Social Class on British and American Screens by Nicole Cloarec

Author:Nicole Cloarec
Language: eng
Format: epub
Publisher: McFarland
Published: 2016-02-04T16:00:00+00:00

Notes

1. “Since television programmes and television regulations have been largely made by well-educated and socially powerful elite groups in society, the underlying ideology of television regulation has considered the less socially powerful and less well-educated mass audience of television as vulnerable and prone to bad influences in the same way that children might be. Theodor Adorno and the Frankfurt School considered that the mass media perpetrated what we now call ‘dumbing down.’” Jonathan Bignell, An Introduction to Television Studies, London: Routledge, 2004, 242.

2. “Placed under the aegis of the National Film Finance Corporation, Group 3 had as function to supply young talents of the cinema, whether they were actors or directors, with the assistance of experienced professionals. Having failed, at the end of four years, to make a profit out of the investments granted by the State, the structure was dissolved.” Guy Gauthier and Philippe Pilard, Télévision passive, télévision active, Paris: Téma Éditions, 1972, 100 (translation by the author of the present article).

3. BFI TV 100: http://en.wikipedia.org/wiki/BFI_TV_100, accessed 20 September 2014.

4. A TV set would often gather many households and different generations together.

5. King Wallis Vidor, King Vidor on Filmmaking, New York: David McKay, 1972, 186.

6. In the present paper, “realism,” when applied to aesthetics, refers to what John Fiske and John Hartley in Reading Television define as “the mode in which the fictional story is presented […] the natural representation of the way things are: a story may be fictional, but the way it is related tells it like it is.” As for realism to refer to topics, it is to be understood as synonymous with “naturalism.”

7. Vidor, King Vidor on Film Making.

8. “From the mid–1960s to the end of the 1970s Tony Garnett was one of British television’s most controversial figures, responsible for producing some of the most politically radical drama ever to have been made in the UK, much of it in collaboration with director Ken Loach.” http://www.screenonline.org.uk/people/id/467672/, accessed 12 December 2014.

9. http://www.screenonline.org.uk/tv/id/467647/, accessed 12 July 2014.

10. Days of Hope (1975) was a four-episode TV series produced by Tony Garnett, written by Jim Allen and directed by Ken Loach. It dealt with the lives of a working-class family from the First World War to the General Strike of 1926, but had a strong contemporary resonance in a context of industrial unrest. http://www.screenonline.org.uk/tv/id/467647/, accessed 7 September 2014.

11. Susan Sydney-Smith, Beyond Dixon of Dock Green: Early British Police Series, London: I.B. Tauris, 2002, 93.

12. Ibid.

13. “Expository films adopt either a voice-of-God commentary (the speaker is heard but never seen), such as we find in the Why We Fight series, Victory at Sea (1952–1953), The City (1939), Blood of the Beasts (1949), and Dead Birds (1963), or utilize a voice-of-authority commentary (the speaker is heard and also seen), such as we find in television newscasts.” Bill Nichols, An Introduction to Documentary, Bloomington: Indiana University Press, 2001, 105.

14. Tony Currie, A Concise History of British Television, 1930–2000, Tiverton: Kelly Publications, 2004, 55.

15. http://www.screenonline.org.uk/tv/id/1103146/, accessed 12 December 2014.

16. John Grierson, Grierson on Documentary, London: Faber and Faber, 1946, 38.

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