Frank Cox, who died in April 2021 at the age of 80, was a television director and producer who worked on drama at the BBC and ITV across a period of more than forty years. Although his was never a household name, he was responsible for realising some of Britain’s most popular drama series and did much to boost the position of Scottish television drama.
Cox had originally planned to become an actor. He enjoyed acting at school and featured in several student theatre productions while studying English Literature at Leeds University in the early 1960s. Although he found his interests shifting towards directing and film criticism during his studies, when he graduated in July 1962 and returned to his parents’ London home, he had, he later reported, “no clear idea of what to do for a living, other than a vague desire to be an actor”. Cox applied to the Royal Academy of Dramatic Art and did what he recalled as “a rather sad audition”. RADA did not find in his favour. He later suggested this was fortunate “because, being so enormously tall – I’m six-foot five – I would never have got work as an actor. Well, at least that’s my excuse for what is, basically, lack of acting ability!” Read more... (1892 words, 9 images)
Back in 2013, I did a small piece of research on visual style in Coronation Street. This was for a couple of different reasons. For a few years, I had been using Christine Geraghty’s very helpful distinction between the ‘realist’ tendencies of British soap operas in their earlier days and the shift towards melodrama that has occurred more recently, and I wanted to investigate whether this evolution might affect things like scene duration, shot scale, and so on. I have also been interested for a long time in David Bordwell’s work on visual style, particularly visual style in Hollywood cinema. Bordwell’s article ‘Intensified Continuity’ in Film Quarterly argues, convincingly, that there have been four major, interlocking changes in the visual style of contemporary American film as compared with what we might call ‘the classic era’: ‘More rapid editing’, ‘Bipolar extremes of lens lengths’, ‘More close framing in dialogue scenes’, and ‘A free-ranging camera’. I wondered if I might find similar changes at work if I compared old and new episodes of soap opera (and I decided to focus my attention on the first and third of the features Bordwell mentions). Read more... (3059 words, 24 images)
This article presents some thoughts on special live episodes of soaps since 2010, in particular the editions of EastEnders and Coronation Street broadcast in February and September 2015 respectively. It identifies some of the ways in which the two series addressed liveness both textually and paratextually, as in their cross-platform interest in interactivity. Engaging with British television drama’s residual qualities of liveness, immediacy and intimacy, these episodes pose questions for our understanding of soap storytelling, in particular its handling of time. The following thoughts are unpolished reflections, taken from before and after a module screening, but form hopefully useful notes for others to develop, for instance in conjunction with this site’s other pieces on live drama across the decades and a forthcoming piece that will discuss soap time in more detail.
Introduction: Live! Read more... (4397 words, 14 images)