Call for Proposals – Sydney Newman, 2023

Call for Proposals

Sydney Newman and The Development of Television and Film in the United Kingdom and Canada, 1941-1984

The Museum of Broadcast Communications describes Sydney Newman as “the most significant agent in the development of British television drama.”[1]But this is only one aspect of Sydney Newman’s (1917-1997) professional experience.  Newman enjoyed a long and interesting career in broadcasting and films.  He played a significant role in the production of television and film both in his native Canada and the United Kingdom. While his ‘claim to fame’ might very well be as creator of Doctor Who and The Avengers, he also worked at the Canadian Broadcasting Corporation as Supervising director of features, documentaries, and outside broadcasts (1952-1958), the Associated British Corporation as head of Drama (1958-1962), the British Broadcasting Corporation as head of Drama (1962-1967), and the National Film Board of Canada as a film editor (1941-1949) and as Commissioner (1970-1975).  He then became a special advisor on film to the Canadian Secretary of State, and was Chief Creative Consultant for the Canadian Film Development Corporation (1978-1984).

His work at these institutions was critical in the development of Canadian and British broadcasting, and popular culture.  His influence was far-reaching.  But thus far, while there have been some studies which have taken into account the particular roles which he has played during his career, no study has taken into account his full career, to provide a more complete picture.

This peer-reviewed collection seeks to understand Sydney Newman’s career in both Canada and in Britain by curating a number of studies on his various professional roles and works. This includes providing an understanding of the development of broadcast television and film, in both countries during the 50s-70s, and the visions of culture he articulated in his work.   Articles can deal with specific aspects of his career, specific institutions (CBC, BBC, NFB), specific programs he developed, his influence as a producer/filmmaker, or administrator.  Biographical articles and critiques are welcome.  

The aim is that the collection taken as a whole, will provide a balanced and transnational look at his varied career during periods of significant development and change in the entertainment industry of both Canada and the United Kingdom.

Proposals should be approximately two hundred words, and sent to gilliandoctor@gmail.com by the 30th of October 2023.  A decision will be communicated by the 30th of November, and final articles should be submitted by the 15 August 2024.

Gillian I Leitch, PhD

Independent Scholar

Co-Chair, Science Fiction Fantasy Area, PCA/ACA

Key Words: Canada, United Kingdom, National Film Board of Canada, Canadian Broadcasting Corporation, British Broadcasting Corporation, Associated British Corporation, television, film, policy, public broadcasting+

Sydney Newman – Image from Doctorwhowatch.com

Sydney Newman – Another kick at the can, 2023

In 2016 I had this brilliant idea to edit a collection on the professional life of Sydney Newman.  It struck me that his career was a great means to focus in on the development and evolution of the television and film industry in Canada and Great Britain.  I had spoken to a publisher who was very interested, and so I wrote and sent out a Call for Papers.  I had two article proposals for the collection, and ultimately had to scrap the plan for the book in 2017.

I had felt that the subject of Sydney Newman would appeal to a wide variety of people – his career spanned some of the pivotal development of television and film in Canada and the UK. He played a decisive role in some of the most important institutions in the two countries, directing their operation. I felt for sure that there would be some historians who study popular culture, communications, media, film/television, nationalisms, and identity would be interested in contributing to a transnational study. I was wrong.

Is the time right now?  I am not sure, but after talking with some colleagues and the representative of the interested publisher, I have been persuaded to try again. 

So why Sydney Newman?

He has been described as a broadcasting pioneer. Certainly, his career at the CBC, BBC, ABC and the NFB at pivotal times in their corporate history has meant he influenced the policy and product of major broadcasters.

Canada:

Sydney Newman (1917-1997) began his working career at the National Film Board of Canada in 1941, working as an editor, producer, and director. He worked on over 350 films in his time there.

As a part of the NFB’s plans to move into television, he was attached to NBC television in New York in 1949. He wrote a series of reports on how television was organized and run there for the Canadian government.

In 1952 he moved to the Canadian Broadcasting Corporation, he was Supervising Director of features, documentaries, and outside broadcasts, which included producing Hockey Night in Canada. He then became Supervisor of Drama production in 1954, and oversaw among other programs, General Motors Theatre. 

Writing in 1990, the journalist Paul Rutherford felt that during his time at the CBC in the 1950s, Newman had been a “great champion of both realistic and Canadian drama.” He felt that Newman “came to fulfil the role of the drama impresario with the vision to push people to develop a high-quality and popular style of drama.”

Great Britain:

On the basis of his work at the CBC he was offered a job at ABC television in the UK, and became the Head of Drama there. His work on the program “Armchair Theatre” brought in amazing numbers of viewers and featured up and coming theatre talent such as Alun Owen and Harold Pinter.

Television historian John Caughie stated that “Newman’s insistence that the series would use only original material written for television made Armchair Theatre a decisive moment in the history of British television drama.”

He also was responsible for the series such as “The Avengers” and “Police Surgeon” for ABC.

In 1962 he was hired by the BBC as Head of Drama.  One of his first acts was to divide drama into three departments – series, serials, and plays. He created an anthology series called “The Wednesday Play,” “Doctor Who.”and the “Forsyth Saga.”

Of course, for me, “Doctor Who” is one of his most lasting legacies, a series that has been in production for the last 60 years (save a 15 year hiatus).  But many of his productions have been important markers in television history.

Newman’s biography at the Museum of Broadcast Communications website points out that much of the work Newman is credited for at the BBC was little different from that which had been undertaken by his predecessor Michael Barry, who “also attracted new young original writers … and hired young directors … However, it was the newness and innovation which Newman encouraged in his drama output that is most significant: his concentration on the potential of television as television, for a mass not a middlebrow audience.

Canada Again!

Newman returned to Canada in 1970, and after a brief stint with the Canadian Radio and Television Commission (CRTC), he moved to became Chairman of the National Film Board of Canada. His time there was tumultuous, he was criticized for not speaking French, and not understanding French Canada culture. He was responsible for censuring and banning some productions. He was also responsible for moving production at the NFB to colour, and for securing television spots for the NFB’s production.

The writer Richard Collins felt that “the very experiences that enabled [Newman] to recognize the nature of the NFB’s problem and the need for a change of diction and reorientation to the tastes of Canadians had left him out of touch with Canada.”

When his contract expired in 1975, he became a Special Advisor on film to the Secretary of State, and from 1978 to 1984 he was Chief Creative Consultant to the Canadian Film Development Corporation.

Sydney Newman – NFB, 1975

Vancouver Sun, 6 February 1975

Les Wedman

Any time Sydney Newman calls himself anyone’s “obedient servant,” something is up.

Ordinarily, you would look at his signature on the annual report of the National Film Board to Secretary of State Hugh Faulkner and pass it off as the proper and courteous way for a civil servant to address the minister for whom he works.

This year, however, it is possible to read some significance into this complimentary close. Newman’s five-year term as government film commissioner and chairman of the board of the NFB ends in August. So, soon Secretary of State Faulkner is going to be telling him whether the government wants him to carry on.

And, for all kinds of reasons, Newman is concerned about the answer. A couple of years ago, Newman, juggling budgets – and egos – of more than 1000 French and English speaking people in his organization, was anxious to get out of his position. Now he wants to stay, having seen the NFB through its 35^th year of growing operations, and having strong ideas of where he would like to see it go.

But out of Montreal is that there is only a 50-50 chance that Newman will be renewed, and that if he is it will be for only one year while the government – reportedly already to have been looking for a successor – finds one. On the other hand, NFB heads usually aren’t removed unless there has been gross incompetence or someone of exceptional ability is standing in the wings to take over.

At 57, Newman can be called brash, stubborn, autocratic, powerful, even Francophile, but nobody could ever tag him with being incompetent. And there is no one with more talent around ready to succeed him.

If Newman goes, his assistant commissioner, Quebecer Andre Lamy, completely bilingual, is the most likely person to move up, and there is a great pressure from the French section of the NFB to make this happen.

Controversy and challenge are nothing new for Sydney Newman, who in 34 years has risen from drawing animated maps for John Grierson’s National Film Board to become the latest in the line of successors to Grierson. In between 1952, when he left the NFB, and 1970, when he returned, Newman built a reputation for himself in television at the CBC and BBC that made him seem the only one who could solve the problems of the National Film Board.

But in his $42,000 a year job, Newman found that, for every problem he overcame, two more arose. Nevertheless, he has kept the NFB alive and thriving during a period when its existence was in question, isolated as it was in its vast Montreal complex.

When he came on the scene, Ottawa had frozen the NFB budget at $10-million, but he has managed to thaw that out to an annual $17 million, and attract about another $14 million for sponsored films. At the same time, he has had to fight off opposition from the private film industry to the NFB making feature films and taking away work that otherwise would go to independent film-makers.

He has spread NFB production into various sections of Canada, including Vancouver, a de-centralization that isn’t popular in Quebec but which he is pursuing further. He has achieved a rapport with the CBC, and besides co-production projects for television, has put into prime time many NFB film series designed to inform Canadians about other Canadians and draw the country together.

What will Sydney Newman do if he does find himself on the outside looking in?

Well, for starters, there is a vacancy since Lister Sinclair departed as vice-president of the CBC. Whoever gets that job almost inevitably will get to be president after Laurent Picard and, traditionally, since there have been French and English – Canadians alternating at the helm, the next CBC chief would not be French. This has not been true at the NFB, Guy Roberge being the only French Canadian to be chairman, but Ottawa is being pressed to name a French-speaking executive at the board.

Also Michael Spencer, of the Canadian Film Development corp, is known to have mentioned Sydney Newman as a possibility to head the CFDC’s script department.

And Newman is known to have a great ambition to play a very big part in setting the course for Canada’s feature film industry. As government film commissioner, he is supposed to be Ottawa’s chief advisor on all film matters. But Gerard Pelletier, when he was secretary of state, defused that role and all the secretary of state has now is an advisory committee on film.

Secretary of State Faulkner needs an advisor, and he doesn’t have to look further that Sydney Newman, who sincerely believes that he is the only man in Canada with the experience and the expertise to steer this country toward a cohesive film policy.

Newman also has had an offer to produce dramas for the CBC’s English television network. He is also considering producing films on his own.

But so far he hasn’t made a move to clean out his desk at the NFB, and why should he, knowing that he is a hard man to replace? But also it is difficult thing to do when you have your fingers crossed.

Postponing a Project – Dealing with Disappointment, 2017

The first hockey game broadcast from Maple Leaf Gardens was in 1952 on the CBC.  And directing it was Sydney Newman, who also directed the first Grey Cup game broadcast on television.  He moved from there to Drama, as Supervisor of Drama for the Canadian Broadcasting Corporation, and was responsible for General Motors Theatre, which produced among other Canadian plays – Flight into Danger by Arthur Hailey.

This is only a small part of a long career in cinema and television, a career which spanned several decades and three countries. He started working at the National Film Board of Canada during the Second World War, moving into television in the early 1950s, spending a year working with NBC in New York, and then several more with the Canadian Broadcasting Corporation.  He moved to England working first for Associated British Corporation (revitalizing Armchair Theatre and creating The Avengers) then becoming head of Drama for the British Broadcasting Corporation at the point when the BBC was expanding with BBC2 (and while there creating Doctor Who).  When he finally came home to Canada he worked for the CRTC, and then became Chairman of the National Film Board of Canada during the 1970s.

He is described by the Encyclopedia of Television as: “the most significant agent in the development of British television drama.  He was to preside over the transformation of television drama from a dependence on theatrical material and forms to a significant art form in its own right.” [http://www.museum.tv/eotv/newmansydne.htm [accessed Oct 26, 2017]]

What an interesting career, and what a great entry into an examination of the development of Canadian and British television, and the development of Canadian and British popular culture.  And that was certainly how I pitched it to a publisher when I proposed a collection of articles by experts on British and Canadian culture and broadcast history.  The publisher was interested, now only to find writers interested in these themes, and Sydney Newman’s work.  But here was the rub; they were not to be found.  I only received proposals for two articles, dealing with his time with the BBC.

I ask myself why no one would be interested in writing an article about the NFB during its formative years?  Newman was director and producer for some of the films in the series “Canada Carries On” and worked closely with John Grierson. He was at the CBC as it began its television broadcasts. Clearly a boring time – who would want to write about that? He was head of drama at a time when they were developing their style, and their audience.  When he moved to Britain, he was coming in when the television industry was expanding with private networks.  His work with ABC marked the beginning of “kitchen sink” dramas, and gave Armchair Theatre its best audiences and its best materials.  He nurtured young talent like Alun Owen and Harold Pinter.  When he moved to the BBC he undertook the reorganisation of its Drama department, and then managed it deftly as it increased its production to provide material for BBC2.  He is also known for creating Doctor Who.  On his return he took charge of the NFB.  But then the 1970s in Montreal were boring times, so who wants to explore the relationship between a federal agency and filmmakers?

I know I am being a bit sarcastic (well actually, very), but I am perplexed as to why no one would be interested in contributing.  These are powerful themes, and important points in Canadian and British history that deserve more attention.  The fact that one Canadian was involved in both countries in these pivotal times offers the opportunity for comparison, and for connection.  There exists a relationship between the two countries on many levels, perhaps in looking at the role of a Canadian in their broadcast industry will illustrate or deepen the understanding of each and of their relationship. It was also an opportunity to have a diverse group of specialists examine this in one publication.

It has been pointed out to me that no one knows who Sydney Newman was, particularly in Canada.  When he died in 1997 in Toronto, it was to the British papers that you had to look to find the lengthy obituaries.  His death here was only slightly marked.  And that is a problem.  As Canadians we don’t look to ourselves and see what we have done, or embrace those who have had a hand in the creation of our entertainment, of our culture.  Newman stands out as a person who was an important participant in a time of great creative and cultural change.  The NFB and CBC were our outlets – where Canadians looked to see ourselves reflected.

When Newman moved to the UK he was taking his Canadian experience and transforming the British entertainment industry.  Could we see Canadian identity as he worked there?  And what of the transformation of British culture?  The 1960s were a time of great social change, and the television industry was reflective of the changes in the culture.  Both public and private television worked to present to their audience material which connected to them, and of course entertained them.  Newman was a major player in their popular culture.

And so I must now swallow my disappointment and shelve a project which I find both important and fascinating.  I am not giving up, I am just going to have to wait.  I will keep my Call for Proposals up on my blog and hope that at some point there is more interest. This is a subject that calls for more study – more ink!

Sydney Newman – Image from Doctorwhowatch.com

Call For proposals – Sydney Newman Book

The deadline is fast approaching – I am looking for people interested in Sydney Newman – people with expertise on the CBC (1950s), National Film Board of Canada (1940s and 1970s), the BBC and British television in the 1960s.  Please forward to anyone you think might be interested in contributing.

Thank you!

 

Call for Proposals

Sydney Newman – Producing Television and Film Across Borders

Sydney Newman – Image from Doctorwhowatch.com

Probably best known as the creator of the long-running science fiction television series Doctor Who, Sydney Newman played a significant role in the production of television and film both in his native Canada and in the United Kingdom.  The Museum of Broadcast Communications describes Newman as “the most significant agent in the development of British television drama.”[1]  But this is only one aspect of Sydney Newman’s (1917-1997) professional experience.  Newman enjoyed a long and interesting career in broadcasting and films.  While his ‘claim to fame’ might very well be as creator of Doctor Who and Avengers, he also worked at the Canadian Broadcasting Corporation as Supervising director of features, documentaries and outside broadcasts (1952-1958), the Associated British Corporation as head of Drama (1958-1962), the British Broadcasting Corporation as head of Drama (1962-1967), and the National Film Board of Canada as a film editor (1941-1949) and as Commissioner (1970-1975).  He then became a special advisor on film to the Canadian Secretary of State, and was Chief Creative Consultant for the Canadian Film Development Corporation (1978-1984).

 

His work at these institutions was critical in the development of Canadian and British broadcasting, and popular culture.  His influence was far-reaching.  But thus far, while there have been some studies which have taken into account the particular roles which he has played during his career, no study has taken his roles together, to provide a more complete picture.

 

This peer-reviewed collection seeks to understand Sydney Newman’s career in both Canada and in Britain by curating a number of studies on his various professional roles and works. This includes providing an understanding of the world of broadcast television and film, in both countries during the 50s-70s, and the visions of culture he articulated in his work.   Articles can deal with specific aspects of his career, specific institutions, specific programs he developed, his influence as a producer/filmmaker, or administrator.  Biographical articles are also welcome.  The aim is that the collection taken as a whole will provide a balanced look at his varied career in two countries during periods of significant development and change in the entertainment industry of both.

 

[Please note that Sydney Newman’s Memoirs Head of Drama: The Memoir of Sydney Newman will be released by ECW Press on 5^th September 2017.]

 

Proposals should be approximately two hundred words, and sent to gilliandoctor@gmail.com by the 30th of September 2017.  A decision will be communicated by the 30th of November, and final articles should be submitted by the 15 July 2018.

 

Gillian I Leitch, PhD

Independent Scholar

Co-Chair, Science Fiction Fantasy Area, PCA/ACA

 

 

 

 

Key Words: Canada, United Kingdom, National Film Board of Canada, Canadian Broadcasting Corporation, British Broadcasting Corporation, Associated British Corporation, television, film, policy, public broadcasting

[1] http://www.museum.tv/eotv/newmansydne.htm [Accessed 2 April 2017]

 

CFP: Sydney Newman – Producing Television and Film across borders, 2017

Call for Proposals

Sydney Newman – Producing Television and Film Across Borders

Sydney Newman – Image from Doctorwhowatch.com

Probably best known as the creator of the long-running science fiction television series Doctor Who, Sydney Newman played a significant role in the production of television and film both in his native Canada and in the United Kingdom.  The Museum of Broadcast Communications describes Newman as “the most significant agent in the development of British television drama.”[1]  But this is only one aspect of Sydney Newman’s (1917-1997) professional experience.  Newman enjoyed a long and interesting career in broadcasting and films.  While his ‘claim to fame’ might very well be as creator of Doctor Who and Avengers, he also worked at the Canadian Broadcasting Corporation as Supervising director of features, documentaries and outside broadcasts (1952-1958), the Associated British Corporation as head of Drama (1958-1962), the British Broadcasting Corporation as head of Drama (1962-1967), and the National Film Board of Canada as a film editor (1941-1949) and as Commissioner (1970-1975).  He then became a special advisor on film to the Canadian Secretary of State, and was Chief Creative Consultant for the Canadian Film Development Corporation (1978-1984).

 

His work at these institutions was critical in the development of Canadian and British broadcasting, and popular culture.  His influence was far-reaching.  But thus far, while there have been some studies which have taken into account the particular roles which he has played during his career, no study has taken his roles together, to provide a more complete picture.

 

This peer-reviewed collection seeks to understand Sydney Newman’s career in both Canada and in Britain by curating a number of studies on his various professional roles and works. This includes providing an understanding of the world of broadcast television and film, in both countries during the 50s-70s, and the visions of culture he articulated in his work.   Articles can deal with specific aspects of his career, specific institutions, specific programs he developed, his influence as a producer/filmmaker, or administrator.  Biographical articles are also welcome.  The aim is that the collection taken as a whole will provide a balanced look at his varied career in two countries during periods of significant development and change in the entertainment industry of both.

 

[Please note that Sydney Newman’s Memoirs Head of Drama: The Memoir of Sydney Newman will be released by ECW Press on 5^th September 2017.]

 

Proposals should be approximately two hundred words, and sent to gilliandoctor@gmail.com by the 30th of September 2017.  A decision will be communicated by the 30th of November, and final articles should be submitted by the 15 July 2018.

 

Gillian I Leitch, PhD

Independent Scholar

Co-Chair, Science Fiction Fantasy Area, PCA/ACA

 

 

 

 

Key Words: Canada, United Kingdom, National Film Board of Canada, Canadian Broadcasting Corporation, British Broadcasting Corporation, Associated British Corporation, television, film, policy, public broadcasting

Call for Proposals – Considering Sydney Newman, 2016

Call for Proposals

“Considering Sydney Newman”

 

Sydney Newman – Image from Doctorwhowatch.com

In light of the recent fiftieth anniversary of the long-running science fiction television series Doctor Who, it seems only fair that some attention be paid to its creator Sydney Newman (1917-1997).  Newman enjoyed a long and interesting career in broadcasting and films.  While his ‘claim to fame’ might very well be as creator of Doctor Who and Avengers, he also worked at the Canadian Broadcasting Corporation as Supervising director of features, documentaries and outside broadcasts (1952-1958), the Associated British Corporation as head of Drama (1958-1962), the British Broadcasting Corporation as head of Drama (1962-1967), and the National Film Board of Canada as a film editor (1941-1949) and as Commissioner (1970-1975).  He then became a special advisor on film to the Canadian Secretary of State, and was Chief Creative Consultant for the Canadian Film Development Corporation (1978-1984).

 

His work at these institutions was important in the history of Canadian and British broadcasting, and popular culture. His influence was far-reaching.  But thus far, while there have been some studies which have taken into account the particular roles which he has played during his career, no study has taken his roles together, to provide a more complete picture.

 

This peer-reviewed collection seeks to understand Sydney Newman in relation to his long career in Canada and in Britain. Articles can deal with specific aspects of his career, specific institutions, specific programs he developed, his influence as a producer/filmmaker, or administrator.  Biographical articles are also welcome.

The aim is that the collection taken as a whole will provide a balanced look at his varied career in two countries during periods of significant development and change in the entertainment industry.

 

Proposals should be approximately two hundred words, and sent to gilliandoctor@gmail.com by the 1^st of September 2016.  A decision will be communicated by the 15^th of September, and final articles should be submitted by the 15 May 2016.

 

Gillian I Leitch, PhD

Independent Scholar

Co-Chair, Science Fiction Fantasy Area, PCA/ACA

 

 

 

 

Key Words: Canada, United Kingdom, National Film Board of Canada, Canadian Broadcasting Corporation, British Broadcasting Corporation, Associated British Corporation, television, film, policy, public broadcasting