Drama documentary is a program category unique to television. Combining the factual approach of documentary with the entertainment values of drama, dramadoc/docudrama has featured in television schedules for over forty years, and has often been the focus of controversy. Questions are frequently asked about how the viewer is to judge between fact and fiction, and whether such programs invade individuals’ privacy. No Other Way to Tell It is an introductory book which defines the form, and reviews its history and development on British and American television. The people who make the programs--television producers, writers, actors and lawyers--give their views, and recent co-production work between Granada TV in Britain and Home Box Office in America is examined. Hostages, a co-production which was bitterly opposed by the British and American hostages released from captivity in Beirut at the beginning of the decade, is used to illustrate the changes that are now taking place within the medium.
This second edition of No other Way To Tell It defines the form, analyses its codes and conventions, and reviews contrasting histories in America and British practice - taking into account new developments since the first edition. These include television’s radically new ecology; with factual formats a growth area. Docudrama in film has also burgeoned recently, partly because the industries themselves have grown closer and partly because of continued interest in the lives of the famous and of those in the news. International co-production now exploits many different screening opportunities and possibilities, with the result that docudrama and become a cinematic as well as televisual staple. Docudrama is not only popular with audiences; it also causes constant flurries of commentary and controversy. Concerns about ‘borders’ and ‘boundaries’, a questioning of documentary’s claim to represent the real, doubts about the popular audience’s ability to cope with new approaches to the ideas of witness, testimony and confession, authenticity and truth - all fuel the debate. This new edition situates docudrama and its ongoing debates within a newly vibrant and still highly contentious field of practice. This book will interest readers - academic and general - with an interest in fact-based drama in film, theatre and television
This book explores the ways in which television has engaged directly and indirectly with the new realities of the post-9/11 world. It offers detailed analysis of a number of key programmes and series that engage with, or are haunted by, the aftermath of the events of September 11 in the USA and what is unavoidably through problematically and contentiously referred to as the resulting ‘war on terror’. The substantive part of the book is a series of independent chapters, each written on a different topic and considering different programmes. It includes series and single dramas representing the invasion of Iraq (The Mark of Cain, Occupation and Generation Kill), comedic representations (Gary, Tank Commander), documentary (the BBC Panorama’s coverage of 9/11), ‘what if’ docudramas (Dirty War), 9/11 in popular series (CSI:NY) and representations of Tony Blair in drama and docudrama. The book concludes with an extended reflection on contemporary docudrama and an interview with filmmaker and docudramatist Peter Kosminsky.
This second edition of No other Way To Tell It defines the form, analyzes its codes and conventions, and reviews contrasting histories in America and British practice--taking into account new developments since the first edition. These topics include television’s radically new ecology; with factual formats representing a new a growth area. Docudrama in film has also burgeoned recently, partly because the industries themselves have grown closer and partly because of continued interest in the lives of the famous and of those in the news. International co-production now exploits many different screening opportunities and possibilities, with the result that docudrama and become a cinematic as well as televisual staple. Docudrama is not only popular with audiences; it also causes constant flurries of commentary and controversy. Concerns about "borders" and "boundaries," a questioning of documentary’s claim to represent the real, doubts about the popular audience’s ability to cope with new approaches to the ideas of witness, testimony and confession, authenticity and truth--all fuel the debate.
In the political ferment of the Tudor century one family above all others was always at the troubled centre of court and council. During those years the Dudleys were never far from controversy. Three of them were executed for treason. They were universally condemned as scheming, ruthless, over-ambitious charmers, and one was defamed as a wife murderer. Yet Edmund Dudley was instrumental in establishing the financial basis of the Tudor dynasty, and John Dudley, Duke of Northumberland, led victorious armies, laid the foundations of the Royal Navy, ruled as uncrowned king and almost succeeded in placing Lady Jane Grey on the throne. The most famous of them all, Robert Dudley, Earl of Leicester, came the closest to marrying Elizabeth I, was her foremost favourite for 30 years and governed the Netherlands in her name, while his successor, Sir Robert Dudley, was one of the Queen's most audacious seadogs in the closing years of her reign, but fell foul of James I. Thus the fortunes of this astonishing family rose and fell with those of the royal line they served faithfully through a tumultuous century. see www.derekwilson.com
This book explores the ways in which television has engaged directly and indirectly with the new realities of the post-9/11 world. It offers detailed analysis of a number of key programmes and series that engage with, or are haunted by, the aftermath of the events of September 11 in the USA and what is unavoidably through problematically and contentiously referred to as the resulting ‘war on terror’. The substantive part of the book is a series of independent chapters, each written on a different topic and considering different programmes. It includes series and single dramas representing the invasion of Iraq (The Mark of Cain, Occupation and Generation Kill), comedic representations (Gary, Tank Commander), documentary (the BBC Panorama’s coverage of 9/11), ‘what if’ docudramas (Dirty War), 9/11 in popular series (CSI:NY) and representations of Tony Blair in drama and docudrama. The book concludes with an extended reflection on contemporary docudrama and an interview with filmmaker and docudramatist Peter Kosminsky.
Short, brisk and highly readable, this account stands out from the flood of books written for the Centenary of the Great War. In Why 1914?, Derek Robinson - trained as a historian, shortlisted for the Booker Prize - applies his novelist's skills to asking how and why Europe hurried into such a massive disaster. He captures a world of kings and Kaisers, generals and infantrymen. None of them knew what a big European war meant. All the combatant nations assumed it would be short, and each expected to win. The roots of such folly began in the nineteenth century. Robinson traces the earliest warning signs, leading to a sudden crisis and an impulsive war that went massively wrong from the start. This book is the ideal introduction to the key question of the Great War: why did Europe explode?
Histopathology Reporting: Guidelines for Surgical Cancer provides an easily comprehensible and practicable framework for standardised histopathology reports in surgical cancer. The book details the gross description, histological classification, tumour differentiation, extent of local tumour spread, involvement of lymphovascular channels, lymph nodes and excision margins of the common carcinomas and also summarises non-carcinomatous malignancies. The 5th edition TNM classification of cancers is incorporated, with comments on any associated pathology, diagnostic clues and prognostic criteria. Staging information is supplemented visually by line diagrams. The aim of Histopathology Reporting: Guidelines for Surgical Cancer is to be educative and applied. The book: * emphasises those gross and histological features that are relevant to clinical management and prognosis. * uses a systematic and analytical approach to the description of surgical pathology specimens resulting in focused histopathology reports. * acts as a companion or aide-memoire for routine reporting of the common cancers and also lists diagnostic options and summary features of rarer cancers. * facilitates audit of specimen type and quality and gives guidance for pathological, surgical and oncological practice. Derek Allen is Honorary Senior Lecturer and Consultant in Histopathology and Cytology at the Belfast City Hospital, Belfast, UK
Introduction to Clinical Chemistry presents the physiological background for a number of investigations. It discusses the principles and analytical techniques in clinical chemistry. It addresses the basic understanding of chemical pathology. Some of the topics covered in the book are basic principles of metabolic chemistry; disorders of carbohydrate metabolism; nitrogen metabolism; inborn errors of metabolism; chemical endocrinology; assessment of hormonal function; liver function; the formation of bile; and the synthesis and metabolism of amino acids and protein. The storage of carbohydrates and removal of toxic substances from the body are covered. The assessment of liver function is discussed. The text describes the renal function and acid-base metabolism. A study of the renal tubular reabsorption and excretion is presented. A chapter is devoted to the hydrogen ion concentration and analytical techniques in potentiometric determination. Another section focuses on the measurement of osmolality. The book can provide useful information to scientists, physicists, doctors, students, and researchers.
The dual biography of two remarkable women - Catherine Parr and Anne Askew. One was the last queen of a powerful monarch, the second a countrywoman from Lincolnshire. But they were joined together in their love for the new learning - and their adherence to Protestantism threatened both their lives. Both women wrote about their faith, and their writings are still with us. Powerful men at court sought to bring Catherine down, and used Anne Askew's notoriety as a weapon in that battle. Queen Catherine Parr survived, while Anne Askew, the only woman to be racked, was burned to death. This book explores their lives, and the way of life for women from various social strata in Tudor England.
Winner of the 2022 John Hurt Fisher Award from the John Gower SocietyFirst comprehensive catalogue of the manuscripts of one of the most important medieval works, with full descriptions of their features.The Confessio Amantis is John Gower's major work in English, written around the time that his acquaintance Geoffrey Chaucer was writing the Canterbury Tales. Extant manuscripts are numerous. At the end of the nineteenth century G. C. Macaulay had described the forty manuscripts then known to survive in the introduction to his edition, but some of these descriptions were very brief, and of course the other nine of whose existence he was then unaware were not included. This descriptive catalogue of all of the surviving manuscripts containing the Confessio is the first work to bring together extensive detailed descriptions of its forty-nine complete manuscripts and numerous fragments and excerpts; it will enable scholars of Middle English literature and manuscript studies to compare features across the corpus of surviving manuscripts or read detailed descriptions of individual manuscripts. Each description in this catalogue covers the manuscript's contents, artwork, physical qualities such as size, material, collation, foliation, etc., as well as additions by later users and provenance. There is also a lengthy introduction giving an overview of the corpus, and appendices for reference to the current whereabouts of the manuscripts, fragments and excerpts, and listing Gower's Latin and French works that appear in some of the manuscripts. Eight colour illustrations provide context for discussions of the miniatures and illuminated borders of some manuscripts. surviving manuscripts or read detailed descriptions of individual manuscripts. Each description in this catalogue covers the manuscript's contents, artwork, physical qualities such as size, material, collation, foliation, etc., as well as additions by later users and provenance. There is also a lengthy introduction giving an overview of the corpus, and appendices for reference to the current whereabouts of the manuscripts, fragments and excerpts, and listing Gower's Latin and French works that appear in some of the manuscripts. Eight colour illustrations provide context for discussions of the miniatures and illuminated borders of some manuscripts. surviving manuscripts or read detailed descriptions of individual manuscripts. Each description in this catalogue covers the manuscript's contents, artwork, physical qualities such as size, material, collation, foliation, etc., as well as additions by later users and provenance. There is also a lengthy introduction giving an overview of the corpus, and appendices for reference to the current whereabouts of the manuscripts, fragments and excerpts, and listing Gower's Latin and French works that appear in some of the manuscripts. Eight colour illustrations provide context for discussions of the miniatures and illuminated borders of some manuscripts. surviving manuscripts or read detailed descriptions of individual manuscripts. Each description in this catalogue covers the manuscript's contents, artwork, physical qualities such as size, material, collation, foliation, etc., as well as additions by later users and provenance. There is also a lengthy introduction giving an overview of the corpus, and appendices for reference to the current whereabouts of the manuscripts, fragments and excerpts, and listing Gower's Latin and French works that appear in some of the manuscripts. Eight colour illustrations provide context for discussions of the miniatures and illuminated borders of some manuscripts. for reference to the current whereabouts of the manuscripts, fragments and excerpts, and listing Gower's Latin and French works that appear in some of the manuscripts. Eight colour illustrations provide context for discussions of the miniatures and illuminated borders of some manuscripts.
The majority of deaf children are taught in the mainstream system, but are much more likely to underachieve at school than their hearing counterparts. Supporting Deaf Children and Young People is a comprehensive guide to working with deaf and hearing-impaired students in a variety of educational settings. The book features an overview of current areas of controversy and difficulty within deaf education, as well as offering practical advice and strategies for supporting deaf individuals, such as • raising literacy and numeracy standards • identifying and circumventing avoidance strategies • incorporating deaf-friendly resources and activities into lesson plans • working with parents and other professionals. The book also includes advice on aids and technology, as well as looking at the social and emotional side of being a deaf student today. The supportive and positive voice of the author will help readers analyze and reflect on their teaching in order to find their own solutions to supporting their students.
The story of Henry VIII and his six wives is a well-known example of the caprice and violence that dominated that king's reign. Now Derek Wilson examines a set of relationships that more vividly illustrate just how dangerous life was in the court of the Tudor lion. He tells the interlocking stories of six men-all, curiously enough, called Thomas-whose ambitions and principles brought them face to face with violent death, as recorded in a simple mnemonic: 'Died, beheaded, beheaded, Self-slaughtered, burned, survived.' Thomas Wolsey was an accused traitor on his way to the block when a kinder death intervened. Thomas More and Thomas Cromwell, whose convictions and policies could scarcely have been more different, both perished beneath the headman's axe. Thomas Howard, Duke of Norfolk, would have met the same end had the king's own death not brought him an eleventh hour reprieve. Thomas Wriothesley, Earl of Southampton, and Thomas Cranmer, Archbishop of Canterbury, though outliving the monarch, perished as a result of that war of ambitions and ideologies which rumbled on after 1547. Wriothesley succumbed to poison of either body or mind in the aftermath of a failed coup. Cranmer went to the stake as a heretic at the insistence of Mary Tudor, who was very much the daughter of the father she hated. In the Lion's Court is an illuminating examination of the careers of the six Thomases, whose lives are described in parallel-their family and social origins, their pathways to the royal Council chamber, their occupancy of the Siege Perilous, and the tragedies that, one by one, overwhelmed them. By showing how events shaped and were shaped by relationships and personal destinies, Derek Wilson offers a fresh approach to the political narrative of a tumultuous reign.
This volume describes the claustrophobic atmosphere, in which Joseph was trained to rule, and his attempts after 1765 as co-regent with his formidable mother.
During the brief reign of the Queen Mary, Walsingham was a Protestant exile in Italy. Returning home when Elizabeth assumed the throne, from 1570 he became a diplomat to the arch-pragmatist Queen. He was often troubled by her inconsistent policy decisions and for allowing the exile in England of Mary Queen of Scots. His triumph came in 1587 when Mary was at last beheaded after the cunning defeat of the Babington plot. A powerful, if enigmatic figure, loathed by his adversaries and deeply admired by friends and allies, Walsingham became the master co-ordinator of a feared pan-European spy network. His spies underpinned his organisation of national resistance to the Spanish Armada, but devotion and duty to Elizabeth was costly and Walsingham died two years later in penury. Historian and storyteller Derek Wilson delves deeply into the life of a fascinating and highly influential figure, bringing us tales of deceit, betrayal and loyalty along the way; popular history of the highest calibre. see www.derekwilson.com
How can we understand another person's feelings, thoughts, words or behaviour? Through empathy, it is hoped, we might use our imaginations to shift our perspective into another person's, thereby grasping their thoughts and emotions. In this insightful new book, Derek Matravers negotiates the evolution of this fascinating concept. He explores the roots of the term in the work of David Hume and Adam Smith, its re-emergence in a new form in nineteenth-century German philosophy, and its resurgence as something different again in contemporary Anglo-American philosophy. In doing so, he explores the important role empathy, in all its forms, has played in the study of the mind, the emotions and aesthetics, and in ethics. Empathy is an ideal introduction to one of the most absorbing contemporary philosophical debates.
The Critical Heritage gathers together a large body of critical sources on major figures in literature. Each volume presents contemporary responses to a writer's work, enabling students and researchers to read for themselves, for example, comments on early performances of Shakespeare's plays, or reactions to the first publication of Jane Austen's novels. The carefully selected sources range from landmark essays in the history of criticism to journalism and contemporary opinion, and little published documentary material such as letters and diaries. Significant pieces of criticism from later periods are also included, in order to demonstrate the fluctuations in an author's reputation. Each volume contains an introduction to the writer's published works, a selected bibliography, and an index of works, authors and subjects. The Collected Critical Heritage will be available as a set of 68 volumes and the series will also be available in mini sets selected by period (in slipcase boxes) and as individual volumes.
A versatile craftsman, actor Van Heflin was never concerned with popularity or comfortable with stardom. Lauded by his peers, Heflin won over moviegoers with his portrayal of resolute homesteader Joe Starrett in George Stevens' classic Shane (1953). He impressed in all genres, convincingly portraying every type of character from heel to hero. Van Heflin first garnered attention as the sensitive, alcoholic friend of gangster Johnny Eager (1941), for which he won an Academy Award, and later gave notable performances in a string of noirs, dramas and westerns. He was memorable as the psychotic cop in Joseph Losey's masterpiece The Prowler (1951) but equally impressive as the doubtful executive in Jean Negulesco's smart satire Woman's World (1954). This first full-length biography of Heflin covers his early life as a sailor and his career on stage and screen, providing detailed commentary on all his films.
Derek Esp didn’t set out to forge a career in education: but, after enrolling in an Education course at university, he discovered a love for learning and a passion for teaching. Appointed as the Youth Officer for Central Shropshire in 1959, Derek found that he had a talent for leadership. He later worked in three counties as an education officer, moving on to various other roles in which he led a number of education initiatives and helped to develop new schools. His final role in public education was that of Director of Education in Lincolnshire. Derek retired early from local government and became an education consultant. He went on to lead national projects, became a county politician and chaired an education committee. In An Adventure in Education, he explains how education transformed between 1960 and 1990 outlining important initiatives of the time and their relevance to current issues in education. He simultaneously entertains readers with humorous anecdotes.
A comprehensive description of the UK’s mammal population. Fully illustrated from the author’s extensive photographic collection. This book is the result of over fifty years of studying and photographing the mammals of the UK in their natural environment. It consists of full descriptions of our native mammals and the landscapes in which they live. It concentrates on the larger mammals such as the badger and foxes, but also all the smaller mammals such as stoats, weasels and polecats, and rodents including squirrels, voles and various mouse species. Finally it also describes some introduced animals both long established, such as the rabbit and brown hare, as well as briefer descriptions of the more recently introduced ones such as the mink. The book deals with how some of the mammals, such as the badger, have had their profiles raised through the work of the author together with Dr Ernest Neal. It was the combined work of various badger experts, including Derek Warren and Dr. Neal, and several MPs that resulted in the two badger bills being presented to parliament. The book contains a chapter by Adrian Middleton, a retired veterinary surgeon, on colour variations in mammals where these variations are described in detail. All of these descriptions within the book are accompanied by photographs of the various mammals taken by the author.
Uncovers a world of forgotten triumphs of musical theatre that shine a light on major social topics. This book is also available as Open Access on Cambridge Core.
As Charlton Heston put it: ‘There’s a temptingly simple definition of the epic film: it’s the easiest kind of picture to make badly.’ This book goes beyond that definition to show how the film epic has taken up one of the most ancient art-forms and propelled it into the modern world, covered in twentieth-century ambitions, anxieties, hopes and fantasies. This survey of historical epic films dealing with periods up to the end of the Dark Ages looks at epic form and discusses the films by historical period, showing how the cinema reworks history for the changing needs of its audience, much as the ancient mythographers did. The form’s main aim has always been to entertain, and Derek Elley reminds us of the glee with which many epic films have worn their label, and of the sheer fun of the genre. He shows the many levels on which these films can work, from the most popular to the specialist, each providing a considerable source of enjoyment. For instance, spectacle, the genre’s most characteristic trademark, is merely the cinema’s own transformation of the literary epic’s taste for the grandiose. Dramatically it can serve many purposes: as a resolution of personal tensions (the chariot race in Ben-Hur), of monotheism vs idolatry (Solomon and Sheba), or of the triumph of a religious code (The Ten Commandments). Although to many people Epic equals Hollywood, throughout the book Elley stresses debt to the Italian epics, which often explored areas of history with which Hollywood could never have found sympathy. Originally published 1984.
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