Chaos, culture and fantasy: The television plays of Howard Schuman

The single plays of American ex-pat playwright Howard Schuman produced for British television between 1973 and 1983 have received little critical attention. Written in a distinctly un-British madcap, non-naturalistic and often pulpy 'B movie' style, they centre around caricatured, hysterical and/or camp characters and make frequent references to popular culture. This article provides a general survey of Schuman's plays and analyses his sensibility as a screenwriter, drawing extensively on material from interviews with the writer. The article's particular focus is how and why different cultural forms including music, film and theatre are used and referred to in Schuman's plays, and how this conditions the plays' narrative content and visual and aural form. It also considers the reception of Schuman's plays and their status as non-naturalistic dramas that engage heavily with American pop culture, within the context of British drama. Finally, it explores the writer's relationship to style and aesthetics, and considers how his written works have been enhanced through creative design decisions, comparing his directions (in one of his scripts) with the realized play to reflect on the use of key devices.

The transatlantic dimensions of the time lord: Doctor Who and the relationships between British and North American television

This chapter explores some of the textual specificity of the Steven Moffat/Matt Smith Doctor Who, in relation to its positioning within the current transatlantic television landscape. The chapter develops further the existing scholarship on Doctor Who, by both offering a critical assessment of the transatlantic dimensions of the Moffat/Smith-era Doctor Who, and by challenging some of the existing critical arguments about Doctor Who's transatlantic dimensions. Particular attention is paid to the casting, physicality and costuming of actor Matt Smith as the Doctor in relation to notions of Britishness.

Are investors guided by the news disclosed by companies or by journalists?

Most previous studies demonstrating the influential role of the textual information released by the media on stock market performance have concentrated on earnings-related disclosures. By contrast, this paper focuses on disposal announcements, so that the impacts of listed companies’ announcements and journalists’ stories can be compared concerning the same events. Consistent with previous findings, negative words, rather than those expressing other types of sentiment, statistically significantly affect adjusted returns and detrended trading volumes. However, extending previous studies, the results of this paper indicate that shareholders’ decisions are mainly guided by the negative sentiment in listed companies’ announcements rather than that in journalists’ stories. Furthermore, this effect is restricted to the announcement day. The average market reaction–measured by adjusted returns–is inversely related only when the announcements are ignored by the media, but the dispersion of market reaction–measured by detrended trading volume–is positively affected only when announcements are followed up by journalists.

Chess Endgame News

This note includes some endgame reflections on the last World Chess Championship, an update on the search for the longest decisive games between computers, and a brief mention of the sets of endgame table (EGT) statistics recently received from Yakov Konoval (2013) and from Victor Zakharov (2013) for the Lomonosov team.

British television drama: past, present and future. 2nd edition

British Television Drama provides resources for critical thinking about key aspects of television drama in Britain since 1960, including institutional, textual, cultural, economic and audience-centred modes of study. It presents and contests significant strands of critical work in the field, and comprises essays by TV professionals and academics plus editors' introductions to each section that contextualise the chapters. The new edition includes a revised chapter by acclaimed TV producer Tony Garnett reflecting on his work since Cathy Come Home in the 1960s, new chapters by Phil Redmond, the creator of Brookside and Hollyoaks, and Cameron Roach, Head of Drama Commissioning at Sky TV and former executive producer of Waterloo Road. New academic analyses include work on Downton Abbey, The Sarah Jane Adventures, Ashes to Ashes, adaptations of Persuasion, and the changing production methods on Coronation Street.

Chess Endgame News

This paper notes FIDE's 75-move rule (9.6b) and suggests some implications. It reviews two endgame-table initiatives associated with the 50-move rule. One is Huntington's mainly sub-6-man multi-valued DTM50 EGTs implemented in HASKELL. The other is Ronald de Man's WDL' and DTZ50' EGTs which introduce a 5-way evaluation of positions, and ascribe a depth to decisive positions which are not 50-move-rule wins or losses. There is also some first detail about the Lomonosov '7-man DTM EGT' team, and comments on reactions to 'Haworth's Law'.

Chess Endgame News

The DTZ metric indicates the minimaxed 'Depth To Zeroing of the ply-count' for decisive positions. Ronald de Man's DTZ50' metric is a variant of the DTZ metric as moderated by the FIDE 50-move draw-claim rule. DTZ50'-depths are given to '50-move-rule draws' as well as to unconditionally decisive positions. This note defines a two-dimensional taxonomy of positions implicitly defined by DTZ50'. 'Decisive' positions may have values of (wins/losses) v =1/-1 or v = 2/-2. A position's depth in the new DTZ50' metric may be greater than, equal to or less than its DTZ depth. The six parts of the taxonomy are examined in detail, and illustrated by some 40 positions and 16 lines. Positions, lines and the annotation of these lines are supplied in the ancillary data files.

Chess Endgame News

This note investigates the recently revived proposal that the stalemated side should lose, and comments further on the information provided by the FRITZ14 interface to Ronald de Man’s DTZ50' EGTs. The history of stalemate is convoluted, and there is an argument for computing chess endgame tables to revised rules to examine the impact of any change. The FRITZ14 interface to the DTZ50' EGTs exhibits residual 'one-out' and end-of-phase errors. Example positions are provided to illustrate the stalemate and the DTZ50' issues described.

Chess Endgame News

Newborn and Hyatt recently tested the chess-engine CRAFTY on two test sets of 16 positions each. The performance of an engine making greater use of endgame tables (EGTs) is compared with that of CRAFTY. Reference is made to three other articles in which composed positions have been used to test a variety of chess engines. Supporting data here comprises two pgn files, an annotated-pgn file and the original data worksheets used.

Performing right: legal constraints and Beckett’s plays on BBC television

Drawing on BBC archival documentation, this article outlines how BBC television versions of Beckett’s plays were affected by copyright. Rights to record and broadcast original drama for the screen differ from those governing adaptations of existing theatre plays. Rights can be assigned for specific territories and periods of time, and are negotiated and traded via complex contractual agreements. Examining how Beckett’s agents and the BBC dealt with rights sheds new light on the history of his work on television.

How to watch television? Pedagogy and paedocracy in Beckett’s television plays

This article responds to scholarship on Beckett’s television plays that regards them as positive interventions which encourage the viewer to reconsider the conventions of the medium, and that raise the cultural standards of television drama. In making claims about how the plays address and educate their viewers, critical approaches shift between conceptions of audience. This analysis of Beckett’s plays on British television reconsiders their aesthetic strategies, their relationship with television culture, and the dominant assumptions of critical writing about them by examining the parallel between conceptions of the audience and conceptions of the child in writing about television and Beckett’s television plays.