- Title Pages
- Acknowledgements
- Foreword
- Introduction
- TV Drama: The Case against Naturalism
- Naturalism and Television
- Taboos in Television
- Signposting Television in the 1980s: The Fourth Television
- Television Drama, Censorship and the Truth
- The Day after Tomorrow: The Future of Electronic Publishing
- The Primacy of Programmes in the Future of Broadcasting
- Reflections on Working in Film and Television
- ‘Opening up the Fourth Front’: Micro Drama and the Rejection of Naturalism
- Power and Pluralism in Broadcasting
- Ethics, Broadcasting and Change: The French Experience
- Freedom in Broadcasting
- Deregulation and Quality Television
- The Future of Television: Market Forces and Social Values
- The Future of the BBC
- Occupying Powers
- A Culture of Dependency: Power, Politics and Broadcasters
- Talent versus Television
- A Glorious Future: Quality Broadcasting in the Digital Age
- Rewarding Creative Talent: The Struggle of the Independents
- Television versus the People
- Public-Interest Broadcasting: A New Approach
- A Time for Change
- The Soul of British Television
- Television's Creative Deficit
- Freedom of Choice: Public-Service Broadcasting and the BBC
- First Do No Harm
- Appendix A Edinburgh International Television Festival, 29 August-2 September 1977: Programme
- Appendix B
- Index
Television Drama, Censorship and the Truth
Television Drama, Censorship and the Truth
The James MacTaggart Lecture 1980
- Chapter:
- (p.71) Television Drama, Censorship and the Truth
- Source:
- Television Policy
- Author(s):
John Mortimer
- Publisher:
- Edinburgh University Press
In this lecture, the author, a playwright and novelist, begins with an anecdote to introduce his argument that ‘there is no clear or necessary distinction between fact and fiction, between drama and documentary, between creating and reporting’. Indeed ‘one gives life to the other’ and both are equally important in the search for truth. Consequently, censoring drama is as ‘damaging and dishonest’ as censoring the news. The author argues that truth is essential to drama and must be rooted in the reality experienced by the writer. However, television drama has two ‘enemies’: censorship and ratings. The author rejects both and argues that drama should shock audiences. Television ratings also threaten drama and lead to mediocrity. The merits of drama must extend beyond pulling a crowd. To approach the problem of censoring violence in television drama, it is necessary to consider whether dramatic art creates life or exposes and reveals it.
Keywords: television drama, censorship, truth, fiction, television ratings, violence
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- Title Pages
- Acknowledgements
- Foreword
- Introduction
- TV Drama: The Case against Naturalism
- Naturalism and Television
- Taboos in Television
- Signposting Television in the 1980s: The Fourth Television
- Television Drama, Censorship and the Truth
- The Day after Tomorrow: The Future of Electronic Publishing
- The Primacy of Programmes in the Future of Broadcasting
- Reflections on Working in Film and Television
- ‘Opening up the Fourth Front’: Micro Drama and the Rejection of Naturalism
- Power and Pluralism in Broadcasting
- Ethics, Broadcasting and Change: The French Experience
- Freedom in Broadcasting
- Deregulation and Quality Television
- The Future of Television: Market Forces and Social Values
- The Future of the BBC
- Occupying Powers
- A Culture of Dependency: Power, Politics and Broadcasters
- Talent versus Television
- A Glorious Future: Quality Broadcasting in the Digital Age
- Rewarding Creative Talent: The Struggle of the Independents
- Television versus the People
- Public-Interest Broadcasting: A New Approach
- A Time for Change
- The Soul of British Television
- Television's Creative Deficit
- Freedom of Choice: Public-Service Broadcasting and the BBC
- First Do No Harm
- Appendix A Edinburgh International Television Festival, 29 August-2 September 1977: Programme
- Appendix B
- Index