Steve Blandford
Biographic Data
| ID | 3047322 |
|---|---|
| NAME | Steve Blandford |
| GIVEN NAMES | Steve |
| FAMILY NAME | Blandford |
| SIGNATURE | BLANDFORD S |
| AFFILIATIONS | University of South Wales |
| VERIFIED | No |
| TOTAL WORKS | 5 |
| TOTAL CITATIONS | 3 |
| WORKS AS AUTHOR | 5 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2007 |
| LATEST PUBLICATION YEAR | 2013 |
| H-INDEX | 1 |
Memory, Television and the Making of the BBC’s The Story of Wales
The production of television history programming is a rich site for examining the dynamic relationship between history and memory. This article approaches these dynamics through original, empirical research of a specific case study, BBC Wales’ The Story of Wales (Green Bay for BBC Wales 2012). It analyses the commissioning, production and presentation of a landmark national history programme within the specific context of a small nation (Wales) a…
Promoting Public Service? Branding, Place and BBC Cymru Wales' Idents, Promos and Trailers
Nothing better testifies to the increasingly commercialised, competitive, multi-channel realities of the contemporary TV landscape than the rise of the brand ident. When there were only a tiny handful of channels from which to choose, broadcasters seldom felt the need to pay serious attention to distinguishing their identity from that of their competitors. Perhaps even the very notion of a broadcaster possessing an identity might have seemed rath…
Television Drama and National Identity
Screening Wales
In 2004, the BBC took the decision to re-launch what had been one of its fl agship programmes over the past four decades, Doctor Who (1963–89, 1996, 2005–present). In most respects this was an unremarkable decision as similar re-launches had taken place, oft en aft er signifi cant amounts of time had elapsed between series. What was intriguing about the 2004 ‘re-launch’ was the decision to produce the programme in Wales rather than its customary …
Film, drama and the break-up of Britain
Chapter 1: 'Introduction' - Page 7 - Steve Blandford Chapter 2: 'Last Orders in Wonderland: England and Cinema' - Page 19 - Steve Blandford Chapter 3: 'Beyond Priests, Pigs and Poverty: Ireland and Cinema' - Page 47 - Steve Blandford Chapter 4: 'We Can't Even Pick a Decent Country to be Colonised By: Scotland and Cinema' - Page 65 - Steve Blandford Chapter 5: 'A Beautiful Mistake: Wales and Cinema' - Page 87 - Steve Blandford Chapter 6: 'An Evapo…
Promoting Public Service? Branding, Place and BBC Cymru Wales' Idents, Promos and Trailers
Nothing better testifies to the increasingly commercialised, competitive, multi-channel realities of the contemporary TV landscape than the rise of the brand ident. When there were only a tiny handful of channels from which to choose, broadcasters seldom felt the need to pay serious attention to distinguishing their identity from that of their competitors. Perhaps even the very notion of a broadcaster possessing an identity might have seemed rath…
Television Drama and National Identity
Screening Wales
In 2004, the BBC took the decision to re-launch what had been one of its fl agship programmes over the past four decades, Doctor Who (1963–89, 1996, 2005–present). In most respects this was an unremarkable decision as similar re-launches had taken place, oft en aft er signifi cant amounts of time had elapsed between series. What was intriguing about the 2004 ‘re-launch’ was the decision to produce the programme in Wales rather than its customary …
Film, drama and the break-up of Britain
Chapter 1: 'Introduction' - Page 7 - Steve Blandford Chapter 2: 'Last Orders in Wonderland: England and Cinema' - Page 19 - Steve Blandford Chapter 3: 'Beyond Priests, Pigs and Poverty: Ireland and Cinema' - Page 47 - Steve Blandford Chapter 4: 'We Can't Even Pick a Decent Country to be Colonised By: Scotland and Cinema' - Page 65 - Steve Blandford Chapter 5: 'A Beautiful Mistake: Wales and Cinema' - Page 87 - Steve Blandford Chapter 6: 'An Evapo…
Promoting Public Service? Branding, Place and BBC Cymru Wales' Idents, Promos and Trailers
Nothing better testifies to the increasingly commercialised, competitive, multi-channel realities of the contemporary TV landscape than the rise of the brand ident. When there were only a tiny handful of channels from which to choose, broadcasters seldom felt the need to pay serious attention to distinguishing their identity from that of their competitors. Perhaps even the very notion of a broadcaster possessing an identity might have seemed rath…
Television Drama and National Identity
Screening Wales
In 2004, the BBC took the decision to re-launch what had been one of its fl agship programmes over the past four decades, Doctor Who (1963–89, 1996, 2005–present). In most respects this was an unremarkable decision as similar re-launches had taken place, oft en aft er signifi cant amounts of time had elapsed between series. What was intriguing about the 2004 ‘re-launch’ was the decision to produce the programme in Wales rather than its customary …
Memory, Television and the Making of the BBC’s The Story of Wales
The production of television history programming is a rich site for examining the dynamic relationship between history and memory. This article approaches these dynamics through original, empirical research of a specific case study, BBC Wales’ The Story of Wales (Green Bay for BBC Wales 2012). It analyses the commissioning, production and presentation of a landmark national history programme within the specific context of a small nation (Wales) a…
Art (5 works) · Political science (5 works) · Sociology (5 works) · Law (4 works) · Aesthetics (3 works) · History (3 works) · Law (3 works) · Media studies (3 works) · Advertising (2 works) · Business (2 works)