#NVHOW20 Introducing Jonathan Ruffle @JonathanRuffle ‘TOMMIES’ – The First World War as BBC Radio Drama’- the conception and building of the 11th November 1918 episode of the @BBCRadio4 drama set 150 miles up the Dvina River in northern Russia #FWW#WW1#FirstWorldWar
1 #NVHOW20 Hi #twitterhistorians. I'm @JonathanRuffle. I created, co-wrote and co-produced a 42-episode real-time BBC Radio 4 drama called TOMMIES about the First World War.
2 #NVHOW20 Our 1918 Armistice Day episode was set in Russia with the 2/10 Battalion Royal Scots up the Dvina River. But I started where we all do.
3 #NVHOW20 I'm focusing for this twitter presentation on radio drama's need for specialised authentic historical sounds. This twitter promo film shows the size of the problem. Volume up throughout the presentation, please.
4 #NVHOW20 So that's the sound of the shell landing –what about the artillery piece that fired it? I got to the Royal Artillery Museum just before it went into store, when this opportunity would have been lost. Keep that volume up, please.
5 #NVHOW20 Getting and firing a FWW British rifle is quite easy. But firing an authentic French rifle with period ammunition has its own difficulties.
6 #NVHOW20 The characters in TOMMIES were mainly signallers. I sampled authentic Morse code demonstrated by my 'ham radio' brother and substituted the sound. To actually operate a genuine spark-gap transmitter would disrupt the airwaves and is illegal.
7 #NVHOW20 There are also peaceful FX -- found for example on this research trip to Gallipoli. A great sense of place for the actors in the studio – and some battlefield archaeology.
8 #NVHOW20 The soldiers write about seeing tortoises fighting in the wild. It gave me a drama idea for a night patrol who thought helmets had come to life.
9 #NVHOW20 After all this effort to get the right sounds – some are completely faked in the studio. This FX gave rise to a twitter competition.
10 #NVHOW20 Easy, wasn't it? Thanks for looking at this brief introduction to historical sound. Any questions, I'm here on @JonathanRuffle and #BBCTommies.
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#NVHOW20 We survived one ‘friendly fire’ incident and the vagaries of internet connections in rural Gloucestershire, aka two tin cans and a length of string!
#NVHOW20 It’s been a fascinating afternoon. Please feel free to continue asking questions and discussing the presentations. @SocHistoryWar now has its AGM, beginning at 17:00. The keynote speech by @BeatriceHeuser on ‘Compassion and War’ will be available soon. Watch this space!
1 #NVHOW20 Let’s get started… You may know that in 2018 the British Armed Forces opened all roles to women, yet it is a myth to say that women are only now able to serve in ‘frontline combat’
2 #NVHOW20 Women have been distanced from ‘frontline combat’ by discursive constructions using their bodies to deny them agency and make their presence acceptable. Yet women have repeatedly transgressed the front-line, demonstrating agency in their participation.
#NVHOW20 Introducing Francesca Hooft @FrancescaHooft@UtrechtUni ‘Hippocrates under arms: adaptation, cooperation, and agency’ - the experiences and agency of Dutch military medical personnel in post 1990 peace, combat, and humanitarian missions #oralhistory#UNpeacekeeping
1 #NVHOW20 Good afternoon! My name is Francesca Hooft and I’m a PhD candidate @UniUtrecht. I research the changing role of military medical personnel within the Dutch armed forces in deployments between 1990 and 2010, focussing on physicians’ and nurses’ personal experiences.
2 #NVHOW20 The position of medical personnel within the armed forces has always been considered ambiguous and problematic. The military demands a high level of obedience and loyalty. Hierarchy may impede agency to act according to medical professional values and standards.
#NVHOW20 Introducing Dr Victoria Woodman @v_woodman ‘Waiting is the Women’s Role: the Falklands Conflict media representation of Royal Navy Wives’ - media coverage and their representation as a homogeneous
1 #NVHOW20 How were Task Force families portrayed in newspapers and television reports during the Falklands Conflict? Much has been written on how the media accompanied the task force, the journalists sent, the MoD release of news and the political attacks made on the media.
2 #NVHOW20 Fifty naval wives interviewed for my research stated that the primary method of receiving updates on the conflict was through the media. The media reports portrayed them at the time in terms of loyalty. Gender divisions were distinctly defined; men/battle, women/home.
1 #NVHOW20 Five companies produced British newsreels in #WWII holding a monopoly over the British newsreel industry. In 1937 they set up the Newsreel Association of Great Britain & Ireland (NRA). Most communication between the companies & the government was through the NRA.
2 #NVHOW20 The NRA’s purpose was:'...to promote & protect the interests...of associates engaged in the production & distribution of...Newsreels...& to bring about & maintain co-operation'. One of the primary concerns for wartime newsreels was censorship. [Image: @MediaMuseum]
#NVHOW20 Introducing Harriet Jackson @harrietj1928 “This Whole Wretched Mess”: Representations of the First World War in Children’s Literature’ - the cultural memory of the First World War and its representation in the children’s literature #FWW #WW1#FirstWorldWar
1 #NVHOW20 My research examined the relationship between the public memory of WW1 and its representation in children’s books over the past 20 years. This isn’t simply top-down; in some areas children’s literature echoes popular ideas of WW1, and in other ways it challenges them.
2 #NVHOW20 Today, I’ll focus on one common element, the home/away/home structure found in books, from Peter Rabbit to the Hunger Games, but seen really clearly in War Horse: Joey and Albert start the book at home in Devon, go away to war and return home at the end of the book.