[eccr] Cultures of British Television Drama Conference

>Please find below an outline of the papers and panels at the Cultures of
>British Television Drama conference, University of Reading, 13-15
>September, 2005. More details and a booking form can be found at:
>
>www.rdg.ac.uk/fd/research/cbtdconference.htm
>
>Please email me ((h.m.wheatley /at/ rdg.ac.uk)) or Leah Panos, conference
>administrator ((l.panos /at/ rdg.ac.uk)) with any queries.
>
>Best wishes,
>
>Helen Wheatley
>
>___________________________________________________________________________
>
>Cultures of British Television Drama, 13-15 September, 2005
>
>Opening keynote panel - Cultures of British Television Drama: Histories -
>Dr. Jason Jacobs (Griffith) & Prof. John Caughie (University of Glasgow)
>
>Closing keynote panel ­ Cultures of British Television Drama: Drama
>Today - Prof. Robin Nelson (Manchester Metropolitan University) & Prof.
>Christine Geraghty (University of Glasgow)
>
>Plenary ­ Industrial change and TV drama aesthetics
>
>John Ellis (Royal Holloway, University of London): The cost of TV drama
>and production values
>
>Mark Fremaux (Edge Hill College): The Interaction between the film and
>television industries and the use of film for television production
>
>Julia Hallam (University of Liverpool): Equal Opportunists: The rise of
>the writer producer in the 1990s
>
>
>Plenary ­ New approaches to social realism
>
>Karen Shepherdson (Canterbury Christ Church University College):
>Dramatisation and Appropriation of the Demotic Voice.
>
>Stephen Lacey (Manchester Metropolitan University/University of Glamorgan)
>
>Lez Cooke (Manchester Metropolitan University): New Wave in British
>Television Drama
>
>
>Panel 1a: Genres of fantasy, 1960-82
>
>Jonathan Bignell (University of Reading): Transatlantic Style: Television
>and Mise-en-Scene in Filmed UK Action Series
>
>Helen Wheatley (University of Reading/University of Warwick): The house
>that bled to death: domestic horror in the 1970s
>
>Nickianne Moody (Liverpool John Moores University): Quatermass and the
>Representation of Social Malaise for a Popular Audience
>
>
>Panel 1b: Questions of Authorship
>
>Andy Willis (University of Salford): Beyond Days of Hope: Jim Allen and
>the history of television drama
>
>Kara McKechnie (University of Leeds): Hopeless in Halifax, helpless in
>Hartlepool: The Writer in Disguise - Alan Bennetts and Stephen Frears
>collaborations for LWT
>
>Peter Billingham (University of Portsmouth): I ad Popular Audience
>Ratings in the back of my cab, yer know! Reflections upon the issues of
>concepts of the Popular, the Serious and the Single Author in
>British television drama in the context of Tony Marchants Take Me Home.
>(BBC 1, 1989)
>
>
>Panel 2a: Producing childrens drama
>
>Karen Lury (University of Glasgow): Shoebox Zoo (BBC Scotland/Shoebox
>Production Co-production, 2004-)
>
>Val Williamson (Edge Hill College): Starting from Scratch: Watching The
>Tribe evolve with Channel Five, 1999-2003
>
>
>Panel 2b: Feminist approaches to the medical drama
>
>Sara Steinke (University of Reading): How I learned to stop worrying and
>love television medical drama: online fandom and television medical drama
>
>Christina Adamou (University of Reading): No Angels, no heroes:
>Undermining gender stereotypes
>
>
>Panel 3a: Experimental television drama
>
>Jamie Sexton (University of Wales, Aberyswyth): Experimental Television,
>Talking to a Stranger and Multi-Perspective Narration
>
>Paul Long (University of Central England): A radical departure for the
>BBC? Gangsters: The meanings, possibilities and memory of regional drama
>
>Pawe³ Schreiber (Kazimierz Wielki Academy Bydgoszcz, Poland): The Truth
>Beyond Words and Pictures?: Historical representation in Tom Stoppards
>Squaring the Circle
>
>
>Panel 3b: Representing cultural identity
>
>Darrell Newton (Salisbury University, MD): Undue Drama: British Television
>and the Taboo of Sexual Miscegenation
>
>Andrew Hill (University of Ulster, Coleraine): Northern Ireland and Pre-
>Troubles Television Drama
>
>Marcus Free (University of Limerick): The Problematics of Space, Class,
>and Gender in Roddy Doyles Writing for Television and Film
>
>
>Panel 4a - Shameless and the new social realism
>
>Glen Creeber (University of Wales, Aberystwyth): The Truth is Out There ­
>Not!: morality, politics and contemporary social realism in Shameless
>(C4, 2004-).
>
>Helen Piper (University of Bristol): Figurability and the expression of
>class-hybridity in recent British television drama
>
>Amy McNulty (University of Salford): Postmodern style, realist intent: The
>internal contradictions of Shameless
>
>
>Panel 4b - British Science Fiction Television
>
>James Chapman (Open University): Quatermass and the origins of British
>television science fiction
>
>John R. Cook (Glasgow Caledonian University): 'The Age of Aquarius: Utopia
>and Anti-Utopia in British Science Fiction Television of the Late 1960s
>and Early 1970s'
>
>Peter Wright (Edge Hill College of Higher Education): Echoes of
>Discontent: Conservative Politics and Sapphire and Steel
>
>'Cultures of British Television Drama: 1960-82' is directed by Dr Jonathan
>Bignell (University of Reading), Stephen Lacey (Manchester Metropolitan
>University), and Prof John Ellis (Royal Holloway, University of London)
>and combines analytical and archival study of British television drama
>programming between these years. The project focuses in particular on
>popular generic television drama in the period (based on postdoctoral
>research undertaken by Dr. Helen Wheatley at the University of Reading),
>institutional cultures and practices, and the regional drama output of
>Granada and BBC Pebble Mill (through doctoral research conducted by Lez
>Cooke at Manchester Metropolitan University). This conference is the
>culmination of a series of symposia organised in conjunction with the
>Centre for Television Drama Studies at Reading and the Department of
>Contemporary Arts at Manchester Metropolitan University.

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European Consortium for Communication Research
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