Browsing by Person "Butt, Richard"

Now showing 1 - 8 of 8

British Television and the Classic Novel Adaptation
(John Wiley & Sons, 2012) Butt, Richard; Cartmell, D.
Literature and the Screen Media since 1908
(Edinburgh University Press, 2006) Butt, Richard; Brown, Ian; Clancy, Thomas; Manning, Susan; Pittock, Murray
Looking at Tartan in Film: History, Identity and Spectacle
(Edinburgh University Press, 2010) Butt, Richard; Brown, I.
Melodrama and the Classic Television Serial
(Palgrave Macmillan, 2014) Butt, Richard; Stewart, Michael
This chapter is concerned with the operation of the melodramatic mode within the classic television serial. It argues that the melodramatic mode is central to the narrative organization and emotional effect of a number of BBC adaptations of the works of Charles Dickens and Elisabeth Gaskell broadcast between 1999 and 2008, and that melodrama is something those programs productively engage with rather than something they oc casionally lapse into or avoid. This challenges the frequent categorization of the classic television serial as a homogenous group of texts lacking either the distinctiveness or artistic merit of their literary sources
The Classic Novel on British Television
(Blackwell, 2012-10) Butt, Richard; Cartmell, Deborah
The Competitors
(Edinburgh University Press, 2007) Butt, Richard; Finkelstein, David; McCleery, Alistair
At the start of the twentieth century the Scottish press was well established while cinema was an emerging cottage industry. By the century's end the mass media had become a highly organised force with profound social and economic power, developing from something that was of little threat to Scottish publishers to serious competition for the leisure time and money of Scottish readers. This chapter examines the development of Scotland's media industries and the range of mass media entertainment available to Scottish audiences in the twentieth century, while also considering the sometimes symbiotic, sometimes parasitic relationship between these new media and the oldest one.
The Films of Scotland Documentaries - website
(Queen Margaret University, Edinburgh, 2003) Butt, Richard
The Films of Scotland Committee (1938 and 1954-82) produced one hundred and sixty eight documentaries on Scotland and Scottish life; The Films of Scotland Documentaries presents the story of that Committee and the films it produced, illustrating that story with stills and QuickTime movie extracts. The Committee's work dominated Scottish film production for almost thirty years, and the institutional formation and mode of operation of the Committee allows us to pose a series of questions about the relations between film and cultural policy, nationhood, and tourism. The site is structured into six parts, reached through the menu bar above: History outlines the formation of the Committee and its place in Scottish film production; Timeline chronicles the work of the Committee, the films it produced and the touring seasons it organised; Citizenship examines the Committee's commitment to the national interest, and its relation to the mechanics and legitimation of state authority; The Face of Scotland examines the construction of national identity in one of the earliest films produced by the Committee; The Travelogue maps out the generic conventions of the genre that constituted almost half of the films produced by the second Committee; and Resources includes a full reading list, a filmography with links to all the film extracts featured on the site, and access to SCRAN's searchable database on Scottish culture.
We had it coming: hypothetical docudrama as contested form and multiple fantasy
(Manchester University Press, 2011-05) Stewart, Michael; Butt, Richard
This essay examines four hypothetical docudramas - Smallpox 2002: Silent Weapon (2002), The Day Britain Stopped (2003), The Man Who Broke Britain (2004) and Death of a President (2006) - broadcast in the UK between 2002 and 2006. The article assesses the programmes' critical reception, and situates it with reference to Peter Watkins' influential docudrama, The War Game (1965). It is argued that while ambiguity is a feature of the docudrama form, uncertainty is nonetheless heightened in critical responses, and that this results from what is new about the four programmes. The essay analyses the docudramas with the help of appropriate theoretical literature. It argues that the docudramas are an emergent type of event-status television that is memorial, predictive and reworks televisual time.