HP Voices is a collective 'online journal' consisting of all our members' blogs. (As part of full membership of the History Project, every member has the opportunity exclusive use of their own blog to write articles, essays, notes on research, or other content they may wish to share.) Please note that all opinions expressed are those of the authors and do not necessarily reflect the views of the British Entertainment History Project.
In August 2016 the following interviews have been digitised and uploaded to the website. Peggy Gick ( Interview number 403) ; Tony Garnett ( Interview number 560) ; Kitty Wood ( Morrison) ( Interview number 6) ; Peter Morley ( Interview number 166) ; Rodney Giesler ( Interview number 312)
Author: Melanie Williams, (School of Art, Media & America Studies, University of East Anglia)
Author: Rebecca Harrison, (School of Art, Media & America Studies, University of East Anglia)
Author: Joy Cuff ( née Seddon)
On my first visit to the Stanley Kubrick archives, I began looking through an inventory that detailed information on over 700 boxes that related to 2001: A Space Odyssey. My aim was to find some of the artwork that I had produced for this monumental film forty years ago. At random, I selected two boxes noted as ‘Miscellaneous Polaroid’s and 35mm transparencies’. To my wonder and surprise, both contained photographic shots of the moons’ surface; I had indeed created a number of tabletop models of the moon and its’ complex surface.
Source: Graham Smith, Institute of Historical Research, London University (www.history.ac.uk)
This article provides an excellent introduction to Oral History, from Developments in Oral History Theory, Ethics and Legal Understanding to Technical Changes, Archives and the Future of Oral History.
Since the 1970s oral history in Britain has grown from being a method in folklore studies to become a key component in community histories. Oral history continues to be an important means by which non-academics can actively participate in 'making history'. However practitioners across a range of academic disciplines have also developed the method into a way of recording, understanding and archiving narrated memories.
Over recent months the BECTU History Project has been busily continuing its interviews with women and men from across the UK film and television industries. With nearly 700 recordings so far, it is one of the most extensive audio-visual archives in the world.
Recent interviews have included:-
John Henshall is an acknowledged expert in electronic photography and digital imaging. He started at the BBC in the 1960s, and left in the mid-1970s. As a DoP in the following years he helped establish the new genre of music videos, and did innovative TV work such as ‘Spitting Image’ and ‘Network 7’.
This is a copy of a magazine article from 2012 in which "Janice Turner (Editor) reviews a study by Andrew Dawson and Sean P Holmes of the development of the BECTU History Project – from a reminiscence during an ACTT conference to an internationally important archive".
Read the original article in full here:- History Project Article SSR April-May 2012 (1113Kb PDF)
Source: Stage, Screen & Radio, 2012
There are many reasons why knowing our history is important, and this is particularly so for trade unionists and trade unions.
In this era of YouTube, the iPhone, 3 D movies, Facebook, ultra high definition television , the BECTU History Project links us to a time when we worked in a different way. It tells the stories of the workers in our industry over the last 100 years – it tells about the challenges they had to overcome, the skills they developed, the enduring human relationships they forged as Britain developed into one of the world’s major centres of the film and television industry.
50 Years of British TV Documentaries: A Diary of Decline, by a film editor - Simon Rose 2014
With his unique perspective of 50 years working in documentaries, Simon Rose describes the profound cultural and political changes that have transformed the genre.
There has been some debate in oral history circles about the merit of full transcriptions over key word summaries. Summaries may certainly be quicker, demand limited resources, and prove useful for search engines, indexing and initial research purposes. However, there can be little doubt that - when it is possible and financially viable - a full textual rendition of an entire interview recording fundamentally and exponentially enhances the value of the recordings by providing a substantial number of additional and important benefits:-