Reality-experiential history documentaries: the Trench (BBC, 2002) and Britain's modern memory of the First World War

Culloden (BBC, 1964) The Great War (BBC, 1964) 1914-18 (BBC/KCET, 1996) Haig: the Unknown Soldier (BBC, 1996) Veterans: the Last Survivors of the Great War (BBC, 1998) 1900s House (Channel 4, 1999) The Western Front (BBC, 1999) History of Britain (BBC, 2000) 1940s House (Channel 4, 2001) The Ship (BBC, 2002) Surviving the Iron Age (BBC, 2001) The Trench (BBC, 2002) Frontier House (Channel 4, 2002) Lad's Army (BBC, 2002) Edwardian Country House (Channel 4, 2002) Spitfire Ace (Channel 4, 2003) World War One in Colour (Channel 5, 2003) 1914: the War Revolution (BBC, 2003) The First World War (Channel 4, 2003) Dunkirk (BBC, 2004) Dunkirk: The Soldier's Story (BBC, 2004) D-Day to Berlin (BBC, 2004) Bad Lad's Army (ITV, 2004) Destination D-Day: Raw Recruits (BBC, 2004) Bomber Crew (Channel 4, 2004) Battlefield Britain (BBC, 2004) The Last Battle (ARTE/ZDF, 2005) Who Do You Think You Are? (BBC, 2004, 2006) The Somme (Channel 4, 2005) [From the Publisher]

An information system to exploit the use of metadata within film and television production

The article focuses on an information system to exploit the use of metadata within film and television production. It is noted that the television and film industries are used to working on big projects. This involves the use of actual film, video tape, and P.E.R.T charts for project planning. Scripts are in most instances revised. It is essential to attach information on these in order to manage, track and retrieve them. The use of metadata eases the operations involved in these industries.

An information system to exploit the use of metadata within film and television production

The television and film industries are used to working on large projects. These projects use media and documents of various types, ranging from actual film and videotape to items such as PERT charts for project planning. Some items, such as scripts, evolve over a period and go through many versions. It is often necessary to attach information to these “objects” in order to manage, track, and retrieve them. On large productions there may be hundreds of personnel who need access to this material and who in their turn generate new items which form some part of the final production. The requirements for this industry in terms of an information system may be generalized and a distributed software architecture built, primarily using the internet, to serve the needs of these projects. This architecture must enable potentially very large collections of objects to be managed in a secure environment with distributed responsibilities held by many working on the production. Copyright © 2005 by the Society of Motion Picture and Television Engineers, Inc.

A small screen alternative to stone and bronze: The Great War series and British television

This article examines the first major British television series about the First World War, The Great War (BBC, 1964), in terms of its cultural, historical and aesthetic significance. As a central component of the BBC`s 50th anniversary commemorative programme to mark the outbreak of war, the series was a major media event -a small-screen memorial cast in sounds and images instead of stone and bronze. This article looks at how the British television audience responded to this form of on-screen commemoration. Material for this article was derived from the series' extensive production records housed in the BBC Written Archives Centre at Caversham, Berkshire. This was supplemented by, among other sources, material from interviews and correspondence with several surviving members of the production team. This allows a broader understanding of the motivations of those involved in the production of a groundbreaking historical series, while acknowledging the wide-ranging nature of its audience. [From the Publisher]

'Adoption success': the reality of adoptive placements today

In order to make adoption a true success story for adoptive parents and their children the number of adoptive placements that disrupt needs to become a key target. At present approximately 20 per cent of all adoptive placements breakdown. This paper discusses the issues and difficulties facing adoptive families, using literature and personal experience, and suggests strategies and interventions that social workers need to be implementing if the disruption rate is to decrease.