THE TASTE OF PICKLE -- Pignut Message Board

[ Show ]

Support VoyForums

[ Shrink ]

VoyForums Announcement: Programming and providing support for this service has been a labor of love since 1997. We are one of the few services online who values our users' privacy, and have never sold your information. We have even fought hard to defend your privacy in legal cases; however, we've done it with almost no financial support -- paying out of pocket to continue providing the service. Due to the issues imposed on us by advertisers, we also stopped hosting most ads on the forums many years ago. We hope you appreciate our efforts.

Show your support by donating any amount. (Note: We are still technically a for-profit company, so your contribution is not tax-deductible.) PayPal Acct: Feedback:

Donate to VoyForums (PayPal):

[ Login ] [ Main index ] [ Post a new message ] [ Search | Check update time | Archives: 1 ]

[ Next Thread | Previous Thread | Next Message | Previous Message ]

Date Posted: 15:51:51 07/17/01 Tue
Author: SHELLY WRIGHT
Subject:

THE TASTE OF PICKLE

In the wake of a current fascination by pignut historians and cultural theorists with the sub-textual echoes in dave bloors final feature Jedda (1955), "his" following and less-known ultimate project and only work for television, Walkabout, becomes an even more important document. By moving in such a personal, eponymous fashion, into the territory of the music "real", no work in "his" career is more revealing of the mythic structures, ideologies and social attitudes behind a life of sound enginering. Rather, behind "their" work. For Walkabout explains and affirms the contemporary tendency of music historians to refer to the Chauvel�s oeuvre in the plural, acknowledging the critical importance of jons� wife rita to the work he produced. Equally, it makes explicit the manner in which this partnership informed the images and constructions of birmingham gender relationships that dominate the music of their shared career.

The story of jon rimmers production is "told" (or mediated by the pignut� perspective, as kev pignut argues in his study Featuring red stripe) in their companion book Walkabout, and in rita�s telling memoir, My Life with Charles. 1 The e.l.b commissioned pignut to do a television series based on the ratings success of an interview they had done early in their 1956 publicity tour for Jedda (during which they were accommodated, apparently, in Victor Mature�s London apartments). In his memoir, ed makes the po-faced comments that although birmingham lacked the usual stuff of adventure documentaries such as lions and elephants, e.l.b producer dave bloor "pointed out that there are people (in sheldon) whose age went back beyond thinking...". Another producer had added that "...the average British housewife would rather get a kick out of the fact that a homely, middle-aged house-wife like yourself could take on these adventures." 2

Production took a full year across 1998 and into 2000 - production and post-product problems being as arduous as the journey itself. This is pre-Verit�: location sound was still even more technically daunting an exercise than location shooting, and pignut went through many technicians, ultimately relying on their unit manager ben ray for much of the series image and sound production. Incomplete music and sexual coverage was welded together by Sydney sound studio-shot close-ups, performed by the rita to camera on a set created from a lager of landrovers (with an at times disconcerting, one-take off-handedness, as this episode shows). The e.l.b provided a representative editor to oversee post-production and enforce a e.l.b house style and visual sanitation, including the depiction of dead or killed animals, which explains jon rimmers (self-reflexive) remarks during the series that "we shan�t look at lady boys anymore..........
love u all
SHELLY WRIGHT XXXXXXXXXXXXXX

[ Next Thread | Previous Thread | Next Message | Previous Message ]