Jim Allen : radical drama beyond 'days of hope'

Due to a desire to establish television as a serious medium, television drama has often been seen as a forum for writers, with names such as David Mercer, Dennis Potter and Trevor Griffiths identified by critics as the driving force, or auteur, behind the works that bear their names rather than, as in much writing about film, the director. However, while this has been so, there are also many examples of writers whose contribution to television writing has been much less celebrated, often due to their close collaboration with a high-profile director who in many critics’ view remains the most influential contributor to the final piece of work. One practitioner who arguably has failed to get the critical credit he is due is Jim Allen, a writer still perhaps best known for his work with one such high-profile director, Ken Loach

'It's a film' : medium specificity as textual gesture in Red road and The unloved

British cinema has long been intertwined with television. The buzzwords of the transition to digital media, 'convergence' and 'multi-platform delivery', have particular histories in the British context which can be grasped only through an understanding of the cultural, historical and institutional peculiarities of the British film and television industries. Central to this understanding must be two comparisons: first, the relative stability of television in the duopoly period (at its core, the licence-funded BBC) in contrast to the repeated boom and bust of the many different financial/industrial combinations which have comprised the film industry; and second, the cultural and historical connotations of 'film' and 'television'. All readers of this journal will be familiar – possibly over-familiar – with the notion that 'British cinema is alive and well and living on television'. At the end of the first decade of the twenty-first century, when 'the end of medium specificity' is much trumpeted, it might be useful to return to the historical imbrication of British film and television, to explore both the possibility that medium specificity may be more nationally specific than much contemporary theorisation suggests, and to consider some of the relationships between film and television manifest at a textual level in two recent films, Red Road (2006) and The Unloved (2009)

Measurement of the nuclear modification factor for muons from charm and bottom hadrons in Pb+Pb collisions at 5.02 TeV with the ATLAS detector

Heavy-flavour hadron production provides information about the transport properties and microscopic structure of the quark-gluon plasma created in ultra-relativistic heavy-ion collisions. A measurement of the muons from semileptonic decays of charm and bottom hadrons produced in Pb+Pb and pp collisions at a nucleon-nucleon centre-of-mass energy of 5.02 TeV with the ATLAS detector at the Large Hadron Collider is presented. The Pb+Pb data were collected in 2015 and 2018 with sampled integrated luminosities of 208 mu b(-1) and 38 mu b(-1), respectively, and pp data with a sampled integrated luminosity of 1.17 pb(-1) were collected in 2017. Muons from heavy-flavour semileptonic decays are separated from the light-flavour hadronic background using the momentum imbalance between the inner detector and muon spectrometer measurements, and muons originating from charm and bottom decays are further separated via the muon track's transverse impact parameter. Differential yields in Pb+Pb collisions and differential cross sections in pp collisions for such muons are measured as a function of muon transverse momentum from 4 GeV to 30 GeV in the absolute pseudorapidity interval vertical bar eta vertical bar < 2. Nuclear modification factors for charm and bottom muons are presented as a function of muon transverse momentum in intervals of Pb+Pb collision centrality. The bottom muon results are the most precise measurement of b quark nuclear modification at low transverse momentum where reconstruction of B hadrons is challenging. The measured nuclear modification factors quantify a significant suppression of the yields of muons from decays of charm and bottom hadrons, with stronger effects for muons from charm hadron decays

A search for an unexpected asymmetry in the production of e+μ− and e−μ+ pairs in proton-proton collisions recorded by the ATLAS detector at root s = 13 TeV

This search, a type not previously performed at ATLAS, uses a comparison of the production cross sections for e(+)mu(-) and e(-)mu(+) pairs to constrain physics processes beyond the Standard Model. It uses 139 fb(-1) of proton-proton collision data recorded at root s = 13 TeV at the LHC. Targeting sources of new physics which prefer final states containing e(+)mu(-) and e(-)mu(+), the search contains two broad signal regions which are used to provide model-independent constraints on the ratio of cross sections at the 2% level. The search also has two special selections targeting supersymmetric models and leptoquark signatures. Observations using one of these selections are able to exclude, at 95% confidence level, singly produced smuons with masses up to 640 GeV in a model in which the only other light sparticle is a neutralino when the R-parity-violating coupling lambda(23)(1)' is close to unity. Observations using the other selection exclude scalar leptoquarks with masses below 1880 GeV when g(1R)(eu) = g(1R)(mu c) = 1, at 95% confidence level. The limit on the coupling reduces to g(1R)(eu) = g(1R)(mu c) = 0.46 for a mass of 1420 GeV

Corrigendum to: “Measurement of the tt ̄ production cross-section using eμ events with b-tagged jets in pp collisions at √s = 13 TeV with the ATLAS detector” [Phys. Lett. B 761 (2016) 136–157]

This paper describes a measurement of the inclusive top quark pair production cross-section (sigma(t (t) over bar)) with a data sample of 3.2fb(-1)of proton-proton collisions at a centre-of-mass energy of root s= 13TeV, collected in 2015 by the ATLAS detector at the LHC. This measurement uses events with an opposite-charge electron-muon pair in the final state. Jets containing b-quarks are tagged using an algorithm based on track impact parameters and reconstructed secondary vertices. The numbers of events with exactly one and exactly two b-tagged jets are counted and used to determine simultaneously sigma(t (t) over bar) and the efficiency to reconstruct and b-tag a jet from a top quark decay, thereby minimising the associated systematic uncertainties. The cross-section is measured to be:sigma(t (t) over bar) = 818 +/- 8 (stat) +/- 27 (syst) +/- 19 (lumi) +/- 12 (beam) pb,where the four uncertainties arise from data statistics, experimental and theoretical systematic effects, the integrated luminosity and the LHC beam energy, giving a total relative uncertainty of 4.4%. The result is consistent with theoretical QCD calculations at next-to-next-to-leading order. A fiducial measurement corresponding to the experimental acceptance of the leptons is also presented

A 'new wave' in British television drama

In recent years, American television drama series have been celebrated as ‘quality television’ at the expense of their British counterparts, yet in the 1970s and 1980s British television was frequently proclaimed to be ‘the best television in the world’. This article will consider this critical turnaround and argue that, contrary to critical opinion, the last few years have seen the emergence of a ‘new wave’ in British television drama, comparable in its thematic and stylistic importance to the new wave that emerged in British cinema and television in the early 1960s. While the 1960s new wave was distinctive for its championing of a new working-class realism, the recent ‘new wave’ is more heterogeneous, encompassing drama series such as This Life, Cold Feet, The Cops, Queer as Folk, Clocking Off and Shameless. While the subject-matter of these dramas is varied, collectively they share an ambition to ‘reinvent’ British television drama for a new audience and a new cultural moment