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.

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.

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.

Sex and STEM occupation predict Autism-spectrum Quotient (AQ) scores in half a million people

This study assesses Autism-Spectrum Quotient (AQ) scores in a ‘big data’ sample collected through the UK Channel 4 television website, following the broadcasting of a medical education program. We examine correlations between the AQ and age, sex, occupation, and UK geographic region in 450,394 individuals. We predicted that age and geography would not be correlated with AQ, whilst sex and occupation would have a correlation. Mean AQ for the total sample score was m = 19.83 (SD = 8.71), slightly higher than a previous systematic review of 6,900 individuals in a non-clinical sample (mean of means = 16.94) This likely reflects that this big-data sample includes individuals with autism who in the systematic review score much higher (mean of means = 35.19). As predicted, sex and occupation differences were observed: on average, males (m = 21.55, SD = 8.82) scored higher than females (m = 18.95; SD = 8.52), and individuals working in a STEM career (m = 21.92, SD = 8.92) scored higher than individuals non-STEM careers (m = 18.92, SD = 8.48). Also as predicted, age and geographic region were not meaningfully correlated with AQ. These results support previous findings relating to sex and STEM careers in the largest set of individuals for which AQ scores have been reported and suggest the AQ is a useful self-report measure of autistic traits

Section of Television Laboratory at the New York Trade School

Several students are shown working in a section of the Television Laboratory at the New York Trade School. Black and white photograph with some damage due to writing in red ink along the long edges.

Closed-circuit Television Student Working

A student is show working with closed-circuit television at the New York Trade School. Black and white photograph.

Getting Hitched: Weddings and Reality Television

From watching reality shows like A Wedding Story on TLC, I have learned that planning a wedding is stressful, kills friendships, and is generally not fun. In my opinion, I think it’s crazy. So why do people do this? What is the allure of this madness? In addition to the general insanity of weddings, the institute of marriage has been shown to be deeply flawed and quite unequal, but we are still tuning in to watch Engaged & Underage and Perfect Proposal. The fantasy shows that we watch and the glossy magazines we read seem to cover up the fact that the institution of marriage has problems. I want to find out why we are obsessed with getting married, even though many of us won’t actually carry through with the event or will end our marriages in divorce. Is it just the pageantry? The attention one receives as a bride and a new wife? To me, the huge attention paid to marriage in the media these days brings out some really interesting questions.

Closed-circuit Television Students Film a Voltage-regulator check by William C.H. Meyers

One of a series of photographs accompanying a press release by the New York Trade School announcing the development and demonstration of a new technique in closed-circuit TV. Student Dennis Mahoney serves as one of the cameramen as William C. H. Meyers of the Automotive Department performs the demonstration. Black and white photograph.

Nicholas Colon, Jr, Proprietor Tele-FM Television and Advanced Television Techniques graduate, 1954.

This is a photograph showing Nicholas Colon, Jr. a New York Trade School, Advanced Television Techniques graduate with an unnamed worker at his Tele-FM Television company. Original caption reads, "Nicholas Colon, Jr. - Advanced Television Techniques 1954, operates and up-to-date and successful television service shop. He is on the executive board of CETA (Certified Electronic Technicians Association). He prefers to employ graduate technicians of the New York Trade School Advanced Television Techniques course." Black and white photograph with caption glued to reverse.