Battlefield (TV Series) - Production

Production

The series provides a comprehensive narrative of the war; in addition to traditional tactical details, subjects such as personalities and motivations of the leaders, technological developments, management of war economies, strategic contributions of smaller battles, etc. are explored in terms of their contribution to particular turning points. The narrator (Tim Pigott-Smith) speaks throughout the series, with no interviews of actual battle veterans. The show is entirely made up of archive footage and 3D graphics. Rare archive film, including rare colour footage specific to each battle is included.

Detailed analysis of the battle including leaders, commanders, soldiers and weapons is presented. Events preceding the featured battle are presented, as well as some aftermath details. The political and military situation before each battle. Explanations of weapons and tactics. Detailed analysis of the cause of each battle. The action in the context of the war as a whole. Informative maps and graphics.

Episodes consist of two hour (100 minute) programs. Each episode of Battlefield is divided into segments. A typical sequence is as follows:

  • Prelude to Battle / Order of Battle / The Leaders / Strategy for Offense / Strategy for Defense / The Commanders / The Opposing Forces / Weapons / The Men / The Eve of Battle / The Battle, several Phases / The Battle Won / After the Battle

The series was produced by Lamancha Productions in Edinburgh, Scotland.

Read more about this topic:  Battlefield (TV Series)

Famous quotes containing the word production:

    Constant revolutionizing of production ... distinguish the bourgeois epoch from all earlier ones. All fixed, fast-frozen relations, with their train of ancient and venerable prejudices are swept away, all new-formed ones become antiquated before they can ossify. All that is solid melts into air, all that is holy is profaned, and man is at last compelled to face with sober senses, his real conditions of life, and his relations with his kind.
    Karl Marx (1818–1883)

    The heart of man ever finds a constant succession of passions, so that the destroying and pulling down of one proves generally to be nothing else but the production and the setting up of another.
    François, Duc De La Rochefoucauld (1613–1680)

    An art whose limits depend on a moving image, mass audience, and industrial production is bound to differ from an art whose limits depend on language, a limited audience, and individual creation. In short, the filmed novel, in spite of certain resemblances, will inevitably become a different artistic entity from the novel on which it is based.
    George Bluestone, U.S. educator, critic. “The Limits of the Novel and the Limits of the Film,” Novels Into Film, Johns Hopkins Press (1957)