Transatlantic spaces: production, location and style in 1960s-1970s action-adventure TV series

This paper argues that transatlantic hybridity connects space, visual style and ideological point of view in British television action-adventure fiction of the 1960s–1970s. It analyses the relationship between the physical location of TV series production at Elstree Studios, UK, the representation of place in programmes, and the international trade in television fiction between the UK and USA. The TV series made at Elstree by the ITC and ABC companies and their affiliates linked Britishness with an international modernity associated with the USA, while also promoting national specificity. To do this, they drew on film production techniques that were already common for TV series production in Hollywood. The British series made at Elstree adapted versions of US industrial organization and television formats, and made programmes expected to be saleable to US networks, on the basis of British experiences in TV co-production with US companies and of the international cinema and TV market.

Authenticity and performance of class in British factual TV series

The chapter characterises British ‘Reality TV’ as a hybrid of factual and fictional television genres, as signaled by the more accurate genre designation ‘structured reality’ television. From the 1990s onwards, in order to develop programmes that are attractive to audiences and inexpensive to produce, programme makers have focused on hybrids of dramatic and documentary modes. This chapter argues that many recent Reality TV programmes privilege soap opera’s emphasis on character, storyline and performance. This affects the ways that class authenticity is understood, undermining factual programmes’ usual claim to legitimacy based on reference to a pre-existing reality, and transforming hierarchies that separate highly-valued from low-valued types of programme.

The spaces of the Wednesday Play (BBC TV 1964–1970): production, technology and style

The BBC television drama anthology The Wednesday Play, broadcast from 1964-70 on the BBC1 channel, was high-profile and often controversial in its time and has since been central to accounts of British television’s ‘golden age’. This article demonstrates that production technologies and methods were more diverse at that time than is now acknowledged, and that The Wednesday Play dramas drew both approving but also very critical responses from contemporary viewers and professional reviewers. This article analyses the ways that the physical spaces of production for different dramas in the series, and the different technologies of shooting and recording that were adopted in these production spaces, are associated with but do not determine aesthetic style. The adoption of single-camera location filming rather than the established production method of multi-camera studio videotaping in some of the dramas in the series has been important to The Wednesday Play’s significance, but each production method was used in different ways. The dramas drew their dramatic forms and aesthetic emphases from both theatre and cinema, as well as connecting with debates about the nature of drama for television. Institutional and regulatory frameworks such as control over staff working away from base, budgetary considerations and union agreements also impacted on decisions about how programmes were made. The article makes use of records from the BBC Written Archives Centre, as well as published scholarship. By placing The Wednesday Play in a range of overlapping historical contexts, its identity can be understood as transitional, differentiated and contested.

Quantifying time scales of pedogenic calcrete formation using U-series disequilibria

Time scales of pedogenic calcrete development are quantified by subsampling carbonate from within a mature (stage V) pedogenic calcrete profile from southeast Spain and dating the material by U-series disequilibria. The location of the earliest and latest cements can be estimated by comparing previous studies of calcrete morphological development with micromorphological analysis of the study profile. Carbonate was sampled and dated from three locations within the profile: (1) below the lower surface of clasts within the hardpan (representing the earliest cement present-207 +/- 11 ka), (2) from the centre of cement filled pores within the hardpan (reflecting the final plugging of the calcrete hardpan-155 +/- 9 ka) and (3) from the laminar calcrete overlying the hardpan (representing the latest cement-112 +/- 15 ka). These results show that the hardpan took between 73 and 31 ka to form, whilst the mature stage V profile took between 121 and 69 ka to form. This is the first time that rates of mature calcrete development have been established by direct radiometric dating of the authigenic carbonate. The technique is appropriate for dating mature calcretes in dryland regions worldwide and offers the opportunity of increasing our understanding of the spatial and temporal variability in rates of pedogenic calcrete development. (C) 2004 Elsevier B.V. All rights reserved.

U-series isochron dating of immature and mature calcretes as a basis for constructing Quaternary landform chronologies for the Sorbas basin, southeast Spain

Immature and mature calcretes from an alluvial terrace sequence in the Sorbas basin, southeast Spain, were dated by the U-series isochron technique. The immature horizons consistently produced statistically reliable ages of high precision. The mature horizons typically produced statistically unreliable ages but, because of linear trends in the dataset and low errors associated with each data point, it was still possible to place a best-fit isochron through the dataset to produce an age with low associated uncertainties. It is, however, only possible to prove that these statistically unreliable ages have geochronological significance if multiple isochron ages are produced for a single site, and if these multiple ages are stratigraphically consistent. The geochronological significance of such ages can be further proven if at least one of the multiple ages is statistically reliable. By using this technique to date calcretes that have formed during terrace aggradation and at the terrace surface after terrace abandonment it is possible not only to date the timing of terrace aggradation but also to constrain the age at which the river switched from aggradation to incision. This approach, therefore, constrains the timing of changes in fluvial processes more reliably than any currently used geochronological procedure and is appropriate for dating terrace sequences in dryland regions worldwide, wherever calcrete horizons are present. (c) 2005 University of Washington. All rights reserved.