The Frighteners, the first title in our new ‘Forgotten TV Dramas’ DVD range (in association with Network Distributing) went on sale today. Little seen (even at the time!), not much was ever written about the series, but while researching the Viewing Notes I did come across this perceptive review of Mike Hodges’ episode The Manipulators … Continue reading
We are pleased to announce the launch of a new range of ‘Forgotten TV Drama’ DVD titles drawn from the ITV Archive. The range will be curated by the ‘History of Forgotten Drama in the UK’ team at Royal Holloway and released by Network Distributing Ltd. The first title will be The Frighteners, London Weekend Television’s … Continue reading
We are pleased to be able to announce details of the second ‘Forgotten Dramas: Rediscovering British Television’s Neglected Plays’ season, held at BFI Southbank this February, curated by Lez Cooke, John Hill and Billy Smart as a part of the AHRC-funded ‘History of Forgotten Television Drama in the UK’ project at Royal Holloway College, University … Continue reading
Today’s post considers the specific nature of performance in multi-camera studio television drama of the 1970s, through textual analysis and production context of Hunters Walk (ITV/ATV 1973-76), a now-forgotten ITV police series that was popular in its day.
Forgotten screenwriter, Pat Hooker, had a number of scripts produced for British television in the 1970s, mainly in a range of popular series.
Each individual ITV company in the 20th century faced a difficult balance in making programmes for three different potential audiences; regional, national and international.
When the actor and writer Elizabeth MacLennan died on 23 June 2015 newspaper obituaries understandably focused on her work with the 7:84 Theatre Company, which she founded with her husband John McGrath and brother David MacLennan in 1971.
This paper looks at a British children’s television drama serial of the late 1960s, Tom Grattan’s War, and tries to establish its significance by asking a simple question: Who was this series made for?
This post suggests how changing approaches to making television drama have emphasised different aspects of John Osborne’s dramaturgy, and the particular strengths of multi-camera, ‘as live’ studio production in establishing and evoking a play’s inner meaning.
In my book A Sense of Place: Regional British television drama, 1956-82, I argued that the 1980s saw a shift away from the production of regional television drama in Britain towards more expensive filmed dramas that were attractive to overseas markets.