The Audio Dramatist’s Critical Vocabulary in Great Britain

This chapter investigates how British audio dramatists and producers developed the notion and theory of practical sonic production narratology. They relied on and interrogated the traditions of theatrical and novelistic storytelling. Authors and auteurs such as Gordon Lea, Lance Sieveking, Tyrone Guthrie, Val Gielgud, Felix Felton, Donald McWhinnie, and William Ash offered little evidence that they fully engaged the theory of Mikhail Bakhtin, Julia Kristeva, Roland Barthes, Vladimir Propp, Gérard Genette, Tzvetan Todorov, Mieke Bal, Claude Bremond, and Franz Karl Stanzel. These auteurs had confident ideas of what would constitute variously described successful sound, microphone, and broadcast and audio plays and dramas. The analysis explores how these authors developed their opinions on techniques and concepts that have given sound drama its unique literary as well as dramatic identity

Rewriting the Beginning of BBC Audio Drama History- Three Women Playwrights and Their Contribution to British Radio Drama Culture

For most of the first hundred years of the history of the BBC Richard Hughes (1924 & 1928) has been celebrated as the first author of an original radio play and other male dramatists or directors such as Cecil Lewis (1924), Tyrone Guthrie (1931), Reginald Berkeley (1925), L. du Garde Peach (1931), Lance Sieveking (1931) and Val Gielgud (1932, 1946, 1948, & 1957) have been canonised as the leading creators, voices and pioneers of sound drama. This paper reveals this to be a problematical trope and elevates the names of three women writers- Phyllis Twigg, Gertrude Jennings and Kathleen Baker who can be argued in some respects to be of equal and perhaps even greater cultural significance

Only Donkeys Survive Tyranny and Dictatorship: Was Benjamin George Orwell’s Alter Ego in Animal Farm?

This paper examines the representation of Benjamin, the donkey in Orwell’s Animal Farm – the novel and later radio and dramatic adaptations. It places this study in the context of Orwell’s ambivalent fascination with animals and his handling of animal themes in many of his writings. In addition, the paper considers the position of the donkey in the broader culture and whether Benjamin served as Orwell’s alter ego in the novel. George Orwell constructed the original prose of Animal Farm with an omniscient voice writing in the third person. When he had the opportunity to adapt the novel for BBC Radio in 1946, with transmission in early 1947, he chose not to focalise the narrative structure through any of the characters. This paper argues that this was the correct decision in terms of style and the representation of Orwell’s politics

The BJTC Media Law, Regulation & Ethics Handbook 2021

eBook providing an up-to-date and detailed guide to the media law, media regulation and professional ethics for journalists in the United Kingdom. Suitable for professionals working in media production, trainee journalists, undergraduate and postgraduate students enrolled on journalism module and programmes. The content contains many hundreds of direct links to case histories and online resources and also includes chapters contextualising key media law themes such as Open Justice, Media Law and Racial Justice and the media law of the USA

Epigenetics in diagnosis, prognostic assessment and treatment of cancer:An update

Cancer cells contain multiple genetic and epigenetic changes. The relative specificity of many epigenetic changes for neoplastic cells has allowed the identification of diagnostic, prognostic and predictive biomarkers for a number of solid tumors and hematological malignancies. Moreover, epigenetically-acting drugs are already in routine use for cancer and numerous additional agents are in clinical trials. Here, we review recent progress in the development and application of epigenetic strategies for the diagnosis, risk stratification and treatment of cancer

Norman Corwin's The Lonesome Train (Live Broadcast) CBS 1944

The Lonesome Train was a commercial half-hour ‘ballad opera’ or folk cantata, transmitted in 1944, about the funeral train bearing President Abraham Lincoln’s body home after his assassination in the Ford Theatre of Washington D.C. in 1865. This became culturally resonant in 1945 on the death of President Franklin D. Roosevelt, when the Decca recording of the show became a sort of ‘media requiem’, played over and over again on US radio stations. The live production, directed by Norman Corwin, is a hybrid between drama and documentary, but goes further with its use of music and poetry… perhaps a musical modernist montage of traditions as varied as George Gershwin, Woody Guthrie and Robert Johnson. Corwin has been characterised as the American Shakespeare of radio, his We Hold These Truths (1941) possibly attracting the highest audience for any radio play in human history. The central narrative character in The Lonesome Train is a reporter, a 20th century chronicler, a journalistic oracle representing the role of the freedom and significance of the US media under the First Amendment. And he narrates with style, dignity, sensitivity, subtlety and deploys the art of a storytelling aesthetic with a knowing understated language when describing Abraham Lincoln’s assassination: ‘and along about the middle of the evening something happened that wasn’t in the program. I guess you all know what that was. The news spread pretty fast…’ When the radio medium engages in any form of grieving and memorialising, with the full commitment of musical expression, poetic exposition and the rallying of an ethical belief system against threat and danger in the context of war, emotiveness, empathy and sympathy will be engendered with full force. Here, its cultural power and significance travels vertically and horizontally through the sociological vectors of state and federal power and people power. It can be argued that The Lonesome Train is the American equivalent of Handel’s Messiah

The BJTC Media Law, Regulation & Ethics Student PocketGuide 2018 In association with Goldsmiths, University of London.

An annually updated and new edition for a book on media law, regulation and ethics for students in the UK provided for students at Goldsmiths, University of London and adopted for distribution by BJTC accredited university programmes teaching journalism in the UK

BJTC Media Law, Regulation & Ethics Student PocketGuide 2017 In association with Goldsmiths, University of London

An ebook made available for all students on BJTC accredited Broadcast Journalism programmes in the United Kingdom providing a detailed guide to the media law, ethics and regulation of journalists in the United Kingdom. This is freely downloadable from an online link at: https://ukmedialawpocketbook.files.wordpress.com/2017/10/bjtc2017medialawethicspocketguide2.pd