4.27.

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Streaming media has reached a ubiquitous threshold, easily accessible in a variety of platforms for the general consumer in pursuit of entertainment. Streaming media in the educational context is not far behind. Films on Demand Master Academic Collection (FODMAC), an Infobase product (<<ext-link ext-link-type="uri" xlink:href="https://www.infobase.com/">https://www.infobase.com/</ext-link>>), is a popular option for many academic institutions. FODMAC’s content partners include many highly acclaimed and award- winning content producers such as PBS, BBC, TED, Bill Moyers, ABC, NBC, the Canadian Broadcasting Corporation, National Geographic, HBO Documentary Films, and Films for the Humanities and Sciences and features over 1,000 subject categories from 25 core academic subject areas that range from Anthropology to Engineering, Health and Medicine to Music and Dance, and Business and Economics to World Languages. Ease of access and convenient features such as sharing, customizable playlists and embedment in course management systems and other digital platforms make FODMAC a competitive resource as demand in educational streaming media grows.

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Sá, Isis Fonseca. "'Toast': a vida do chef de cozinha Nigel Slater do livro para o cinema." Jangada: crítica | literatura | artes, no. 11 (November 13, 2018): 22–32. http://dx.doi.org/10.35921/jangada.v0i11.136.

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Este artigo faz uma reflexão sobre a relação literatura-cinema utilizada para contar a história da vida do chef inglês Nigel Slater e como essas duas linguagens que tanto conversam entre si foram utilizadas para tal. O livro que deu origem ao filme foi lançado em 2003 e chama-se Toast - The Story of a Boy’s Hunger. Trata-se uma autobiografia, que acompanha o período da infância até a adolescência através de pequenas cenas. O autor, cuja paixão pela gastronomia começou ainda na infância, se utiliza de suas memórias alimentares e afetivas como fio condutor da história. A adaptação para o cinema foi lançada sete anos depois pela BBC films, com o mesmo nome do livro. Um bom elenco conta esse livro respeitando uma ordem cronológica e destacando os acontecimentos mais marcantes na vida do prestigiado chef.

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Munro, Kenny. "Explorer and Teller of Celluloid Tales: James Wilson – Veteran International Filmmaker and Producer for BBC Scotland." Scottish Affairs 23, no. 4 (2014): 522–39. http://dx.doi.org/10.3366/scot.2014.0049.

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The importance of documentary filmmaking as a living medium and its historic contribution to recording and preserving Scotland's culture and international viewpoint cannot be overstated. But before the digital age, where was all this film material stored and what has survived? The current debate on film restoration and public access is ongoing and is illustrated through this article with my personal introduction to veteran BBC film producer James (Jim) Wilson whose enterprising career has documented so much of the twentieth century. Reflecting on this unique creative achievement, the historical context and value of his films, and those of others to society, deserve closer scrutiny. Questions need to be raised regarding government policy on film preservation and how Lottery funding can further support film restoration. Clarification is required, in this case, of possible relaxation to certain BBC licensing agreements to stimulate cooperation. Discussions are in progress which highlight the growing demand for more democratisation and further public access to these celluloid assets which can be quickly forgotten or destroyed. It is therefore encouraging that new partnerships are being forged to identify and restore the vast film collections. Building on the very significant activities of Scottish Screen Archive/National Library of Scotland. They deliver services on several levels including online film archive research/restoration facilities and exhibitions. But there is still a great deal of work to be done in this field. The Wilson film legacy is one such area and a meeting with BBC has been arranged to discuss the future potential of celebrating this special film collection.

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Wyver, John. "‘Filming the invisible’: Barrie Gavin in conversation with John Wyver." Journal of Popular Television 9, no. 1 (2021): 15–28. http://dx.doi.org/10.1386/jptv_00039_7.

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Barrie Gavin (b. 1935) is a celebrated producer, director and writer who is best known for numerous programmes about music and musicians made primarily for BBC Television from 1964 onwards. He worked on numerous occasions with the conductors Pierre Boulez and Simon Rattle, and with them and other collaborators he has directed more than 90 films. In this conversation recorded in Leeds in June 2018 Gavin discusses with the writer and producer John Wyver his ideas about making music television, his innovative approaches to filmmaking, his profiles of composers including Luigi Nono, Karlheinz Stockhausen and Toru Takemitsu, and his working relationships with Boulez and Rattle.

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Christodoulou, Chris. "Haunted Science: The BBC Radiophonic Workshop and the lost futures of hauntological music." Scene 6, no. 2 (2018): 107–20. http://dx.doi.org/10.1386/scene_00012_1.

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This article will explore the particular sense of nostalgia evoked by the sound and music of the BBC Radiophonic Workshop for a utopian future that has been irrevocably lost; a future contextualized in Britain by the post-war consensus and its attendant narratives of public service broadcasting, state planning and benevolent social engineering. I examine the relationship between the workshop’s output and the contemporary cultural experience Mark Fisher defined as ‘hauntology’, before investigating the workshop’s influence on the hauntological music of contemporary artists who use radiophonic sounds to recover a sense of the future lost as a result of the political and economic transformation of Britain which followed the election of Margaret Thatcher in 1979, and which would eventually lead to the decommissioning of the workshop itself in March 1998. In addition, this article considers the workshop’s idiosyncratic output in relation to electronic dance music which, until recently, had been considered at the vanguard of musical futurism. However, in contrast to electronic dance music, ‘sonic hauntology’ looks to the past for its engagement with the ideas about the future; in particular, the technological optimism associated with the post-war modernization of Britain, such as the belief in a paternalistic, yet benevolent state and in the progressive application of technology. In these ways, hauntological musicians place considerable significance on the sounds, music and other cultural signifiers encountered through the workshop’s productions, such as the use of analogue media, public information films, and science fiction and horror programmes, from the period in which BBC broadcasting dominated the British media landscape.

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Allan, Margaret. "Video materials in English language teaching." Volume 3 3 (January 1, 1986): 44–56. http://dx.doi.org/10.1075/aralss.3.02all.

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Most materials available to users of video in English Language Teaching were designed neither for the ELT classroom nor for video: they originated as TV programmes or as films produced for a native speaker audience. An analysis of the characteristics of video and its possible roles at different stages in a language programme underlies the design of a set of video sequences, Video English, intended specifically for classroom use, within the framework of a methodology which puts the emphasis on communicative competence. Similar principles are exemplified in a discussion of another published series, Television English, which is based on BBC archive material. In conclusion some findings of research into non-verbal communication are considered in relation to the use of video materials in the language classroom.

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Stezhko, N. G. "The history of television documentary drama genesis, its ontological characteristics." Proceedings of the National Academy of Sciences of Belarus, Humanitarian Series 63, no. 4 (2018): 482–89. http://dx.doi.org/10.29235/2524-2369-2018-63-4-482-489.

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The article analyses the genesis of television documentary drama and its dual nature that causes much controversy among film theorists. The ontological characteristics of docudrama are considered, in particular its intrinsic connection with documentary theatre. Docudrama originated at the junction of feature films and documentary films at the time when directors raised important social and historical issues that occurred in the state. The docudrama prototype emerged long before the invention of television and is associated with the first newsreels and films of E. Curtis and R. Flaherty. This experiment had developed greatly with the advent of television, which is characterized by a combination of intimacy, focus on close-ups and the ability to tell stories based on real events. The article highlights the formation of documentary drama on BBC that explored all spheres of life with great interest - from British culture and history to social and political topics. The article traces the popularity and relevance of docudrama at the present stage and its settlement into a stable form. This allows to establish docudrama as an independent form of screen arts. The article studies also the formation and development of docudrama in Belarus that is first of all connected with the director Vladimir Bokun.

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Franklin, Ieuan. "Roadblocks and Roads Not Taken: Fords on Water (1983), Coast to Coast (1987) and the British Bi-racial Buddy-Road Movie." Journal of British Cinema and Television 11, no. 4 (2014): 440–58. http://dx.doi.org/10.3366/jbctv.2014.0228.

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This article is about two low-budget British road movies which have long disappeared from the cultural radar: Fords on Water (1983) and Coast to Coast (1987). These films will be used as case studies to explore a number of factors that shaped film and television culture in the early to mid-1980s, including the importance of the television funding of feature films in an increasingly costly climate; the shifting strategic priorities of both the British Film Institute and the BBC during a pivotal moment in the history of their film-making activities; and the issues and difficulties involved in finding the right balance between social or political critique and comedy and generic conventions. The two films are rare examples of what might be termed ‘British bi-racial buddy-road movies’. The article will focus on the attributes they share: their obscurity and unavailability; their TV funding; their genre; and their theme of an inter-racial friendship bonded over a desire to escape from boredom and unemployment in Thatcher's Britain. However, it will also tease out their very different approaches, in terms of the more subtle and the more visceral aspects of tone, humour, politics and aesthetics. Finally, the article will consider the factors which prevented these lively films from reaching the wide audience they deserved, and whether they represent two ‘roads not taken’ in the intervening period in British film culture.

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Grandy, Christine. "“The Show Is Not about Race’”: Custom, Screen Culture, and the Black and White Minstrel Show." Journal of British Studies 59, no. 4 (2020): 857–84. http://dx.doi.org/10.1017/jbr.2020.125.

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AbstractIn 1967, when the BBC was faced with a petition by the Campaign Against Racial Discrimination requesting an end to the televised variety program the Black and White Minstrel Show (1958–1978), producers at the BBC, the press, and audience members collectively argued that the historic presence of minstrelsy in Britain rendered the practice of blacking up harmless. This article uses critical race theory as a useful framework for unpacking defenses that hinged on both the color blindness of white British audiences and the simultaneous existence of wider customs of blacking up within British television and film. I examine a range of “screen culture” from the 1920s to the 1970s, including feature films, home movies, newsreels, and television, that provide evidence of the existence of blackface as a type of racialized custom in British entertainment throughout this period. Efforts by organizations such as the Campaign Against Racial Discrimination, black press publications like Flamingo, and audiences of color to name blacking up and minstrelsy as racist in the late 1960s were met by fierce resistance from majority white audiences and producers, who denied their authority to do so. Concepts of color blindness or “racial innocence” thus become a useful means of examining, first, the wide-ranging existence of blacking-up practices within British screen culture; second, a broad reluctance by producers and the majority of audiences to identify this as racist; and third, the exceptional role that race played in characterizations of white audiences that were otherwise seen as historically fragile and impressionable in the face of screen content.

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Hyland, Terry. "The Repair Shop as a Sign of the Cultural Resurgence of Craft and Manual Work." Advances in Social Sciences Research Journal 8, no. 3 (2021): 459–66. http://dx.doi.org/10.14738/assrj.84.9894.

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Given the low standing of vocational studies in English education and other systems around the world at the present time, it is refreshing to note the resurgence of interest in craft and manual work. The currently popular BBC programme, The Repair Shop, is a celebration of this renewed interest and offers an especially graphic representation of the virtues and values of craft and handwork. It is suggested that such example of cultural practice can help towards the enhancement of vocational education and training in schools and colleges, and assist in bridging of the divisions between academic and vocational studies at all levels of education systems.

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Stack, Steven, Karolina Krysinska, and David Lester. "Gloomy Sunday: Did the “Hungarian Suicide Song” Really Create a Suicide Epidemic?" OMEGA - Journal of Death and Dying 56, no. 4 (2008): 349–58. http://dx.doi.org/10.2190/om.56.4.c.

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The effect of art on suicide risk has been a neglected topic in suicidology. The present article focuses on what is probably the best known song concerning suicide, Gloomy Sunday, the “Hungarian suicide song.” An analysis of historical sources suggests that the song was believed to trigger suicides. It was, for example, banned by the BBC in England until 2002. The alleged increase in suicides in the 1930s associated with the playing of the song may be attributed to audience mood, especially the presence of a large number of depressed persons as a result of the Great Depression. The influence of music on suicide may be contingent on societal, social, and individual conditions, such as economic recessions, membership in musical subcultures, and psychiatric disturbance. Further research is needed on art forms, such as feature films, paintings, novels, and music that portray suicides in order to identify the conditions under which the triggering of suicides occurs.

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Rahaman, Sohanur. "Exploring Sociopolitical and Religious Meanings from a BBC News on a Terror Attack: A Functional Linguistic Analysis." Advances in Social Sciences Research Journal 8, no. 8 (2021): 644–77. http://dx.doi.org/10.14738/assrj.88.10412.

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This study is a functional grammatical analysis of BBC news on a New York attack where eight were killed by a man driving a truck by the application of Halliday’s Systematic Functional Grammar (SFG). By analysing the systems of grammar at the clause level, I show that the text at the discourse level makes different meaning across the news. Sayfullo Saipov, an immigrant who came to the US in 2010, has developed negative actions such as killing eight people, hurting 11, aiming at innocents, striking cyclists, hitting a school bus, injuring adults and children, and in all of his actions eventually “the innocent” are affected as a goal. Another significant goal i.e. “note” was found which shows his cohesion with the so-called Islamic States. Nevertheless, they are using the name of “Islam” but they don’t know or they don’t follow the script of Islam or at least the basics of Islam, it proven by the killer are all actions because according to The Holy Quran” killing a single innocent is even strongly prohibited in Islam, it is like killing the whole humanity. Identifying and attributing processes have identified here “The attack” as a “terrible” incident which is done by the attacker and attributing processes ascribe “bad qualities” of carriers (the attacker). The Killer is the highest number of “Actor” in terms of the transitivity process, which means he is in a “destructive power”. The police are the second-highest “actor” who performs some physical actions such as shooting the driver, arresting the driver, taking the attacker to hospital. The situation was going to get ugly by the killer’s actions and for this reason; the police accomplish these professional actions to make meaning of “safety of innocent”. The killer is a “single” person but his negative actions convulsed the whole city even whole country, and all big names like President, City mayor, police commissioner immediately were made get involved into “verbal actions” interfering, and reacting, saying, commenting etc. Thus the study frets out some significant meaning through grammar choices in the news genre in question.

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Coley, Rob. "“Destabilized Perception”." Cultural Politics 14, no. 3 (2018): 304–26. http://dx.doi.org/10.1215/17432197-7093324.

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The formerly dissident status of the essay film has, in recent years, been exchanged for a great deal of favorable attention both inside and outside academia. In the more overly moralistic commentary on the form, the contemporary essay film is submitted as a tactical response to a surfeit of audiovisual media, to an era in which most of us have become both consumers and producers of a digital deluge. The work of Adam Curtis is notably absent from these ongoing debates. Yet Curtis is far from an underground figure—he has been making essayistic films for the BBC for more than twenty years and was the first to produce work directly for the iPlayer platform. Using archival images to examine the present, his films produce counterintuitive connections and abrupt collisions that supplant the authority of narrative causality for a precarious network of associations and linkages. This article treats Curtis’s recent body of work diagnostically. It argues that, quite apart from any promise of escape or deliverance, the aesthetic form of his work actively inhabits the rhythms and vectors of contemporary media. For Curtis, the media-technological conditions of the twenty-first century provoke a crisis that is both political and epistemological, one in which sensemaking can no longer claim to take place at a distance from the infrastructure that mediates such processes but is instead thoroughly and inescapably immanent to it, a situation that prevents contact with the outside. His films are about what he calls “destabilized perception,” but importantly they are also a function of this condition, one that in turn demands a shift in how we conceive the essay film in the twenty-first century.

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Selfe, Melanie. "Circles, Columns and Screenings: Mapping the Institutional, Discursive, Physical and Gendered Spaces of Film Criticism in 1940s London." Journal of British Cinema and Television 9, no. 4 (2012): 588–611. http://dx.doi.org/10.3366/jbctv.2012.0107.

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This article revisits the period considered within ‘The Quality Film Adventure: British Critics and the Cinema 1942–1948’ ( Ellis 1996 ), mapping the professional cultures, working contexts and industry relationships that underpinned the aesthetic judgements and collective directions which John Ellis observed within certain film critics’ published writings. Drawing on the records of the Critics’ Circle, Dilys Powell's papers and Kinematograph Weekly, it explores the evolution of increasingly organised professional cultures of film criticism and film publicity, arguing that the material conditions imposed by war caused tensions between them to escalate. In the context of two major challenges to critical integrity and practice – the evidence given by British producer R. J. Minney to the 1949 Royal Commission on the Press and an ongoing libel case between a BBC critic and MGM – the spaces of hospitality and film promotion became highly contested sites. This article focuses on the ways in which these spaces were characterised, used and policed. It finds that the value and purpose of press screenings were hotly disputed, and observes the way that the advancement of women within one sector (film criticism) but not the other (film publicity) created particular difficulties, as key female critics avoided the more compromised masculine spaces of publicity, making them harder for publicists to reach and fuelling trade resentment. More broadly, the article asserts the need to consider film critics as geographically and culturally located audiences who experience films as ‘professional’ viewers within extended and embodied cultures of habitual professional practice and physical space.

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Brissett, Nigel O. M., and Carol Y. Bailey. "Small Axe, episode 5, “Education” directed by Steve McQueen, produced by Anita Overland and Mike Elliott, and edited by Chris Dickens and Steve McQueen. Turbine Studios, EMU Films, BBC, and Amazon Studios, 2020. 63 minutes." Comparative Education Review 65, no. 2 (2021): 380–82. http://dx.doi.org/10.1086/713628.

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Billig, Michael S. "The Lost Tribe. Written and produced by Bettina Lerner. A BBC production in association with WGBH for Nova, 1993. Distributed by Films for the Humanities and Sciences, Box 2053, Princeton, N.J. 08543. VHS format; 60 minutes. $89.95." Journal of Asian Studies 53, no. 3 (1994): 1028–30. http://dx.doi.org/10.2307/2059827.

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Phani, A. R., J. E. Krzanowski, and J. J. Nainaparampil. "Structural and Mechanical Properties of TiC/Ti and TiC/B4C Multilayers Deposited by Pulsed Laser Deposition." Journal of Materials Research 17, no. 6 (2002): 1390–98. http://dx.doi.org/10.1557/jmr.2002.0207.

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Multilayers of TiC/Ti and TiC/B4C have been deposited by pulsed laser deposition. Ti, B4C, and TiC targets were used to deposit multilayer films onto 440C steel and silicon substrates at 40 °C. The structural, compositional, and mechanical properties of the multilayers were examined by x-ray diffraction, x-ray photoelectron spectroscopy, transmission electron microscopy, and nanoindentation techniques. Tribological properties were also evaluated using a pin-on-disc friction and wear test. The TiC/Ti films were found to have a crystalline structure, and both (200)TiC/(100)Ti and (111)TiC/(101)Ti orientation relationships were found in these films. In the TiC/B4C films, only the sample with the largest bilayer thickness (25 nm) had significant crystallinity and only the TiC layer was crystalline. X-ray photoelectron spectroscopy depth profiles confirmed the presence of composition modulations in these films. Nanoindentation tests of the TiC/Ti multilayers showed hardness levels exceeding that predicted by the rule-of-mixtures. The TiC/B4C multilayers showed increasing hardness with decreasing bilayer thickness but reached only 22 GPa. The pin-on-disc tests gave friction values ranging from 0.3 to 0.9 for both sets of films. These results were correlated with the degree of crystallinity and grain structure of the films.

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Franklin, Ieuan. "BBC2 and World Cinema." Journal of British Cinema and Television 14, no. 3 (2017): 344–60. http://dx.doi.org/10.3366/jbctv.2017.0377.

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This article examines the origins of BBC2's reputation as a purveyor of films from around the world, exploring the significance and impact of the strand World Cinema (1965–74) and assessing the range and diversity of its offer. Foreign-language titles had been broadcast by the Corporation since before the Second World War, due partly to their ready availability at a time when Hollywood films were ‘off limits’, given the hostility of American (and British) film companies towards the new rival medium of television. During this early period, however, these continental films were not popular, undoubtedly due to the fact that subtitles were very difficult to read on small, low-definition television screens. BBC2, with its commitment to minority tastes and interests and its use of both the higher-definition 625-line UHF system and colour, was perfectly placed to revive and foster interest in world cinema. For those who urged broadcasters to adopt and maintain an enlightened film policy, World Cinema became exemplary, as a rare exception to the general rules in early television of editing for content or length, block buying (the practice of buying the rights to a mixed package of films in order to acquire certain gems) and haphazard scheduling. For a generation of cinephiles, World Cinema was a formative and educative experience. Particular attention is paid here to the first five years of World Cinema, which saw the strand give attention to a variety of ‘New Waves’ and relay experiences from behind the Iron Curtain and further afield.

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Saito, Kei, Ryo Fujii, and Naoto Ohtake. "Deposition of Amorphous Boron Carbide Films with Pulsed Magnetron Sputtering and Evaluation of their Mechanical Properties." Advanced Materials Research 970 (June 2014): 97–101. http://dx.doi.org/10.4028/www.scientific.net/amr.970.97.

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Amorphous boron carbide films were deposited with pulsed magnetron sputtering using a sintered B4C target with Ar as the processing gas, and the chemical components, structure, and mechanical properties of the films were investigated. To deposit amorphous boron carbide films using a B4C target, a pulsed power supply (14.4 kHz) was employed. Raman spectroscopy, Fourier transform infrared spectroscopy (FT-IR), and X-ray photoelectron spectroscopy (XPS) were used to characterize the chemical compositions and structure of the films. According to the results of XPS, the B/C ratio in the films synthesized with pulsed magnetron sputtering was 2.21. Nanoindentation tests and ball-on-disk (BoD) tests were performed to evaluate the mechanical properties. It was found that the films deposited by pulsed magnetron sputtering had an average hardness of 32.1 GPa and an average Youngs modulus of 235.1 GPa.

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Lawrence, Bruce B. "Muslims in FranceCREDO SERIES [France] 1992 26 min. VHS. Prod: Geoff Ballinger for Cambrensis, S4C and Channel 4/BBC. Films for the Humanities and Sciences, PO Box 2053, Princeton, NJ 08543–2053. Tel (800) 257–5126. Fax: (609) 275–3767." Middle East Studies Association Bulletin 29, no. 1 (1995): 141–42. http://dx.doi.org/10.1017/s0026318400031448.

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Doumato, Eleanor Abdella. "Testimonies: Israeli Soldiers in the Intifada [Israel] 1993 56 min VHS Dir: Ido Sela. Prod: Amil Brewer for Eduyot Associates for Channel 4 BBC/TV, Les Films d’Ici. Racheli Gai, 3624 N. Forgeus, Tucson, AZ 85716. Tel: (602) 323-2851." Middle East Studies Association Bulletin 29, no. 2 (1995): 269–70. http://dx.doi.org/10.1017/s0026318400032508.

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Hamdani, Sumaiya A. "Iraqi Women: Voices from Exile [England/Iraq] 1994 51 min. VHS Dir/Prod: Maysoon Pachachi for Oxymoron Films, Channel 4, BBC. Women Make Movies, 462 Broadway, Suite 500-D, New York, NY, 10013. Tel: 212-925-0606. Fax: 212-925-2052." Middle East Studies Association Bulletin 30, no. 2 (1996): 254–55. http://dx.doi.org/10.1017/s0026318400034702.

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Bysakh, S., K. Chattopadhyay, H. Ling, et al. "A Study of Nanostructures of Thin Films in B–C–N System Produced by Pulsed Laser Deposition and Nitrogen Ion-Beam-Assisted Pulsed Laser Deposition." Journal of Materials Research 19, no. 3 (2004): 759–67. http://dx.doi.org/10.1557/jmr.2004.19.3.759.

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We report the synthesis of thin films of B–C–N and C–N deposited by N+ ion-beam-assisted pulsed laser deposition (IBPLD) technique on glass substrates at different temperatures. We compare these films with the thin films of boron carbide synthesized by pulsed laser deposition without the assistance of ion-beam. Electron diffraction experiments in the transmission electron microscope shows that the vapor quenched regions of all films deposited at room temperature are amorphous. In addition, shown for the first time is the evidence of laser melting and subsequent rapid solidification of B4C melt in the form of micrometer- and submicrometer-size round particulates on the respective films. It is possible to amorphize B4C melt droplets of submicrometer sizes. Solidification morphologies of micrometer-size droplets show dispersion of nanocrystallites of B4C in amorphous matrix within the droplets. We were unable to synthesize cubic carbon nitride using the current technique. However, the formation of nanocrystalline turbostratic carbo- and boron carbo-nitrides were possible by IBPLD on substrate at elevated temperature and not at room temperature. Turbostraticity relaxes the lattice spacings locally in the nanometric hexagonal graphite in C–N film deposited at 600 °C leading to large broadening of diffraction rings.

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Höglund, Carina, Jens Birch, Ken Andersen, et al. "B4C thin films for neutron detection." Journal of Applied Physics 111, no. 10 (2012): 104908. http://dx.doi.org/10.1063/1.4718573.

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32

Földváry, Kinga. "Trendy or topical? Sexual politics and panopticism in the 2016 BBC Midsummer Night’s Dream." Cahiers Élisabéthains: A Journal of English Renaissance Studies 99, no. 1 (2019): 137–46. http://dx.doi.org/10.1177/0184767819835553.

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The 2016 BBC television production of A Midsummer Night’s Dream (directed by David Kerr) illustrates that the provocative representation of gender issues, commented on by most reviewers, effectively overshadowed the film’s real topicality: its depiction of a tightly controlling post-panoptic regime, relying on technological surveillance systems, in which observed and observer are equally implicated. However, the film’s spectacular visuality and the liberal gender politics of the adaptation, which are all but compulsory in contemporary theatrical adaptations, have allowed viewers to focus on the carnivalesque comedy of the finale, rather than the darker undertones of its social criticism.

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Čtvrtlík, Radim, Jan Tomastik, and Petr Schovánek. "High Temperature Nanoindentation Testing of Amorphous SiC and B₄C Thin Films." Defect and Diffusion Forum 368 (July 2016): 115–18. http://dx.doi.org/10.4028/www.scientific.net/ddf.368.115.

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Amorphous silicon carbide (a-SiC) and boron carbide (a-B4C) thin films were deposited using reactive magnetron sputtering of SiC and B4C target, respectively. Nanoindentation tests performed up to 450 °C in air were performed to explore and compare their hardness and elastic modulus.Hardness of a-B4C film decreases at smaller rate in comparison to a-SiC film up to 450 °C. Similarly, elastic modulus value of B4C is more stable with temperature than that of a-SiC.

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Nyabero, S. L., R. W. E. van de Kruijs, A. E. Yakshin, E. Zoethout, and F. Bijkerk. "Thermally induced interface chemistry in Mo/B4C/Si/B4C multilayered films." Journal of Applied Physics 112, no. 5 (2012): 054317. http://dx.doi.org/10.1063/1.4751029.

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35

Lim, Chang Hwy, Jongyul Kim, Suhyun Lee, et al. "Development of B4C Thin Films for Neutron Detection." Journal of Radiation Protection and Research 40, no. 2 (2015): 79–86. http://dx.doi.org/10.14407/jrp.2015.40.2.079.

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Walters, Martin. "Structural orientation files: creation, modification and storage using a bbc microcomputer." Journal of Structural Geology 9, no. 4 (1987): 505–6. http://dx.doi.org/10.1016/0191-8141(87)90127-1.

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37

Zhang, Xiaodan. "A Path to Modernization: A Review of Documentaries on Migration and Migrant Labor in China - Manufactured Landscapes (2007) 90 minutes. Director: Jennifer Baichwal. Director of photography: Peter Mettler. Produced by Nick de Pencier, Daniel Iron, and Jennifer Baichwal. Released by Zeitgeist Films. - Bing Ai (2007) 114 minutes. Director, writer, and producer: Feng Yan. http://www.cidfa.com/modules/index.php - Up the Yangtze (2008) 94 minutes. Writer and director: Yung Chang. Director of photography: Wang Shi Qing. Producers: Mila Aung-Thwin, Germaine Ying-Gee Wong, and John Christou. Released by Zeitgeist Films. - Losers and Winners (2007) 96 minutes. Directors: Ulrike Franke and Michael Loeken. Released by Icarus Films. - China Blue (2005) 86 minutes. Producer and director: Micha X. Peled. Released by Bullfrog Films. - Mardi Gras (2007) 74 minutes. Producer, director, and editor: David Redmon. Directors of photography: David Redmon and Kathleen Rivera. Released by Carnivalesque Films. - A Decent Factory (2005) 79 minutes. Directed, written, and produced by Thomas Balmès for Margot Films/BBC, and Kaarle Aho for Making Movies. Released by First Run/Icarus Films." International Labor and Working-Class History 77, no. 1 (2010): 174–89. http://dx.doi.org/10.1017/s0147547909990317.

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None of the award-winning films reviewed in this article has a blissful tone. In these films, we watch young girls in assembly lines producing all sorts of commodities in China as well as four hundred Chinese workers disassembling a coking plant in Germany. We are immersed in people's personal stories, such as a peasant woman forced to leave her farm and her lone hut, located in the area due to be submerged by the Three Gorges Dam project, and a sixteen-year-old girl learning to labor on a cruise ship along the Yangtze River. In most of the films we also meet managers, Chinese or foreign, who are concerned with nothing but maximizing profit through intense exploitation of labor. These films document how the massive force of modernization in a globalized world affects lives of common people in China. Their struggles with poverty, corrupt officials, and greedy business owners are displayed in sharp contrast to both shining metropolitan glory and rural banality. In this regard, the Canadian photographer Edward Burtynsky's photographs of China, as shown in the film Manufactured Landscapes, seem emblematic enough: Modernization in China has altered the trajectory of people's lives as well as the landscapes of their nation. This article discusses the issues embedded in the stories the seven documentaries present: the impact of global capitalism; the relations between national development and globalization; the conflicts between corporate social responsibility and profit-making; and the predicament of migrant workers and their human agency.

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38

Lawrence, Bruce B. "Muslims in BulgariaCREDO SERIES [Bulgaria] 1992 27 min. VHS. Dir: Nissam Mosek. Prod: Geoff Ballinger, Michael Namatina for Cambrensis, S4C and Channel 4/BBC. Films for the Humanities and Sciences, PO Box 2053, Princeton, NJ 08543–2053. Tel (800) 257–5126. Fax:(609) 275–3767." Middle East Studies Association Bulletin 29, no. 1 (1995): 142–43. http://dx.doi.org/10.1017/s002631840003145x.

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39

Naim, Syed Rashid. "Islamic Conversations Series [Islamic World] 1994. 27 min VHS. Dir/Prod: Mahmood Jamal for Epicflow, Channel 4, BBC/TV. 6-part series. Courtesy of Films for the Humanities and Sciences, PO Box 2053, Princeton, NJ 08543-2053. Tel: [800] 257-5126. Fax: [609] 275-3767." Middle East Studies Association Bulletin 30, no. 1 (1996): 130–31. http://dx.doi.org/10.1017/s0026318400033800.

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40

Chiang, C. L., H. Holleck, and O. Meyer. "Properties of RF sputtered B4C thin films." Nuclear Instruments and Methods in Physics Research Section B: Beam Interactions with Materials and Atoms 91, no. 1-4 (1994): 692–95. http://dx.doi.org/10.1016/0168-583x(94)96311-8.

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41

Feng, Yufei, Runze Qi, Li Jiang, et al. "Chemical Modification of B4C Films and B4C/Pd Layers Stored in Different Environments." Materials 14, no. 5 (2021): 1319. http://dx.doi.org/10.3390/ma14051319.

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B4C/Pd multilayers with small d-spacing can easily degrade in the air, and the exact degradation process is not clear. In this work, we studied the chemical modification of B4C films and B4C/Pd double layers stored in four different environments: a dry nitrogen environment, the atmosphere, a dry oxygen-rich environment, and a wet nitrogen environment. The XANES spectra of the B4C/Pd layers placed in a dry oxygen-rich environment showed the most significant decrease in the σ* states of the B–C bonds and an increase in the π* states of the B–O bonds compared with the other samples. X-ray photoelectron spectroscopy (XPS) measurements of the samples placed in a dry oxygen-rich environment showed more intensive B-O binding signals in the B4C/Pd layers than in the single B4C film. The results of the Fourier-transform infrared spectroscopy (FTIR) showed a similar decrease in the B–C bonds and an increase in the B–O bonds in the B4C/Pd layers in contrast to the single B4C film placed in a dry oxygen-rich environment. We concluded that the combination of palladium catalysis and the high content of oxygen in the environment promoted the oxidization of boron, deteriorated the B4C composition.

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42

Larsen, Susan. "Sreda. 19.7.1961. Dir. Viktor Kossakovsky (Viktor Kosakovskii). Music, A. Popov. Sound, L. Lerner. Moscow: Kinostudiia “Sreda,” with assistance from the State Cinema Committee of the Russian Federation, the St. Petersburg Documentary Film Studio, BBC, ARTE, CDF, ULE, Jane Balfour Films, and others, 1997. 93 minutes. Color. Subtitled in English. Dist. First Run / Icarus Films, New York. $440.00, sale. $100.00, rental." Slavic Review 60, no. 2 (2001): 390–91. http://dx.doi.org/10.2307/2697276.

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He, Qi, Cheng Ming Li, Fan Xiu Lu, Lawrence Pilione, and Russell F. Messier. "Improvement of Adhesion of Cubic Boron Nitride Films: Effect of Interlayer and Deposition Parameters." Materials Science Forum 475-479 (January 2005): 3635–40. http://dx.doi.org/10.4028/www.scientific.net/msf.475-479.3635.

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Diamond and B4C coatings were used as an interlayer for the growth of cubic boron nitride thin films on c-silicon. By employing a B-C-N gradient layer on top of the B4C interlayer, improved adhesion occured between BN and B4C. A multi-step process after the nucleation of c-BN was found very helpful for improving the adhesion of c-BN on silicon with interlayers. Residual stress of c-BN thin film was significantly decreased by using a new post-deposition annealing treatment.

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44

Supruangnet, Ratchadaporn, Christian Morawe, Jean-Christophe Peffen, et al. "Chemical modification of B4C cap layers on Pd/B4C multilayers." Applied Surface Science 367 (March 2016): 347–53. http://dx.doi.org/10.1016/j.apsusc.2016.01.180.

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45

Chapman, James. "Made in Dagenham, GB. BBC Films/UK Film Council/Hanway Films BMS Finance/Lip Sync Production/Number 9 Films/Audley Films.Director: Nigel Cole.Producers: Elizabeth Karlsen and Stephen Woolley.Screenplay: William Ivory.Executive producers: Christine Langan, Tim Haslam, Norman Merry, Paul White.Production designer: Andrew McAlpine.Director of photography: John De Borman.Costume designer: Louise St Jernsward.Editor: Michael Parker.Music: David Arnold.Running time: 108 minutes.Cast: Sally Hawkins, Bob Hoskins, Miranda Richardson, Geraldine James, Rosamund Pike, Andrea Riseborough, Jaime Winstone, Daniel Mays, Richard Schiff, Kenneth Cranham, Andrew Lincoln, John Sessions, 2010." Sixties 5, no. 1 (2012): 127–29. http://dx.doi.org/10.1080/17541328.2012.679051.

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46

Tucherman, Ieda, and Cecília C. B. Cavalcanti. "Um novo gênero cinematográfico: o documentário catástrofe." Revista FAMECOS 15, no. 35 (2008): 37. http://dx.doi.org/10.15448/1980-3729.2008.35.4091.

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Este artigo busca cartografar uma idéia do que chamamos de documentário-catástrofe, como um novo gênero cinematográfico. Nosso foco de interesse são dois filmes de tema semelhante e natureza diferente: o premiado Uma verdade inconveniente, protagonizado pelo ex-vicepresidente dos Estados Unidos, Al Gore, e o documentário da BBC, Estamos mudando nosso planeta? realizado pelo jornalista David Attenborough. Nestes documentários o mundo é o personagem principal, com um conjunto retórico e estético capaz de convencer e fascinar os espectadores, num jogo de construção de imagens de destruição que atinge no coração visual nosso afeto por este planeta e esta vida, antes tão fotogênicos.

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Sweeney, Vincent P., Adele D. Sadovnick, and Vilma Brandejs. "Prevalence of Multiple Sclerosis in British Columbia." Canadian Journal of Neurological Sciences / Journal Canadien des Sciences Neurologiques 13, no. 1 (1986): 47–51. http://dx.doi.org/10.1017/s0317167100035782.

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ABSTRACT:A province wide prevalence study on multiple sclerosis (MS) was conducted in British Columbia (B.C.). The prevalence date was July 1, 1982. The major portion of this study was a review of all the files of neurologists practicing in B.C. as this was judged to be the most accurate source for identifying MS patients. 239,412 neurologists' files were hand searched by one researcher using modified Schumacher criteria for classification. Other sources used during the study for identifying MS patients were the MS Clinic, general practitioners, ophthalmologists, urologists, specialized facilities such as long term care facilities and rehabilitation centres, and patient self-referrals.A total of 4,620 non-duplicated cases were identified and classified. 4,112 of these (89%) were classified according to information contained in neurologists' records.The prevalence estimate for definite/probable MS in B.C. was 93.3/100,000 population. This increased to 130.5/100,000 population if possible MS and optic neuritis were also included. These rates are among the highest reported in Canada or elsewhere. The cooperation of B.C. neurologists made this study unique in its scope and accuracy of diagnosis.

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Tsai, Jai-Lin, Wen-Chieh Tsai, Yi-Cheng Lin, and Shang-Chun Wu. "Microstructure and magnetic properties of FePt(B4C) and FePt(B4C–Ag) granular films with perpendicular magnetization." Journal of Alloys and Compounds 579 (December 2013): 12–17. http://dx.doi.org/10.1016/j.jallcom.2013.04.181.

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49

Ardiani, Irma Septi, Khoirotun Nadiyyah, Anna Zakiyatul Laila, et al. "Structural Analysis of Boron- and Nitrogen-Doped Amorphous Carbon Films from Bio-Product." Key Engineering Materials 860 (August 2020): 190–95. http://dx.doi.org/10.4028/www.scientific.net/kem.860.190.

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Amorphous carbon films have been explored and used in a wide variety of applications. With the n-type and p-type amorphous carbon film, it can be used to make p-n junctions for solar cells. This research aims to study the structure of boron- and nitrogen-doped amorphous carbon (a-C:B and a-C:N) films. This research uses the basic material of bio-product from palmyra sugar to form amorphous carbon. Amorphous carbon was synthesized by heating the palmyra sugar at 250°C. The results of XRD showed that the doped films produce an amorphous carbon phase. PES was used to analyze the bonding state of dopants in the sample. B4C, BC3, and BC2O bonds formed in a-C:B, while pyridine and pyrrolic formed in a-C:N.

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Stringer, Richard J. "Are Buzzed Drivers Really the Problem: A Quasi-Experimental Multilevel Assessment of the Involvement of Drivers With Low Blood Alcohol Levels in Fatal Crashes." Criminal Justice Policy Review 29, no. 5 (2016): 464–88. http://dx.doi.org/10.1177/0887403416637187.

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Controversy over drivers with low blood alcohol concentrations (BAC) have become a highly salient issue since the proposal to reduce the per se BAC limit to .05 for driving under the influence (DUI) convictions. However, little traffic safety, and no criminological research, has examined this phenomenon. This study fills a deficiency in the literature by utilizing quasi-experimental propensity score matching techniques in combination with multilevel modeling to examine the extent of involvement of low BAC drivers in fatal crashes. The results indicate that low BAC drivers are only involved in a very small portion of crashes and are not at fault in many. In addition, although drivers with low BAC have an increased odds of responsibility for a crash than drivers with no BAC, this increase is much lower than other factors such as age, speed, distractions, drug use, and high BAC. This study discusses the implications of focusing resources on drivers that are not considerable contributors to crashes, such as a predicted increase in arrests.

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