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Home :: Archive :: 1993 :: June ::
New on the SHAKSPER FileServer: HOWELL BBC
Shakespeare Electronic Conference, Vol. 4, No. 390.  Thursday, 24 June 1993.
 
From:           Hardy M. Cook <
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Date:           Thursday, June 24, 1993
Subject:        New on the SHAKSPER FileServer: HOWELL BBC
 
As of today, SHAKSPEReans may retrieve my essay "Jane Howell's BBC First
Tetralogy: Theatrical and Televisual Manipulation" (HOWELL BBC) from the
SHAKSPER Fileserver.
 
SHAKSPEReans can retrieve HOWELL BBC by issuing the interactive command,
"TELL LISTSERV AT UTORONTO GET HOWELL BBC SHAKSPER."  If your network link
does not support the interactive "TELL" command (i.e. if you are not
directly on Bitnet), or if LISTSERV rejects your request, then send a
one-line mail message (without a subject line) to LISTSERV@utoronto,
reading "GET HOWELL BBC SHAKSPER."
 
Should you have difficulty receiving this file, please contact me at
<
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 > or <SHAKSPER@utoronto.bitnet>.
 
For an updated version of the file list, send the command "GET SHAKSPER FILES
SHAKSPER" in the same fashion.  For further information, consult the
appropriate section of your SHAKSPER GUIDE.
 
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Jane Howell's BBC First Tetralogy: Theatrical and Televisual Manipulation
 
     Jane Howell began her two-year project of taping the plays of
Shakespeare's first tetralogy for *The BBC TV Shakespeare* with a conception of
the sequence as a continuous whole. Further, she chose to use not only the same
actors but the same production crew and set throughout.[1] Her "signature" is
stylized and presentational: she is perfectly content to use television in the
service of the theatrical and the artificial. Her basic televisual strategy is
that of depth-of-field with ensemble compositions and long, continuous takes
("part of the production's fundamental approach"), recorded with wide-angle
camera lenses (*BBC 3 Henry VI*, 23). She does use montage during the battle
sequences from the end of *1 Henry VI* through *Richard III*, but montage is
the exception and not the rule -- confined for the most part to recording the
fighting.[2] That Howell directed all four plays allows us to explore the
consequences of her particular approach to putting Shakespeare before us on the
small screen.
 

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