Richard Wallace – författare

The world in which early Christianity developed consisted of a complex of distinct communities and cultural 'layers', which interacted with one another, sometimes co-operatively, and sometimes in confrontation.The Three Worlds of Paul of Tarsus explores this world through the life of the apostle Paul, examining the three fundamental cultural 'layers':* the native cultures* the common Hellenistic culture which had been spread in the east as a result of the conquests of Alexander* the culture of the political overlord, Rome.It shows how Paul, as a Jew, a Greek-speaker and a Roman citizen, participates in all of these 'layers'. The authors give an account of the places Paul visited, showing their historical, cultural and political differences and discuss the varied categories, such as religion, philosophy and language, which constituted identity.

The world in which early Christianity developed consisted of a complex of distinct communities and cultural 'layers', which interacted with one another, sometimes co-operatively, and sometimes in confrontation.The Three Worlds of Paul of Tarsus explores this world through the life of the apostle Paul, examining the three fundamental cultural 'layers':* the native cultures* the common Hellenistic culture which had been spread in the east as a result of the conquests of Alexander* the culture of the political overlord, Rome.It shows how Paul, as a Jew, a Greek-speaker and a Roman citizen, participates in all of these 'layers'. The authors give an account of the places Paul visited, showing their historical, cultural and political differences and discuss the varied categories, such as religion, philosophy and language, which constituted identity.

Ten years ago, a technological revolution swept through cinemas around the world, as analogue projectors were replaced with digital equipment. It was not just the plastic medium of film that was removed from projection boxes during this transformation; most cinemas took this opportunity to also evict the human projectionists who were hitherto in charge of screenings. Projectionists had been hidden from the sight of audiences for most of the history of photographic moving image projection, and their redundancies went largely unnoticed and unremarked upon. This book focuses attention on what has been happening behind film spectators' heads for the past 130 years, and attempts to write the history of cinema in Britain from the perspective of its habitually overlooked and undervalued projectionists, beginning in the silent era and continuing to the present day. Drawing upon extensive archival research and lengthy interviews with former projectionists, it documents the key facets and challenges of their work, and how these evolved in response to previous waves of significant technological change. It evaluates how projectionists helped to design and maintain key aesthetic characteristics of the 20th century big screen experience. It shows how the institution of cinema in Britain has been historically underpinned by the harsh exploitation of projectionists by many employers, detailing inadequate wage levels and poor working conditions that formerly provoked government investigation, and explaining why these problems were never successfully ameliorated by trade unions. It also charts in depth the recent fateful transition to digital projection, delineating how and why projectionists were so swiftly and ruthlessly consigned to the past, and assessing whether this form of entertainment should be considered diminished by their super session.

In The Pop Documentary Since 1980, Richard Wallace examines the representation of pop music, musicians and music-making in documentary film and television. He draws together conceptual frameworks from within and outside of film and television studies - including performance studies, musicology, celebrity studies and fan studies - to provide a critical interrogation of the central issues in this genre.A common criticism of the music documentary is that it lacks artistic integrity because of its close affiliation with its subject. Wallace argues that music documentaries can be artful and conceptually complex and be part of a broader process of image curation under the control of the artist and their management. This contradiction is key to the form’s vitality and Wallace explores two competing lines of enquiry. First, the contribution that such documentaries make to the public perception of their subjects. Second, he argues that its ‘official’ status does not preclude music documentaries from being artistic or engaging with the theoretical questions that underpin documentary media more broadly.Other issues addressed include: - how documentaries about song writing attempt to represent intangible concepts like ‘creativity’ and ‘inspiration’;- how the experiential and affective aspects of music are communicated through the visual image; - ethical considerations.Each of these conceptual questions is examined through detailed analysis of a variety of music documentaries ranging from Stop Making Sense to Tokyo Idols via Beyoncé and The Beatles.

In The Pop Documentary Since 1980, Richard Wallace examines the representation of pop music, musicians and music-making in documentary film and television. He draws together conceptual frameworks from within and outside of film and television studies - including performance studies, musicology, celebrity studies and fan studies - to provide a critical interrogation of the central issues in this genre.A common criticism of the music documentary is that it lacks artistic integrity because of its close affiliation with its subject. Wallace argues that music documentaries can be artful and conceptually complex and be part of a broader process of image curation under the control of the artist and their management. This contradiction is key to the form’s vitality and Wallace explores two competing lines of enquiry. First, the contribution that such documentaries make to the public perception of their subjects. Second, he argues that its ‘official’ status does not preclude music documentaries from being artistic or engaging with the theoretical questions that underpin documentary media more broadly.Other issues addressed include: - how documentaries about song writing attempt to represent intangible concepts like ‘creativity’ and ‘inspiration’;- how the experiential and affective aspects of music are communicated through the visual image; - ethical considerations.Each of these conceptual questions is examined through detailed analysis of a variety of music documentaries ranging from Stop Making Sense to Tokyo Idols via Beyoncé and The Beatles.

In The Pop Documentary Since 1980, Richard Wallace examines the representation of pop music, musicians and music-making in documentary film and television. He draws together conceptual frameworks from within and outside of film and television studies - including performance studies, musicology, celebrity studies and fan studies - to provide a critical interrogation of the central issues in this genre.A common criticism of the music documentary is that it lacks artistic integrity because of its close affiliation with its subject. Wallace argues that music documentaries can be artful and conceptually complex and be part of a broader process of image curation under the control of the artist and their management. This contradiction is key to the form''s vitality and Wallace explores two competing lines of enquiry. First, the contribution that such documentaries make to the public perception of their subjects. Second, he argues that its ''official'' status does not preclude music documentaries from being artistic or engaging with the theoretical questions that underpin documentary media more broadly.Other issues addressed include: - how documentaries about song writing attempt to represent intangible concepts like ''creativity'' and ''inspiration'';- how the experiential and affective aspects of music are communicated through the visual image; - ethical considerations.Each of these conceptual questions is examined through detailed analysis of a variety of music documentaries ranging from Stop Making Sense to Tokyo Idols via Beyoncé and The Beatles.

In The Pop Documentary Since 1980, Richard Wallace examines the representation of pop music, musicians and music-making in documentary film and television. He draws together conceptual frameworks from within and outside of film and television studies - including performance studies, musicology, celebrity studies and fan studies - to provide a critical interrogation of the central issues in this genre.A common criticism of the music documentary is that it lacks artistic integrity because of its close affiliation with its subject. Wallace argues that music documentaries can be artful and conceptually complex and be part of a broader process of image curation under the control of the artist and their management. This contradiction is key to the form''s vitality and Wallace explores two competing lines of enquiry. First, the contribution that such documentaries make to the public perception of their subjects. Second, he argues that its ''official'' status does not preclude music documentaries from being artistic or engaging with the theoretical questions that underpin documentary media more broadly.Other issues addressed include: - how documentaries about song writing attempt to represent intangible concepts like ''creativity'' and ''inspiration'';- how the experiential and affective aspects of music are communicated through the visual image; - ethical considerations.Each of these conceptual questions is examined through detailed analysis of a variety of music documentaries ranging from Stop Making Sense to Tokyo Idols via Beyoncé and The Beatles.

East Kent Road Car Company Ltd - A Century of Service, 1916-2016, celebrates one hundred years of a bus operation that is still very much recognizable for its origins. Unlike so many proud names that have disappeared in recent times, the old identity of East Kent Road Car Co Ltd is still carried as the legal lettering on the Stagecoach-owned buses operating in the area today. This book takes the reader on a journey through those one hundred years. It covers the initial developments of the 1920s and 30s, the challenges of World War II, the halcyon days of the 1950s and the descent into the economic struggles of the 1960s. Nationalization and an eventual move back into the private sector are also covered, finishing with a description of the innovative approach to new services developed by the local Stagecoach management today. With over two hundred illustrations, both black and white and colour, many previously unpublished, this book provides a wide-ranging historical and pictorial record of the buses, artefacts and operations of the East Kent Road Car Company.

East Kent - Services of the Golden Jubilee Era takes the reader on a journey along the routes of all the stage-carriage services operated by East Kent in 1968, just after the Company celebrated its Golden Jubilee in 1966/7 and immediately prior to the National Bus Company (NBC) taking full control. Supported by over two hundred and fifty photographs, most not published before, of nearly every bus route as well as most London express services and all the operational garages, this book reveals the contrasting nature of East Kent''s services from rural byways to the seasonal, but very busy routes serving the still-popular resorts around the Kent coast. It includes a comprehensive fleet list and details a specimen allocation of cars to each service on a typical day in 1968; local route maps of all major town services as well as a sectionalised reproduction of the original East Kent network map of 1968 and, finally, a summary of the Centenary celebrations of 2016.

This book describes seven branch lines which climbed into the mountain ranges that span the length and breadth of the countries of India and Pakistan. Some - like the Darjeeling Himalayan - are well known, but others - like the Zhob Valley, Khyber Pass and Kangra Valley lines - are less so. Several of these railways were also the last bastions of steam operation in the sub-continent. Unsurprisingly, as hill railways, most of them reached remarkable heights, many using ingenious feats of engineering to assist their climb into seemingly impenetrable terrain. These lines served diverse locations, each with its own characteristics, from the hostile territories of the North-West Frontier, along the spectacular foothills of the Himalayas, skirting the Western Ghats of the Deccan down to the gentle rolling landscape of the Nilgiris, or Blue Hills, of South India. The book gives the histories of the seven hill railways including summaries of their operations and routes. Maps and gradient charts for all seven railway lines are given as well as listings of the locomotives operating the hill railways.

This book describes seven branch lines which climbed into the mountain ranges that span the length and breadth of the countries of India and Pakistan. Some - like the Darjeeling Himalayan - are well known, but others - like the Zhob Valley, Khyber Pass and Kangra Valley lines - are less so. Several of these railways were also the last bastions of steam operation in the sub-continent. Unsurprisingly, as hill railways, most of them reached remarkable heights, many using ingenious feats of engineering to assist their climb into seemingly impenetrable terrain. These lines served diverse locations, each with its own characteristics, from the hostile territories of the North-West Frontier, along the spectacular foothills of the Himalayas, skirting the Western Ghats of the Deccan down to the gentle rolling landscape of the Nilgiris, or Blue Hills, of South India. The book gives the histories of the seven hill railways including summaries of their operations and routes. Maps and gradient charts for all seven railway lines are given as well as listings of the locomotives operating the hill railways.

‘The ancient jewels of the crown are heirloomes and shall descend to the next successor and are not devisable by testament.’ – Sir Edward CokeGeneva, April 1987. The staid Swiss town is awash with limousines, journalists and minor European aristocracy. All the best hotels and restaurants are bursting at the seams. Caviar, truffles and foie gras are in short supply, while champagne is flooding the market at ridiculously high prices.They are all focused on one place: Sotheby’s auction house, which is preparing to host the ‘auction of the century’ – that of the late Duchess of Windsor’s jewellery collection.But where did this treasure trove come from? And was it ever really the Duchess’ at all?Questions have circulated around the collection’s murky provenance since the moment Wallis Simpson stepped onto the scene; now The King’s Loot looks to find the answers. Drawing on eyewitness interviews, contemporary accounts and previously unpublished sources, Richard Wallace – who was there at that notorious Swiss auction – delves into the mystery surrounding this hoard.

INTERVIEWER: Well, let me make it easier for you. Which side were you on?COCO CHANEL: On neither side, of course. I stood up for myself as I always have done. Nobody has ever told Coco Chanel what to think.A few days after Paris was liberated from the Nazis in August 1944, the most notorious fashion couturière in the world collapsed on a hotel bed in Switzerland after escaping the French capital and certain death. How did an exhausted Coco Chanel get there and who helped her evade warring Allied and German troops?For eighty years, this incredible feat of courage, luck, and ingenuity in the midst of immense danger has been deliberately shrouded in disinformation and secrecy by family, friends, wary governments, risk-averse business partners and fellow collaborators – until now. Using previously overlooked sources, including declassified French Résistance papers and evidence from organised crime figures, Chanel’s War can finally reveal what really happened to Coco Chanel at the end of the Second World War.

‘The ancient jewels of the crown are heirloomes and shall descend to the next successor and are not devisable by testament.’ – Sir Edward CokeGeneva, April 1987. The staid Swiss town is awash with limousines, journalists and minor European aristocracy. All the best hotels and restaurants are bursting at the seams. Caviar, truffles and foie gras are in short supply, while champagne is flooding the market at ridiculously high prices.They are all focused on one place: Sotheby’s auction house, which is preparing to host the ‘auction of the century’ – that of the late Duchess of Windsor’s jewellery collection.But where did this treasure trove come from? And was it ever really the Duchess’ at all?Questions have circulated around the collection’s murky provenance since the moment Wallis Simpson stepped onto the scene; now The King’s Loot looks to find the answers. Drawing on eyewitness interviews, contemporary accounts and previously unpublished sources, Richard Wallace – who was there at that notorious Swiss auction – delves into the mystery surrounding this hoard.

This book is the first to take comedy seriously as an important aspect of the popular mockumentary form of film and television fiction. It examines the ways in which mockumentary films and television programmes make visible—through comedy—the performances that underpin straight documentaries and many of our public figures. Mockumentary Comedy focuses on the rock star and the politician, two figures that regularly feature as mockumentary subjects. These public figures are explored through detailed textual analyses of a range of film and television comedies, including A Hard Day’s Night, This is Spinal Tap, The Thick of It, Veep and the works of Christopher Guest and Alison Jackson. This book broadens the scope of existing mockumentary scholarship by taking comedy seriously in a sustained way for the first time. It ultimately argues that the comedic performances—by performers and of documentary conventions—are central to the form’s critical significance and popular appeal.

This book is the first to take comedy seriously as an important aspect of the popular mockumentary form of film and television fiction. It examines the ways in which mockumentary films and television programmes make visible—through comedy—the performances that underpin straight documentaries and many of our public figures. Mockumentary Comedy focuses on the rock star and the politician, two figures that regularly feature as mockumentary subjects. These public figures are explored through detailed textual analyses of a range of film and television comedies, including A Hard Day’s Night, This is Spinal Tap, The Thick of It, Veep and the works of Christopher Guest and Alison Jackson. This book broadens the scope of existing mockumentary scholarship by taking comedy seriously in a sustained way for the first time. It ultimately argues that the comedic performances—by performers and of documentary conventions—are central to the form’s critical significance and popular appeal.

This book is the first to take comedy seriously as an important aspect of the popular mockumentary form of film and television fiction. It examines the ways in which mockumentary films and television programmes make visible—through comedy—the performances that underpin straight documentaries and many of our public figures. Mockumentary Comedy focuses on the rock star and the politician, two figures that regularly feature as mockumentary subjects. These public figures are explored through detailed textual analyses of a range of film and television comedies, including A Hard Day’s Night, This is Spinal Tap, The Thick of It, Veep and the works of Christopher Guest and Alison Jackson. This book broadens the scope of existing mockumentary scholarship by taking comedy seriously in a sustained way for the first time. It ultimately argues that the comedic performances—by performers and of documentary conventions—are central to the form’s critical significance and popular appeal.