121:, which documented the rise of Nazism, Gilliam demonstrated the power of the factual documentary for propaganda purposes and offered the first challenging piece of work from the BBC since the outbreak of war. Gilliam had a natural sympathy for the journalistic approach to broadcasting, and his war work reflected these instincts. As one of the two editors (with Donald Boyd) of War Report, he helped to create a revolutionary technique on which all news reporting has since been based, taking the microphone to the fighting line to report back to the people at home nightly, in record time. In recognition of this outstanding war record, features became a separate department at the end of the war in 1945, with Laurence Gilliam as its head, and Gilliam himself was appointed
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in 1950, Gilliam described a
Feature Programme as "in broadcasting, the term has come to signify a wide range of programme items, usually factual and documentary, presented by a variety of techniques, but mostly making use of edited actuality. The essential quality of the feature programme is that it
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Throughout the post-war period—the ‘golden age of radio’—Gilliam did more than anyone in the BBC to recruit and encourage poets and writers to contribute work for the BBC features department. He showed a gift for leadership which inspired devoted loyalty in a group of the most talented writers and
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Gilliam transferred to the BBC drama department in 1933, where he worked on the development of special feature programmes which wove sound, words, and music together to create an aural picture. From 1933 until the end of his life he was responsible for the world-wide
Christmas Day programmes that
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He maintained strongly that the feature was the one unique form that radio had achieved in its short history; and it was largely due to him that features came to stand for so much that was vital, contemporary, experimental, and above all ‘pure radio’. In his book
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In the early 1960s
Gilliam still maintained his faith in radio, but as the end of features department was being discussed, his health was deteriorating. Laurence Gilliam died of cancer of the kidneys on 15 November 1964 in
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Laurence
Gilliam worked first with the Gramophone Company in various capacities, and later as a freelance journalist, actor, and producer, before joining the editorial staff of the
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In 1940 Gilliam married
Marianne Helweg (1914–1976), a Dane whose father, Jacob Helweg, had immigrated to Britain in the 1920s to take up a lecturing position at the
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99:, head of drama, transferred responsibility for features to Gilliam in May 1936, though features really came into their own during the Second World War.
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preceded the monarch's address. These programmes were the BBC's technically most complicated assignment, linking the
Commonwealth outposts with
61:, London, the younger son of Ernest William Gilliam (d. 1943), a businessman, and his wife, Beatrice Bishop (d. 1946). He was educated at the
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106:. The couple met at the BBC, where Marianne had been a plays reader. She and Laurence had three sons and one daughter. They lived in
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95:—a "sound picture" of hop picking in Kent—which he produced in 1934 using the newly established mobile recording van.
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Gilliam saw the possibilities for the medium of radio to reflect the reality of war. In his major topical series
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in London via elaborate world-wide link-ups. Another notable example of
Gilliam's early technical ambition was
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should be the expression of one mind, whatever technique it uses".
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204:, 1936; introduced by Frank Nicholls, produced by D.G.Bridson
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247:, 1945; written and produced by Louis MacNeice, music by
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57:Laurence Duval Gilliam was born on 4 March 1907 in
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470:The History Of Broadcasting In The United Kingdom
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298:, 1961; written and produced by Louis MacNeice
268:, produced by Douglas Cleveland, performed by
343:(online ed.). Oxford University Press.
210:, 1934 to 1956; produced by Laurence Gilliam
496:Officers of the Order of the British Empire
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256:, 1948 to 1965; produced by W. R. Rodgers
23:(4 March 1907 – 15 November 1964) was a
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340:Oxford Dictionary of National Biography
335:Oxford Dictionary of National Biography
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216:, 1939; produced by Laurence Gilliam,
129:producers in radio history, including
387:Cleverdon, T. D. (26 February 1970).
389:Radio Features And Drama At The BBC
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169:, edited by Gilliam, published by
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374:UK public library membership
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214:The Shadow of the Swastika
119:The Shadow of the Swastika
114:, who worked for Gilliam.
441:Louis MacNeice In The BBC
329:Thomas, Jeanette (2004).
282:, music by Antony Hopkins
331:"Laurence Duval Gilliam"
254:Irish Literary Portraits
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33:Gilliam worked with the
272:, music by Daniel Jones
241:, music by Walter Goehr
208:Christmas Day Programme
349:10.1093/ref:odnb/40890
288:; 1962, introduced by
220:as Hitler, written by
151:Wynford Vaughan Thomas
112:Bertie (W. R.) Rodgers
17:Laurence Duval Gilliam
445:. Faber & Faber.
67:Peterhouse, Cambridge
63:City of London School
437:Coulton, B. (1980).
422:Hawkins, D. (1946).
180:St Andrew's Hospital
104:University of London
491:BBC radio producers
466:Briggs, A. (1961).
286:The Way We Live Now
108:Highgate, Middlesex
141:, Jennifer Wayne,
89:Broadcasting House
35:Gramophone Company
372:(Subscription or
358:978-0-19-861411-1
143:Christopher Sykes
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362:. Retrieved
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296:One Eye Wild
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43:World War II
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506:1964 deaths
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405:|work=
304:, 1961; by
264:, 1954; by
228:, music by
222:A. L. Lloyd
184:Dollis Hill
97:Val Gielgud
75:Radio Times
69:(1925–28).
485:Categories
376:required.)
317:References
280:Nesta Pain
235:Junction X
147:Nesta Pain
53:Early life
407:ignored (
397:cite book
78:in 1932.
39:features
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157:, and
59:Fulham
364:2 May
190:Works
447:ISBN
409:help
366:2011
353:ISBN
308:and
345:doi
123:OBE
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25:BBC
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