Archive for February, 2010|Monthly archive page
With The Hurt Locker vying for the Oscars and a new offensive under way in the dragging out war in Afghanistan, Mark Gertler’s Merry-Go-Round seems an apt, timely starting point for this occasional series. I first came across Gertler at the Ben Uri Gallery in Dean Street, Soho in the mid-80s, such an old school collection that I was shown around the wooden racks in the backroom where Gertlers and valuable masterworks of other prominent Jewish artists lay idle, waiting for space in which to be brought to light. The collection, which I believe had origins in the East End – like Gertler himself – has since moved to St John’s Wood. This painting had only recently been acquired by the Tate when I first came across the collection – it was purchased for the nation in 1984. Back in 1916 D.H. Lawrence (with whom I share a birthday) had written to his friend Gertler: “Get somebody to suggest it be bought by the nation – it ought to be”. It took seven decades for Gertler to be recognised in this way, he is still not widely known and this, arguably his masterpiece, got little recognition at the time, other than from the likes of Lawrence.
Lawrence also wrote: “This is the first picture you have ever painted. …it is the best modern picture I have seen: I think it is great, and true. But it is horrible and terrifying.” Of course, it was not literally Gertler’s first painting, he had been painting since his teenage years and had trained at the Slade with a great generation, the one that crashed into the Great War, including Stanley Spencer, Paul Nash (currently being exhibited at the Dulwich Picture Gallery), Richard Nevinson, William Roberts, Dora Carrington and Edward Wadsworth – but it was his coming of age and his passage to modernity.
The scene is infused with the spirit of Futurism. It was Gertler’s friend and rival in love Nevinson who had most fully embraced the credo of Futurism preached by the Italian Marinetti. But the spirit of it is here in the grinding mechanisation of the fairground attraction, spinning, speeding up, going nowhere fast. Gertler lived in Hampstead and seemingly took inspiration from the annual funfair which still takes place there. (I too found it very striking as a child when my father, who grew up beside the Heath opposite where Ruth Ellis shot her lover and next to the pond with the V1 crater at its edge, drew back his arm to fire the wooden coconut shy ball and whacked me on the head. With funfairs as with art – always think about where you stand.)
Gertler stands at a disorienting Cubist angle, the top is front on but the circular base simultaneously from 45 degrees. The overwhelming sense is of circularity and uniformity – literally, red-blue-yellow in three of the four groups of servicemen. The faces look more like those fairground stalls where you have to fire something into the mouth than normal faces in all their variety – these uniform uniformed men screaming in excitement or terror, who knows which, not even they themselves.
I’ve always found it slightly disturbing that the soldier on the right, coming straight at us, looks like Corporal Hitler. Talking of whom, I don’t think the horse’s arse is an accident. This was a generation being lead by donkeys or horses’ arses into a manic mechanical war which in 1916 – the year of the Somme, 20,00 British lost on Day One, 400,000 British casualties by the time the offensive was abandoned five months later in November, no progress made, a circular campaign of winning and losing ground to no net effect beyond death and destruction of a generation of young men – was grinding. to a. halt.
Gertler had a similar fight on the home front – a can’t live with her, can’t live without her love affair with fellow Slade artist Dora Carrington aka Carrington, her preferred form of address indicative of such a striving to be treated on a par with men that her femininity became confused. She loved Gertler but somehow couldn’t give herself in love, frozen by a highly conservative bourgeois background and the donkey in a carrot field effect of having men falling for her left, right and centre – Nevinson, author Gilbert Cannan, Lytton Strachey et al. Canaan wrote a roman-a-clef (Mendel) depicting Gertler and Carrington’s crazy love before the war drove him into madness himself.
Gertler and Carrington were drawn into the vortex of Bloomsbury, boarding the merry-go-round of Garsington, Lady Ottoline Morrell’s country house salon satirised mercilessly by Aldous Huxley in Chrome Yellow (after having of course enjoyed her hospitality, such being satirists). The Bloomsbury circles were broadly pacifist in inclination so this painting by Gertler is very much in line with their thinking.
So as we watch the bodies cycling back through Wootton Bassett, as we hear the radio report we hear over and again that the family has been informed, as our children level up in Call of Duty and our politicians reiterate the party line that our security depends on some God-forsaken patch of foreign land that is forever being fought over – Britain/Soviet Union/USA Blue/Red/Yellow – Gertler’s picture can remind of where all this ultimately gets us…
Today I spent at the excellent The Story conference at Conway Hall, Red Lion Square, organised by my fellow Commissioning Editor at Channel 4, Matt Locke (a labour of love on his part). The theme was stories and story-telling – little theory, no money talk, just narrative and tales about tales. So what I learnt…
1) The best conferences (like this one) have only two outputs – Inspiration and catalysing Connections between people.
2) The best comic books have a layer of history, a layer of mythology and a layer of contemporary relevance as evinced by Sydney Padua‘s Lovelace & Babbidge. She showed the development of their new adventure Vs The Organist which combines Victoriana with Orpheus & Eurydice with proto-geekage. Alan Moore’s League of Extraordinary Gentlemen has a similar combo, a bit more literary, and it’s top of the tree for me. (Talking of trees, the frames in the new story where a band of monkeys break into Babbidge’s office and drag him off to the underworld gave me a sudden flashback to a game we played as children with plastic monkeys, something I hadn’t thought of for decades- there’s so much buried in these memories and imaginations of ours, and connection, especially surprising connection, is the key to creativity.)
3) The best stories combine profound emotion and humour. My old friend and colleague Tim Wright stole the show with his Harrison Fraud story. It’s about a mad time when he tried to convince his business/creative partner, Rob Bevan, that Harrison Ford wanted to work with them. The comic story of facial hair and faked letters was punctuated with insights into Tim’s marital struggles, recounted with an unflinching honesty. That willingness to confront difficult themes head on – as demonstrated equally in Tim’s wonderful In Search of Oldton project which has its roots in his father’s tragic death – is what raises his stories to special heights. Tim and I worked together on the writing of MindGym back in 1996, a game about creativity, Rob worked on it too programming and designing – it was a landmark project for me, drawing me into the world of non-linear story-telling and interactivity, and I learned a wealth from Tim’s methodical approach to scripting. I remember sitting with Tim in a bar in Clapham Old Town, asserting my dedication to film-making and that I’d be giving up this interactive thing before too long, not really my bag. 14 years down the line and here I still am.
4) The best fiction is less strange than truth. The day was rounded off in style by a besuited David Hepworth, he of The Word and Smash Hits, who told a lovely circular tale of the passage of wisdom from father to son to grandson via a bespoke tailor’s in the Yorkshire village he grew up in. It involved the coincidence of a suit being made for him unknowingly by the tailor who had made his father’s suits. It reminded me of my wedding ring. I wear two rings – the wedding ring my wife gave me in the top O of the OXO Tower by the Thames when the O X and O were all floor-to-ceiling windows and the tower was still a building site, and a plain silver ring I bought from a stall in Camden market several years before. To cut a long Irish story short it turned out that the posh jeweler in Gabriel’s Wharf and the Camden stall holder were one and the same person from Inishowen in Donegal (where my wedding ended, 60 miles down the road from its start point in Derry). This stranger than fiction coincidence came to light one day when I was chucking out old chequebook stubs and I found the £10 cheque I’d bought the silver ring with. Recently I’ve had another such experience where I came across the same person (Pippa Harris of Neal St Films, Sam Mendes’ business partner) through two totally different routes – one starting off in a novel I was reading, The Great Lover by Jill Dawson; the other through judging the RTS Single Drama Award for work – the true-life story weaving through all manner of themes from Rupert Brooke to Wikipedia. It’s coincidences and dynamics like those that make life worth living.
I had a quick chat with David Hepworth on the way out about the merits of The Word podcast (very good for jogging I said, great for repetitive domestic tasks he countered) – it’s the very best on the Web, a chat with friends over the kitchen table. Leaving the period lobby, it felt great to have spent the day in Conway Hall with its radical, left-wing vibe. It was here that I took my first published photograph – one of Gerry Adams and Ken Livingstone that appeared in An Phoblacht, the Irish Republican newspaper. But that’s another story…
Embarrassing Bodies live web show draws 42,000
12 February, 2010 | By Robin Parker
Channel 4’s first live interactive web show drew 42,000 viewers this week – putting it almost on a par with UKTV’s Watch.
Embarrassing Bodies Live enjoyed a strong lead-in at 10pm on Wednesday night, with its established non-live counterpart watched by 3.5m viewers in its closing minutes.
At 10pm, 42,000 viewers logged on to the site and C4 new media commissioning editor Adam Gee said there was “very little tail-off”.
In the opening ten minutes, this figure was in line with Watch, which had 44,700 people watching Dalzeil and Pascoe.
Viewers were directed to the website to discuss issues raised with the show’s presenters and upload comments and images relating to their own medical conditions.
C4 and Maverick Television received hundreds of questions and more than 100 images over the course of the interactive show, which ran for 28 minutes.
Every individual question and image that made it onto the live show received hundreds of votes to get it on screen.
The Twitter hashtag #embarrassingbodies was the biggest trending topic in the UK on the nitght.
On the same night, Embarrassing Bodies’ established website received 30,000 visits and 420,000 page views between 9pm and midnight.
The interactive show will be available to view online retrospectively from today. C4 plans two further live spin-offs of the show, to air in April and May.
[Article reproduced courtesy of Broadcast]
Today’s Broadcast exploring Two-Screen Experiences with reference to Surgery Live and Embarrassing Bodies Live
Two-screen TV: terms of engagement
11 February, 2010 | By Robin Parker
Broadcasters are finding new ways of attracting the growing number of people who surf the web while they watch TV. Robin Parker taps into the world of two-screen entertainment.
Broadcasters and producers looking to hold on to the communal experience of TV are increasingly turning to the very threat most readily associated with fragmenting audiences.
The web is fast becoming the place to bring an extra dimension to, and make money from, live TV viewing by capitalising on many viewers’ habit of peering at the set over their laptops.
Reasoning that viewers are talking with their peers on social networks and Googling shows, broadcasters want to own the space – and find ways of harnessing this conversation to inform the content of their programmes.
To date, ‘two-screen’, as the trend is known, has been dominated by live web chats to support ITV franchises such as Dancing On Ice and The X Factor, which attract up to 20,000 people a time, and play-along games for shows such as The Apprentice and Four Weddings.
But players in this field forecast an acceleration of interest this year and expect the forthcoming General Election and football World Cup to take the trend to new heights.
Last week saw former ITV exec Jeff Henry launch an ambitious ‘live linking’ service that sent viewers of Five’s US drama Num3rs to 160 websites featuring material relevant to the unfolding narrative.
This week, Channel 4 takes this development to its next logical step with its first ‘one-screen’ interactive experience: a live web show spin-off of Embarrassing Bodies.
Some might argue that enabling a web audience to interact with the show by asking questions and to vote in polls is merely a 21st-century extension of radio and TV phone-ins, but C4 crossplatform commissioner Adam Gee argues that this is reductive.
As Embarrassing Bodies Live unfolds, the studio feed will be dictated by the volume and nature of viewers’ questions, photos and comments. “Our one rule of thumb is that if the interactive element could be done on a digital channel or a radio phone-in, it’s out,” he says. “Those are not networked conversations and they’re not personalised.
“What separates the men from the boys is to take an existing behaviour, such as on Twitter, and spring-board off that into a conversation that has impact on the editorial.”
The web show is the culmination of 18 months of experimentation conducted by Gee, much of it involving Twitter. The highest-profile case, Surgery Live (see box below), became Twitter’s number one trending topic when it aired last May. Another, Alone In The Wild, was, says Gee, an “asynchronous” two-screen experience that opened up the production process before the show aired. It enabled a networked conversation – but one that excluded Ed Wardle, the isolated figure in the series.
Gee believes simplicity is best and thinks two-screen is effective for shows with “a certain wallpaper quality”. He adds: “If Big Brother were starting now, it would totally be in this territory.”
Where it goes wrong, he says, is when too much “unmoderated noise” renders the content incoherent, citing Bad Movie Club, a Twitter experiment backed by the likes of Graham Linehan and Phill Jupitus, in which followers watched the same movie and tweeted their thoughts as it played.
Thirst for information
In the spirit of DVD audio and text commentaries, Henry’s TellyLinks.com is the latest way to feed viewers’ thirst for more information. At launch, it acts like a micro-Google, connecting viewers with external links providing everything from information on an actor to background news stories and details of a show’s setting.
In time, it hopes to sell these links, enabling an advertiser to reach some viewers of regular shows such as the BBC’s Top Gear. Last week’s launch saw the site crash under what Henry says was “overwhelming demand”, which his team is trying to address.
Similarly, Maverick recently provided a Twitter commentary to HBO Iraq war drama Generation Kill as it played out on C4, in which followers of the hashtag #gk were offered definitions of about 60 technical military terms per episode, plus background context on the war that linked through to sites such as Channel 4 News.
The idea came to Maverick’s head of new media, Dan Jones, when he watched the show in the US. “While I loved it, it was hard to follow all the dialogue and I was looking up stuff online after each episode,” he says. “We designed a glossary that you could, if you chose, ignore most of, but you could look whenever you wanted to check something.”
The audience for this was in the mere hundreds but they were, he says, “really engaged”.
Maverick has also started working with talent on this, using Kirstie Allsopp’s love of Twitter to get the presenter to link to craft courses and contributors’ sites during the transmission of Kirstie’s Homemade Christmas.
“It’s low cost and this casual engagement becomes financially worthwhile as you’re directing people to advertising-supported sites like C4’s 4homes. com,” Jones adds.
Meanwhile, having pioneered simple play-a-long tools for The Apprentice, Come Dine With Me and Living shows such as Four Weddings, digital specialist Monterosa is also eyeing the commercial opportunities.
“Some of the biggest brands are measuring their marketing spend by engagement,” managing director Tom McDonnell says. “In shows with commercial breaks, there’s a huge opportunity to reach people waiting for shows – and games – to come back on.”
He believes the games reward viewer loyalty and help a pre-recorded show feel ‘live’. While less than 1% of the audience played along, as much as 80% of these watched every episode. Moreover, he says, “it’s about giving the broadcaster an authoritative role in viewers’ behaviour. Channels like Living have to feel interactive.”
Mint Digital has, under its own steam, developed its own play-a-long game – a fantasy football variant called Football 3s – and is now discussing with ITV how to exploit it for the World Cup.
Product manager Utku Can Akyuz believes the tournament, along with the election, will be the testing ground for two-screen, but feels it will remain a minority interest in the short term.
“I don’t want to go down the path where the only way to watch a show is with a second screen,” he says. “It’s a challenge for writers and producers to create hooks for it without being too overt.”
Another challenge, he says, will be adapting the experience for timeshifted viewing. Mint is prototyping a debate tool that time-indexes each comment made through a broadcast, then overlays them on a show on a catch-up site such as iPlayer so that viewers watching later can get a sense of the experience.
He also wants to finesse the feel of two-screen. “We’re looking at how to design it for peripheral vision – using colours or sounds so you can see things change, but you can decide whether or not to look down at your laptop.”
Which begs a bigger question: with Project Canvas on the horizon, bringing interactivity to the TV set, will two-screen have had its day? Players in this space think not, arguing that the peculiar mix of a personal and shared experience will live on.
“A lot of TV viewing is done with more than one person in the room,” says McDonnell. “Wouldn’t it be pretty annoying if dad was obscuring the TV just to play a game?”
C4 OPENS THE DEBATE
Windfall Films’ week-long Channel 4 series Surgery Live, which covered live operations from a surgical theatre, was the first significant and deliberate attempt by a UK broadcaster to involve Twitter and Facebook in shaping the editorial. Backed by a Wellcome Trust grant for online development, it asked viewers to become virtual students and tweet the questions and comments they would give if they were in the room with the doctors.
“It was a digital media literacy opportunity,” says C4 cross-platform commissioner Adam Gee. “We couldn’t assume people knew how to use Twitter, and this helped get them acquainted.”
More than 10,000 questions and comments arrived via Twitter and Facebook over the course of the week and the best got to the surgeon within two minutes. By the final night, it was Twitter’s biggest trending topic in the world and the Facebook group counted 5,000 members. Given that the show itself was only accessible in the UK, this was no mean feat and Gee counted surgical students, doctors and health charities among the interested audience who continue to discuss the issue online nine months on.
“It was a great opportunity to experiment,” Gee concludes. “It amplified what was going on and we took some real steps forward by initiating a broad range of debates on medical issues with a community that developed in a completely organic way.”
[Article reproduced courtesy of Broadcast]
Here’s Broadcast on the first of my two launches this week…
C4 site to share birth stories
9 February, 2010 | By Robin Parker
Channel 4 has launched a site featuring video feeds from 40 cameras fixed within a maternity ward to support documentary series One Born Every Minute.
The site, Life Begins, features video shot over the course of a month that can be explored in narrative sequence, thematically, by location or by contributor.
The site, www.channel4.com/born, also hosts a real-time map tracking births across the globe as they are announced on Twitter, a ‘midwife of the month’ and testimonies from couples before and after the births, including tales of babies born in unexpected places.
The site is produced by Airlock and features video shot by Dragonfly, the indie behind the eight-part TV series.
The project was commissioned by C4 cross-platform commissioner Adam Gee, who said: ”Anyone who’s had a baby knows how nerve-wracking the prospect of giving birth can be and how difficult it is to get an honest, balanced view of what it’s really like giving birth.
“We wanted to demystify it and give a glimpse into those spaces in the hospital you don’t normally see in action until you’re there for real. The footage on the site is wonderfully moving but, more importantly, captures the reality. I don’t think there’s anything more valuable we could offer parents-to-be.”
One Born Every Minute starts tonight [Tues 9th Feb 21:00] on Channel 4.
[Article reproduced courtesy of Broadcast]
And online it’s been an incredible 24 hours…
- We had over 198,000 visits in the first day
- 38,000 viewers came online in just one minute! (in response to the autism item)
- There were over 637,000 pageviews within two hours of broadcast – over 1.21M for the day
- We trended #2 on Twitter (UK)
The stampede online was to try out Professor Simon Baron-Cohen‘s Autism-Spectrum Quotient or AQ Test. We’d had over 50,000 results reported back by the time I left the orifice this evening. Simon told me EB was “very original” – sounds like that could be euphemistic. He was a Big Boy when I was at school and I hung out with his younger brother Ash, now a guerilla/out-there film-maker in LA.
Yesterday I met another Big Boy from school days – Pete Bradshaw, now the film critic of The Guardian. We were judging the Single Drama award at the RTS (Royal Telly Society). My abiding memory of him is playing (very well) Thomas Becket in TS Eliot’s Murder in the Cathedral. After watching 30 hours of TV drama over the last couple of days I reckon my AQ should be soaring right now…
Another Big Boy back in the day was Mark Kermode (back then Mark Fairey), co-star of the always amusing Radio 5 weekly film review show and a regular on Film4. He’s doing a gig next week (Friday 12th at 7.45) at the Phoenix Cinema, East Finchley (where we’re still trying to raise the last bit of cash to pay for our centenary restoration this year) talking about his life in cinema which should be a good way to kick off your weekend. He was the one who got kicked out of Cannes for heckling in bad schoolboy French.
Gotta love this one really (Brooker’s take on how TV news items are constructed). It prompts fond memories of working with The Day Today‘s Jan Hallett and his legendary ‘trouser tape’ in the beer and curry fueled bowels of ITN.
And now back to the studio, Chris…
(Jan did all those mental graphics)