scholarly journals The Odyssey in the ‘Broom Cupboard’: Ulysses 31 and Odysseus: The Greatest Hero of Them All on Children’s BBC, 1985–1986

2018 ◽  
pp. 147-167
Author(s):  
Sarah Miles
Keyword(s):  
Children's Television ◽  
Detailed Knowledge ◽  
Television Series ◽  
Contemporary Culture ◽  
Greek Myth ◽  
Epic Poem ◽  
The Uk ◽  
Children's Programming

The chapter examines two 1980s children’s television series – Odysseus: The Greatest Hero of Them All (hereafter Odysseus) and Ulysses 31 – which reworked the myths of the Greek hero Odysseus which derive from Homer’s Odyssey, an epic poem. The discussion demonstrates how each programme was shaped by contemporary culture, particularly film, television and animation. In particular, they combined: innovative storytelling techniques (e.g. Odysseus was a Jackanory-style story to camera, written and performed by Tony Robinson with Richard Curtis as co-writer) with creative use of the mode of television and televisual animation (e.g. Ulysses 31 was created by key names in animation and anime: Jean Chalopin, Bernard Deyriès, Nagahama Tadao) and detailed knowledge of The Odyssey and wider Greek myth. The series provide contrasting localised (British) and international (Franco-Japanese) production contexts, but in the UK both programmes were first broadcast in 1985-1986 via the newly created children’s programming format, Children’s BBC, known affectionately as the ‘Broom Cupboard’, in which a studio-presenter addressed child-audiences directly. Odysseus and Ulysses 31 therefore offered sustained engagements with the myths of Odysseus for UK-based children in this decade.

Broad, low and close to the ground

English Today ◽  
1986 ◽  
Vol 2 (2) ◽  
pp. 18-19
Keyword(s):  
Television Series ◽  
The Uk

Robert McCrum was the originator and scriptwriter for the BBC television series ‘The Story of English’, which will be broadcast later this year in the UK and USA. He talks to English Today about the background to the series and its companion book (Faber and the BBC).

Recommendations of the Puttnam Report1

2018 ◽  
Keyword(s):  
Professional Development ◽  
Northern Ireland ◽  
Public Service ◽  
Television System ◽  
Entry Level ◽  
The Public ◽  
Faith Based ◽  
Current Affairs ◽  
The Uk ◽  
Children's Programming

This chapter presents the recommendations of the Puttnam Report. It covers recommendations for the BBC, Channel 4, ITV, and Channel 5. It proposes the establishment of a new fund for public service content. It also discusses the dissatisfaction with the performance of public service television from ethnic, regional, national and faith-based minorities; the failure of the public service television system to reflect the changing constitutional shape of the UK such that audiences in Scotland, Wales, Northern Ireland, and the English regions; the decline in investment in some of the genres traditionally associated with public service television: arts, current affairs and children's programming; and the need for a more consolidated approach to maximising entry-level opportunities and increasing investment in training and professional development at all levels of the industry.

Mainstream Trends and Masterpiece Traditions

2019 ◽  
pp. 131-146 ◽  
Author(s):  
Eva N. Redvall
Keyword(s):  
United States ◽  
United Kingdom ◽  
The United States ◽  
Soap Opera ◽  
Special Relationship ◽  
Television Series ◽  
Television Drama ◽  
The United Kingdom ◽  
Long Form ◽  
The Uk

The chapter explores the successful meeting of “mainstream trends” and “masterpiece traditions” in the commissioning and production of Downton Abbey (2010–2015), and the way in which this “postheritage drama” marks a significant transatlantic encounter between different broadcasting cultures and storytelling traditions. Drawing on recent research on the special relationship between the United Kingdom and the United States in television drama, the analysis first details how this period drama became a collaboration between the commercial UK broadcaster ITV and the American PBS station WGBH and its Masterpiece series. The chapter then investigates how the long-form narrative with soap opera elements was designed to tap into the UK tradition of heritage drama, while drawing on the speed and storytelling style of US television series. The chapter closes with a discussion of Downton Abbey’s production story in relation to the series’ remarkable popularity in the United Kingdom, the United States, and beyond.

Junk Food or Junk TV: How Will the UK Ban on JUNK Food Advertising Affect Children's Programs?

2007 ◽  
Vol 125 (1) ◽  
pp. 5-14
Author(s):  
Anna Potter
Keyword(s):  
United Kingdom ◽  
Cultural Policy ◽  
Television Advertising ◽  
Children's Television ◽  
Junk Food ◽  
The United Kingdom ◽  
Alternative Sources ◽  
The Uk ◽  
Advertising Ban ◽  
Channel Environment

The implementation of a partial junk food television advertising ban in the United Kingdom is adding to the woes of commercial broadcasters already under pressure in a fiercely competitive multi-channel environment. The UK free-to-air channel ITV1 recently announced the closure of its children's programs production unit and children's television production in the United Kingdom has been described as being ‘in meltdown’. The United Kingdom represents a crucial market for Australian producers of children's programs, who have traditionally sourced up to 80 per cent of their production budgets from UK partners. Australian cultural policy is adding to the challenges facing these producers, through the demands inherent in the ‘C’ classification. If Australia is to remain committed to the provision of dedicated children's programs, alternative sources of funding will have to be found.

scholarly journals Food advertising during children's television in Canada and the UK

2009 ◽  
Vol 94 (9) ◽  
pp. 658-662 ◽  
Author(s):  
J Adams ◽  
K Hennessy-Priest ◽  
S Ingimarsdottir ◽  
J Sheeshka ◽  
T Ostbye ◽  
...  
Keyword(s):  
Children's Television ◽  
Food Advertising ◽  
The Uk

Biochemical polymorphism in bass, Dicentrarchus labrax, in the waters around the British Isles

1992 ◽  
Vol 72 (2) ◽  
pp. 357-364 ◽  
Author(s):  
A.R. Child
Keyword(s):  
Dicentrarchus Labrax ◽  
Irish Sea ◽  
Detailed Knowledge ◽  
British Isles ◽  
Stock Management ◽  
Eastern Atlantic Ocean ◽  
Commercial Species ◽  
The Irish Sea ◽  
Southern Norway ◽  
The Uk

The bass Dicentrarchus labrax is found in the eastern Atlantic Ocean from Morocco (30°N) to southern Norway (60°N) and in the Mediterranean and Black Seas (Whitehead et al., 1986). Throughout its range the bass is an important commercial species and in the waters around the British Isles it is exploited both by commercial fishermen and by sport anglers.Since the early 1970s the recorded landings of bass have increased considerably (Pickett & Pawson, 1991). The increased exploitation and the conflict of interest between sport fishermen and commercial bass fishermen have been the subject of a multitude of articles in the fishing press calling for greater stock management. Detailed knowledge of the stock structure was required to provide advice on the management of the UK bass fishery (Pawson & Pickett, 1987).Prior to 1980, tagging studies were conducted off the southern coast of Ireland (Kennedy & Fitzmaurice, 1972), the south-west of England (Holden & Williams, 1974) and in the Irish Sea (Kelley, 1979).

scholarly journals Seeing Themselves:  Cultural Identity and New Zealand Produced  Children's Television

2021 ◽  
Author(s):  
◽  
Ngaire Shepherd
Keyword(s):  
Discourse Analysis ◽  
New Zealand ◽  
Social Construction ◽  
Cultural Identity ◽  
Children's Television ◽  
Publicly Funded ◽  
Similarities And Differences ◽  
Children's Programming

<p>The New Zealand television environment is a complex one, and its ability to instil a sense of 'cultural identity' for New Zealand viewers has been regularly debated. Local children's programming is an area that can sometimes be overlooked in these important discussions. Children's programming in New Zealand is almost entirely publicly funded and is therefore legislatively tied to 'reflecting' cultural identity for a New Zealand child audience. This raises questions about how cultural identity is defined and understood within this industry,  especially considering the inherent differences between a child audience and adult programme makers. These questions are engaged with through an examination of how cultural identity is discussed by funders, producers and audiences of four locally produced television brands: What Now?, Sticky TV, Studio 2 and Pukana. This thesis considers cultural identity to be a social construction that is both fluid and, in a New Zealand context, tied to certain expectations of 'New Zealandness'. This fluidity is examined through a discourse analysis of how funders, producers and audiences talk about each programme as well as cultural identity, in order to examine similarities and differences in how each group conceptualises this important funding concept. The argument is formed that cultural identity is understood in different terms: for children cultural identity is foremost about belonging to and 'seeing themselves' in a larger community of New Zealand children, while programme makers are concerned with the problematic notion of 'reflecting' "kids' worlds".</p>

scholarly journals The Poetics of Heritage: an inquiry into disaster.

2019 ◽  
Vol 21 ◽  
pp. 139-159
Author(s):  
David Haley
Keyword(s):  
Environmental Management ◽  
National Park ◽  
Lake District ◽  
Contemporary Culture ◽  
Community Recovery ◽  
United Nations Educational ◽  
Flood Disasters ◽  
Psychosocial Emergency ◽  
The Uk ◽  
Climate Crisis

This paper argues that heritage is what contemporary culture makes of history and that this may distort our ability to face future realities. Funded by the UK Heritage Lottery Fund, the VIEWPOINT ecological arts project at the confluence of two rivers in Cockermouth, Northwest England, questioned the deployment of art and heritage as a means of community recovery from the 2009 and 2015 flood disasters. As the climate crisis accelerates and the psychosocial emergency increases, this project reassigned a Wordsworth poem and repurposed twelve large rocks to celebrate the potential for communities to live with their rivers in the future and defy their tendency towards nostalgia and memorialization.However, the situation was exacerbated when the United Nations Educational, Scientific and Cultural Organisation World Heritage awarded cultural heritage status on The Lake District National Park, affixing the environmental management of the area to Beatrix Potter’s romanticized notion of sheep farming; thereby ensuring perpetual landscape deforestation and future flooding.

scholarly journals Dialects in Norway – between tolerance and standardization

2014 ◽  
Vol 6 (1) ◽  
pp. 107-121
Author(s):  
Crina Leon
Keyword(s):  
Everyday Life ◽  
Standard Form ◽  
Spoken Language ◽  
Written Language ◽  
Children's Television ◽  
Television Series ◽  
Daily Newspaper ◽  
Regional Dialect ◽  
News Programs ◽  
Point Of Reference

Norwegian is peculiar not only with a view to the written language, which has two official standards, but also regarding the spoken language, which lacks a standardized form. In fact, Norway is one of the most dialect-speaking countries in Europe. The use of a regional dialect in all fields of one’s life is rather perceived as part of one’s identity, and a sign of democracy and decentralization. Although theoretically there are four main dialects, in practice the variety of dialects differing in grammar, vocabulary or pronunciation is much wider, and depends on the part of the country or even on a specific town. The present paper is mainly focused on analyzing how the issue of diatopic variation in the Norwegian spoken language has been depicted in recent years (2008-2012) in Norway’s largest daily newspaper, Aftenposten. Even if dialects are accepted in everyday life, one of the recurrent debates in the newspaper is however related to using a standard form at least in the news programs from the largest Norwegian television and radio company, NRK, where the language ought to be considered a point of reference. Another topic of interest is related to the dialects used in dubbing in children’s television series.

Sign in / Sign up

Export Citation Format

Share Document