Teen TV meets T4: assimilating 'The O.C.' into British youth television

This article explores the presence of imported US Teen TV in the schedules of British youth television and the relationship between the two national forms. Focusing on the broadcast of The O.C on Channel 4 youth strand T4, it considers the role of the spaces in-between programmes in framing the audience’s experience of the imported US text. It demonstrates how the T4 supertext employed presenter performance, critique and parody to assimilate the glamorously aspirational US Teen TV text into the cynically engaged flow of British youth television.

Training pharmacists to deliver a complex information technology intervention (PINCER) using the principles of educational outreach and root cause analysis

Objective: To describe the training undertaken by pharmacists employed in a pharmacist-led information technology-based intervention study to reduce medication errors in primary care (PINCER Trial), evaluate pharmacists’ assessment of the training, and the time implications of undertaking the training. Methods: Six pharmacists received training, which included training on root cause analysis and educational outreach, to enable them to deliver the PINCER Trial intervention. This was evaluated using self-report questionnaires at the end of each training session. The time taken to complete each session was recorded. Data from the evaluation forms were entered onto a Microsoft Excel spreadsheet, independently checked and the summary of results further verified. Frequencies were calculated for responses to the three-point Likert scale questions. Free-text comments from the evaluation forms and pharmacists’ diaries were analysed thematically. Key findings: All six pharmacists received 22 hours of training over five sessions. In four out of the five sessions, the pharmacists who completed an evaluation form (27 out of 30 were completed) stated they were satisfied or very satisfied with the various elements of the training package. Analysis of free-text comments and the pharmacists’ diaries showed that the principles of root cause analysis and educational outreach were viewed as useful tools to help pharmacists conduct pharmaceutical interventions in both the study and other pharmacy roles that they undertook. The opportunity to undertake role play was a valuable part of the training received. Conclusions: Findings presented in this paper suggest that providing the PINCER pharmacists with training in root cause analysis and educational outreach contributed to the successful delivery of PINCER interventions and could potentially be utilised by other pharmacists based in general practice to deliver pharmaceutical interventions to improve patient safety.

Storytelling in song: television music, narrative and allusion in 'The O.C.'

Television’s long-form storytelling has the potential to allow the rippling of music across episodes and seasons in interesting ways. In the integration of narrative, music and meaning found in The O.C. (Fox, FOX 2003-7), popular song’s allusive and referential qualities are drawn upon to particularly televisual ends. At times embracing its ‘disruptive’ presence, at others suturing popular music into narrative, at times doing both at once. With television studies largely lacking theories of music, this chapter draws on film music theory and close textual analysis to analyse some of the programme's music moments in detail. In particular it considers the series-spanning use of Jeff Buckley’s cover of ‘Hallelujah’ (and its subsequent oppressive presence across multiple televisual texts), the end of episode musical montage and the use of recurring song fragments as theme within single episodes. In doing so it highlights music's role in the fragmentation and flow of the television aesthetic and popular song’s structural presence in television narrative. Illustrating the multiplicity of popular song’s use in television, these moments demonstrate song’s ability to provide narrative commentary, yet also make particular use of what Ian Garwood describes as the ability of ‘a non-diegetic song to exceed the emotional range displayed by diegetic characters’ (2003:115), to ‘speak’ for characters or to their feelings, contributing to both teen TV’s melodramatic affect and narrative expression.

Trevor Griffiths' 'Absolute Beginners': socialist humanism and the television studio

This article examines how conventional studio production strategies were active in the construction of political meaning in the 1974 television play 'Absolute Beginners' written by Trevor Griffiths. Produced for the BBC anthology series Fall of Eagles, the play dramatises Lenin's involvement with the Russian Social Democratic Workers Party (RSDWP) and explores the contradictions between personal ethics and political necessity. Through close textual analysis and contextual discussion of other plays in the series, this piece demonstrates how shot patterns and spatial and performative devices in 'Absolute Beginners' supported the drama's socialist-humanist themes. Drawing on existing writing about the studio mode, it argues that the qualities of intimacy and presentational distance that it engendered were highly appropriate for the personal and the political dialectic in 'Absolute Beginners'. While using authorship as a convenient category for referring to the coherence of Griffiths' thematic concerns and dramatic structure during this period, the article complicates notions of the television dramatist as author by arguing for the importance of visual style and showing how 'ordinary' studio form was operational in the play's political meanings.

Educational reforms, cultural clashes and classroom practices

This article presents an ongoing study of educational policy enactment in Singapore lower primary English classrooms. It explores how teachers react to and interpret educational reforms in their classroom practices against a backdrop ofvtraditional cultural values. Using a prescribed coding scheme, the article presents the instructional organisational patterns and participation structures of the lessons.Through a systematic analysis of the enacted curricula, the paper examines classroom practices as well as teaching and learning activities in Primary 1 (7–8 years) and Primary 2 (8–9 years) English lessons in Singapore. The results suggest that there are cultural clashes between major educational reforms which emphasise independent/critical thinking and ‘Asian values’ which promote respect for authority and conformity.

Educational simulation in construction: the virtual construction simulator

Students in the architecture, engineering, and construction disciplines are often challenged with visualizing and understanding the complex spatial and temporal relationships involved in designing and constructing three-dimensional (3D) structures. An evolving body of research traces the use of educational computer simulations to enhance student learning experiences through testing real-world scenarios and the development of student decision-making skills. Ongoing research at Pennsylvania State University aims to improve engineering education in construction through interactive construction project learning applications in an immersive virtual reality environment. This paper describes the first- and second-generation development of the Virtual Construction Simulator (VCS), a tool that enables students to simultaneously create and review construction schedules through 3D model interaction. The educational value and utility of VCS was assessed through surveys, focus group interviews, and a student exercise conducted in a construction management class. Results revealed VCS is a valuable and effective four-dimensional (4D) model creation and schedule review application that fosters collaborative work and greater student task focus. This paper concludes with a discussion of the findings and the future development steps of the VCS educational simulation

Stylised worlds: Colour Separation Overlay in BBC television plays of the 1970s

This essay aims to understand and interrogate the use of Colour Separation Overlay (CSO) as a mode of experimental production and aesthetic innovation in television drama in the 1970s. It sets out to do this by describing, accounting for and evaluating CSO as a production technique, considering the role of key production personnel, and analysing four specific BBC productions. Deploying methodologies of archival research, practitioner interview, and close textual analysis, the essay also delivers a significant reassessment of the role of the producer and designer in the conceptualisation and realisation of small-screen dramatic fiction.