Relevant bibliographies by topics / British Academy of Film and Television Arts

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'British Academy of Film and Television Arts'

Author: Grafiati
Published: 4 June 2021
Last updated: 9 February 2022

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Journal articles on the topic "British Academy of Film and Television Arts"

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Tasker, Yvonne. "Jill Craigie, Post-war British Film Culture and the British Film Academy." Journal of British Cinema and Television 18, no. 4 (2021): 404–22. http://dx.doi.org/10.3366/jbctv.2021.0587.

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This article seeks to locate the socialist feminist film-maker Jill Craigie in the British film culture of the post-war period. Long regarded in scholarly accounts as something of an outsider, a woman who was effectively shut out of the industry during the 1950s, this article seeks to position Craigie rather differently. While acknowledging the obstacles she undoubtedly faced, it details aspects of her achievements and her visibility in the British film culture of the immediate post-war period. Craigie's politically driven documentaries and realist film practice accorded with prevailing discourses of ‘quality’ and she acquired the status of what would today be termed a media personality who worked across film, radio, television and print media. Considering Craigie as a figure embedded in the British film establishment, this article gives particular emphasis to her role in the British Film Academy (BFA), arguing that the significance of this practitioner-led organisation has yet to be fully recognised in British film history. The argument draws on archives held at the British Academy of Film and Television Arts (BAFTA) to begin a discussion of how the BFA, and Craigie as the first woman to be elected to its Management Council, played its part in the development of British film culture.
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Pett, Emma, and Helen Warner. "The Invisible Institution? Reconstructing the History of BAFTA and the 1958 Merger of the British Film Academy with the Guild of Television Producers and Directors." Journal of British Cinema and Television 17, no. 4 (2020): 449–72. http://dx.doi.org/10.3366/jbctv.2020.0542.

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As a cultural institution of national and global significance, the British Academy of Film and Television Arts (BAFTA) is notably absent from existing scholarship on the media industries. More importantly, BAFTA's role as an independent arts charity set up by the industry to support and develop new talent is often overlooked. Instead, references to BAFTA made by media and film scholars most frequently take the form of footnotes or digressions that detail particular awards or nominations. Drawing on a range of archival sources, including BAFTA's own records, we address this significant omission within existing scholarship on the British cultural and creative industries. In particular, we examine the period 1947–68, focusing on the 1958 merger of the British Film Academy with the Guild of Television Producers and Directors to form a new institution, known as the Society of Film and Television Arts (SFTA, later renamed BAFTA). This was achieved despite the well-documented tensions existing between the two industries throughout the period, which we identify and analyse within this historical context. We argue that a crucial factor driving the 1958 merger was the desire to develop quality training schemes across both industries. This, in turn, was partly enabled by an egalitarian turn in post-war British society towards the development of greater social equality and mobility. In reconstructing these events, we therefore interrogate and reassess the role played by this key national institution on the development of the creative and cultural industries, offering an expansion and revision of scholarship on media histories of post-war Britain.
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Snell, Julia. "Schema theory and the humour of Little Britain." English Today 22, no. 1 (2006): 59–64. http://dx.doi.org/10.1017/s0266078406001118.

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LITTLE BRITAIN is a television comedy show in the UK. Recurring characters appear in its episodes enacting situations that can be said to satirize British society. It was first aired by the BBC in February 2003. Little Britain has quickly amassed a loyal following and has grown significantly in popularity. It has won a number of prestigious comedy awards including ‘Best Comedy Performance’ and ‘Comedy Programme or Series Award’ at the BAFTAs (British Academy of Film and Television Arts awards, 2005). The humour in Little Britain has therefore been successful. Moreover, it is not based purely on visual comedy, being originally launched on BBC Radio 4 then transferred to television. Its humour originates in the language used. Schema theory, a useful tool for analysing much situational comedy, can shed light on the construction and interpretation of humour in Little Britain
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Bell, Melanie. "‘I owe it to those women to own it’: Women, Media Production and Intergenerational Dialogue through Oral History." Journal of British Cinema and Television 18, no. 4 (2021): 518–37. http://dx.doi.org/10.3366/jbctv.2021.0593.

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While the academy is faced with increasing calls for its research to be socially relevant, a long-established principle of feminism has been the discovery and use of knowledge produced by, for and about women. Informed by feminist debates, the Histories of Women in the British Film and Television Industries project undertook a number of engagement activities drawing on the oral histories of women who had worked in the British media industries. These included workshops with trade union members and media practitioners which explored continuity and change in women's experiences of the media workplace. This article reflects on this suite of engagement activities, their successes and failures, and the possibilities and limitations of feminist-informed impact in and through the academy.
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Rio Febriannur Rachman. "Greed in the Film "Parasite"." Jurnal Spektrum Komunikasi 8, no. 1 (2020): 10–21. http://dx.doi.org/10.37826/spektrum.v8i1.60.

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Penelitian ini mengupas tentang pesan moral yang berhubungan dengan ketamakan dalam film Parasite. Karya seni berbahasa Korea Selatan ini dipilih karena merupakan film terbaik di dunia versi Academy Awards atau Oscar 2020. Pada 2019 lalu, garapan Bong Joon-Ho ini meraih Palme d’Or dalam Festival Film Cannes ke-72. Sekaligus mendapat apresiasi berupa delapan menit standing ovation dari hadirin. Pada Januari 2020, karya yang berjudul asli Gisaengchung ini memenangkan Best Foreign Language Film di Golden Globe Awards dan Cast in a Motion Picture di Screen Actors Guild Award. Tak hanya itu, rekam jejak film ini menjadi lebih menarik karena meraih Best Film Not in the English Language dalam British Academy of Film and Television Arts 2020, beserta sederet penghargaan di ajang internasional lainnya. Sejumlah artikel membahas tentang aspek kesenjangan sosial yang ditunjukkan di film ini. Padahal, sebagai sebuah karya seni, pesan moral dalam sebuah produk sinematik bisa beragam dan dapat ditelaah dari beragam sudut pandang. Riset ini bersandar pada teori representasi yang merujuk pada konsep tamak dalam perspektif Islam dan Kristen, seperti tertera pada tafsir di kitab suci Al-Qur’an dan Injil. Metode yang digunakan adalah kualitatif dengan pendekatan analisis visual pada lingkup the site of image itself. Hasil dari penelitian ini, ketamakan tergambar pada sikap dari satu keluarga miskin yang memiliki peran utama dalam film Parasite.
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Williams, Roy. "Roy Williams, in conversation with Aleks Sierz What Kind of England Do We Want?" New Theatre Quarterly 22, no. 2 (2006): 113–21. http://dx.doi.org/10.1017/s0266464x06000352.

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Roy Williams is one of the outstanding new voices in contemporary British theatre. Born in Fulham, south-west London, in 1968, he has already, by his mid-thirties, won a shelf-full of awards, with plays staged at the National Theatre and Royal Court. His debut, The No Boys Cricket Club, won the Writers' Guild New Writer of the Year award in 1996. Two years later, his follow-up, Starstruck, won three major awards: the John Whiting Award for Best New Play, an EMMA (Ethnic Multicultural Media Awards) for Best Play, and the first Alfred Fagon Award, for theatre in English by writers with Caribbean connections. In 2000, Lift Off was joint winner of the George Devine Award, and in 2001 Clubland received the Evening Standard Award for Most Promising Playwright. In 2002, Williams received a best school drama BAFTA (British Academy of Film and Television Arts) for Offside (BBC), and in 2004 he won the first Arts Council Decibel Award, given to black or Asian artists in recognition of their contribution to the arts. His most recent play, Little Sweet Thing, was a 2005 co-production between Ipswich’s New Wolsey Theatre, Nottingham Playhouse, and Birmingham Rep. What follows is an edited transcript of Aleks Sierz’s ‘In Conversation with Roy Williams’, part of the ‘Other Voices’ symposium at Rose Bruford College, Sidcup, Kent, in May 2004, organized by Nesta Jones. Williams is a graduate and now a Fellow of the college.
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Jeacle, Ingrid. "“And the BAFTA goes to […]”: the assurance role of the auditor in the film awards ceremony." Accounting, Auditing & Accountability Journal 27, no. 5 (2014): 778–808. http://dx.doi.org/10.1108/aaaj-03-2013-1252.

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Purpose – The purpose of this paper is to examine the role of the Official Scrutineer in the annual film awards ceremony of the British Academy of Film and Television Arts (BAFTA), a role currently occupied by the audit firm Deloitte. The case of BAFTA provides an illustrative example of the increasing demand for discretionary assurance services from audit firms (Free et al., 2009), which in turn is reflective of Power's (1997) “audit society”. It showcases the power of audit as a legitimating tool. The paper seeks to understand the role of the auditor as assurance provider by drawing upon Goffman's (1959) dramaturgical framework. Viewing the auditor as “performer” and a range of interested stakeholders (BAFTA voting members, sponsors, award winners and industry commentators) as the “audience”, this theoretical lens facilitates insights into the nature of assurance provision. Design/methodology/approach – The paper gathers interview data from within the case organization (BAFTA), it's Official Scrutineers (Deloitte), BAFTA voting members, sponsors, award winners and film industry commentators. Findings – Drawing on Goffman's (1959) work on impression management to inform its theoretical argumentation, the analysis of results from 36 interviews indicates that Deloitte are highly effective in delivering a successful performance to their audience; they convey a very convincing impression of trust and assurance. The paper therefore suggests the importance of performance ritual in the auditor's role as assurance provider. Additionally, it argues that such a performance may be particularly effective, in the eyes of the audience, when played by a well known audit firm. Originality/value – The paper highlights the expanding territorial scope of assurance provision by audit firms. By focusing on a glamorous media event, it also furthers an understanding of the role of accounting within the domain of popular culture.
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Wildy, Tom. "British television and official film, 1946–1951." Historical Journal of Film, Radio and Television 8, no. 2 (1988): 195–202. http://dx.doi.org/10.1080/01439688800260211.

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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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Fox, Jo. "From Documentary Film to Television Documentaries: John Grierson andThis Wonderful World." Journal of British Cinema and Television 10, no. 3 (2013): 498–523. http://dx.doi.org/10.3366/jbctv.2013.0152.

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In October 1957, John Grierson, the founder of the British documentary film movement, made the transition to a new medium: television. His series for STV, This Wonderful World, which ran in its original form until August 1965, introduced audiences to international documentary in an ‘inter-generic’ magazine format and was among the most popular broadcasts of the fledgling station, which was formed in August 1957 following the introduction of Independent Television (ITV) in 1954. This article analyses how cinematic documentarists made the transition to television and what their experiences reveal of the documentary's place in British society in the 1950s and 1960s. It argues that Grierson's series stood at the centre of debates over ‘prestige’ programming and ‘cultural uplift’, as well as over fears of the allegedly negative influence of ITV on the mass audience, and shows how British television negotiated an increasingly global media and the emergence of the modern television personality. It concludes with an examination of the legacy of early British documentary on television and demonstrates how its pioneers exploited the memory of the 1930s in order to carve out their place in the genre's history.
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Dissertations / Theses on the topic "British Academy of Film and Television Arts"

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Kelland, Dean. "Flawed masculinities : 'rupturing' 1950s/60s/70s British TV sitcom via a performance-led interdisciplinary arts practice." Thesis, University of the Arts London, 2016. http://ualresearchonline.arts.ac.uk/9189/.

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This practice-based PhD has at its core six short films, made by and featuring the author (Dean Kelland), which take as their inspiration certain male characters from TV sitcoms from the 1950s-1970s. Those characters are: Tony Hancock (Hancock’s Half- Hour, 1956-59, BBC1 UK); Harold Steptoe (Steptoe and Son, 1962-65, BBC1 UK); and the two “Likely Lads”, Bob Ferris and Terry Collier, (Whatever Happened To The Likely Lads?, 1973-74, BBC1 UK). The research is an investigation into the construction of masculine gender stereotypes, explored through a process of a performance-led visual arts practice that incorporates the use of interdisciplinary approaches. This interdisciplinarity is aligned to Lisa Lattuca’s definition of “informed disciplinarity” as being “informed by concepts or theories from another discipline or relying upon methods from other disciplines.” (History of Intellectual Culture, 2003). Disciplines and fields include: comedy studies, performance art studies, television studies, gender studies and cultural studies. The selected sitcom examples were hugely popular and influential in the eras in which they were first broadcast, a period in post-war British history when constructions of class were changing. The PhD provides analysis of: location; both geographical (the parts of the UK in which the programmes were set) and in terms of domestic setting; class-derived identity (including distinctions of taste); and sociologically/historically based perspectives. In my performance-led practice, I create scenarios that have emanated from the research, focusing on specific scenes from the programmes (identified for their relevance to the research questions). I then re-purpose these scenes in order to show them in a new light, specifically by inhabiting the characters utilising traditional acting methodologies combined with performance art techniques. Each mimetic repetition exposes the blurring of one identity into another, and so interrogates the intersubjective identifications between actor, projected character and audience, mobilized through “performing masculinity”. Drawing on my own memories, and the sense of nostalgia that has been created by my exposure to these (repeated) programmes, I ask new questions about subjective experience within fine art practice (in other words, how the modes of such practice have been used to address the relationship between 7 the body, the external world and self-representation). Often this involves “rupturing” the meaning of the programmes, and revealing what might loosely be termed the horror beneath the comedy. The resulting dialogue between historical source material and contemporary artwork creates a critical interrogation of culturally constructed gendered stereotypes within a specific television entertainment genre. The research journey is carefully logged (sketchbooks, digital portfolio) and analysed (written thesis) in accordance with a reflective, practice-based, methodology.
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Břeň, Martin. "Život a dílo brněnské herečky Vlasty Fialové." Master's thesis, 2019. http://www.nusl.cz/ntk/nusl-408894.

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The Life and Work of Vlasta Fialová, actress of Brno This master's thesis is to bring closer the life and work of one of the most prominent Czech artists of the 20th century. The actress, who wrote herself into the history of film, television productions and radio, but especially the theater that was everything for her. The work is trying to capture her life and career, she has been able to build for a long, active fifty-year period, only in three Moravian cities: Opava, Olomouc and Brno. The work maintains a line beginning in the period before her birth, focuses on the cultural and historical events of the Brno metropolis, the beginning of her life, the years of childhood and adolescence, which she experienced as a student of a grammar school and a musical drama department of the Brno Conservatory during the Nazi occupation of her hometown. And then emphasis is placed on her individual theatrical engagements, as well as on the films and TV productions in which she performed, and the programs recorded for the radio. It also presents a certain reflection and characteristic of the characters and the acting art of this unique actress, whether it is a stage character or a silver screen. From those she created as a fresh and very talented graduate of the Conservatoire, through very handsome women with...
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Books on the topic "British Academy of Film and Television Arts"

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Pichon, Alain Le. Béthanie & Nazareth: French secrets from a British colony. The Hong Kong Academy for Performing Arts, 2006.

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Tucker, David. British social realism in the arts since 1940. Palgrave Macmillan, 2011.

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Pinter, Harold. The Proust screenplay: À la recherche du temps perdu. Grove Press, 2000.

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Pinter, Harold. The Proust screenplay: A la recherche du temps perdu. Faber, 1991.

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Finch, Charles. The night before BAFTA. 2016.

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Stollery, Martin, and Roy Perkins. British Film Editors: The Heart of the Movie. British Film Institute, 2004.

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A New History of British Documentary. Palgrave Macmillan, 2015.

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Chapman, J. A New History of British Documentary. Palgrave Macmillan, 2015.

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Gerzina, Gretchen H., ed. Britain's Black Past. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789621600.001.0001.

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The presence and history of black people in Britain, going back centuries, has been obscured, forgotten and misunderstood. This book, which expands upon the Radio 4 series of the same name, uses new archival discoveries and fresh scholarly interpretations to recover the stories of some of the black individuals, groups and communities whose lives in England were shaped and restricted by slavery and racism during the eighteenth and nineteenth centuries. In eighteen chapters by different contributors, readers encounter black figures from the past who span the social and economic spectrum from domestic servants, actors, and mariners to those who enjoyed wealth, privilege and, in rare cases, power. In addition to investigating how black people of this era navigated the complex dynamics of white households and larger white British society, connections—economic and personal—to colonial slavery and the slave trade in America and the Caribbean are threaded throughout the book. In addition to scholarly work, many chapters examine how the lives of some of these black figures are being newly explored and interpreted in non-academic mediums such as television, film, fiction, art, and performance. Current events—including the Grenfell Towers fire and the Windrush immigration scandal—underscore the importance of recognizing Britain’s multiracial past and this book urges continued study of a historical black presence to better understand the past and affirm an expanded notion of Britishness.
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Grant, Pete, and Dick Heckstall-Smith. Blowing the Blues: A Personal History of the British Blues. Clear Books, 2004.

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Book chapters on the topic "British Academy of Film and Television Arts"

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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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"Stephen Gaghan’s writing career started quite promisingly, publishing a short story in The Iowa Review before he was even 26. He also impressed the writing staff of The Simpsons with a spec episode entitled “Family Wheel of Jeopardy,” as well as producer and talent agent Bernie Brillstein with a collection of Saturday Night Live sketches he’d written. But a career in television writing in the 1990s— including stints at New York Undercover, The Practice, American Gothic, and NYPD Blue (where he shared an Emmy for Outstanding Writing for a Drama Series)—soon gave way to screenwriting. His first produced film credit was Rules of Engagement (2000), which starred Samuel L. Jackson and Tommy Lee Jones, but he received much acclaim for his next film, Trafc (2000), which was based on the 1989 British miniseries Trafk. Trafc went on to win four Academy Awards, including a Best Adapted Screenplay Oscar for Gaghan. Around the same time as Trafc’s release, Gaghan revealed that he had himself been a longtime drug addict, finally getting clean in 1997. Subsequently, he made his feature directing debut with Abandon (2002) and was one of three credited writers on the historical drama The Alamo (2004). His next great triumph occurred in 2005 with the release of Syriana, a multi-character drama he wrote and directed that examined the danger of the world’s addiction to oil. The film earned Gaghan his second Academy Award nomination, this time for Best Original Screenplay, and George Clooney won the Oscar for Best Supporting Actor. More recently, he’s one of the writers (uncredited) on the 2013 big-budget sci-fi film After Earth, which stars Will Smith and his son Jaden. “I’m in the adult-serious ghetto,” Gaghan says about his niche in Hollywood. “That’s my pigeonhole. I made it, I dug it out, I climbed in the hole—it’s dark and airless. But I dug it, you know? And no other hole exists.”." In FilmCraft: Screenwriting. Routledge, 2013. http://dx.doi.org/10.4324/9780240824857-28.

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