Ghostwatch - Wikipedia. Ghostwatch is a British reality–horror/mockumentarytelevision film, first broadcast on BBC1 on Halloween night, 1. Written by Stephen Volk, and directed by Lesley Manning, the drama was produced for the BBCanthology series. Screen One by Richard Broke, Ruth Baumgarten and Derek Nelson. Despite having been recorded weeks in advance, the narrative was presented as live television. During and following its first and only UK television broadcast, the show attracted a considerable furore,[1] resulting in an estimated 3. BBC switchboard in a single hour.[2]Ghostwatch has never been repeated on UK television.

It has been repeated internationally, on stations such as the Canadian digital channel Scream for Halloween 2. Belgian channel Canvas in 2. In 2. 01. 7, Ghostwatch was added to the American streaming video service Shudder.[3][4]There have been two UK home video releases. In 2. 00. 2, the British Film Institute released a 1. Anniversary edition on VHS and DVD, and in 2.

Films issued a DVD release. In 2. 01. 6, BBC Store made the film available as part of the Frightmares collection, marking Halloween. A retrospective documentary, Ghostwatch: Behind the Curtains, based on the film's lasting impact, was released on DVD in 2. It too was made available as part of the BBC Store Frightmares collection, and shortly after release, the BFI Mediatheque.

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Watch full episodes and clips of Primetime, Daytime, Late Night and Classic shows on CBS.com. Talk with other fans, catch up with your favorite shows and more. The BBC gives over a whole evening to an 'investigation into the supernatural'. Four respected presenters and a camera crew attempt to discover the truth behind 'The.

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Overview[edit]Plot summary[edit]The 9. BBC Drama's Screen One series.

It involved BBC reporters performing a live, on- air investigation of a house in Northolt, Greater London, at which poltergeist activity was believed to be taking place. Through revealing footage and interviews with neighbours and the family living there, they discover the existence of a malevolent ghost nicknamed Pipes (the children in the house had asked their mother about noises heard, and she said it was the pipes, hence the name). As the programme proceeds, viewers learn that Pipes is the spirit of a psychologically disturbed man called Raymond Tunstall, himself believed to have been troubled by the spirit of Mother Seddons – a "baby farmer" turned child killer from the 1. Amelia Dyer). In the course of the programme Pipes makes various manifestations which become more bold and terrifying, until, at the end, the frightened reporters realise that the programme itself has been acting as a sort of "national séance" through which Pipes was gaining horrific power.

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Finally, the spirit unleashes its power to the fullest extent, dragging host Sarah Greene out of sight behind a door and then escaping to express poltergeist activity throughout the country. He takes control of the BBC studios and transmitter network, using the Ghostwatch studio as a focal point and possessing. Michael Parkinson in the process. Behind the scenes[edit]The story, based on the tale of the Enfield Poltergeist, was put into production months before and was complete fiction. The presentation contained realistic elements which suggested to a casual viewer that it was an actual documentary. The studio scenes were recorded in Studio D, BBC Elstree Studios, Clarendon Road.[5] The scenes at the house and the street were all shot on location around 5–6 weeks before the recording of the studio scenes.

The recorded scenes in the house and street were then played into the studio, where Michael Parkinson, Mike Smith, and "Doctor Pascoe" had to interact with them. A phone number was shown on the screen so that viewers could "call in" and discuss ghostly phenomena. The number was the standard BBC call- in number at the time, 0.

Going Live!), and callers who got through were connected first to a message telling them that the show was fictional, before being given the chance to share their own ghost stories. However, the phone number was besieged by callers during the showing and many people who telephoned simply got an engaged tone. This commonly happened when phoning BBC "call in" shows and inadvertently added to the realism instead of reassuring viewers that it was fiction. The set and filming methods, including shaky hand- held video cameras, lent a documentary feel.

Most convincing of all was the use of actual BBC personalities playing themselves. Sarah Greene and Craig Charles were the reporters on the scene at the house, while Mike Smith (Greene's real- life husband) and Michael Parkinson linked from the studio. Ghostwatch was originally conceived by writer Stephen Volk as a six- part drama (similar to Edge of Darkness) in which a fictional paranormal investigator and a TV reporter investigate poltergeist activity at a North London housing estate, gradually discovering more elements of the mystery each week. This would have culminated in the final episode in a live TV broadcast from the property, in the vein of Nigel Kneale's The Quatermass Experiment and Quatermass and the Pit, in both of which "all hell breaks loose". However, when producer Ruth Baumgarten doubted the viability of an entire mini- series and recommended instead a 9. TV special, Volk suggested that they "do the whole thing like Episode Six", portraying it as an actual "live" broadcast fronted by well- known TV personalities. The BBC, however, became concerned about the effect the broadcast would have on the public and very nearly pulled the show shortly before broadcast.

Ultimately they insisted on adding opening credits including the writer's name, in addition to a Screen One title sequence.[6]Supernatural depictions[edit]The ghost[edit]. Behind- the- scenes photo of actor Keith Ferrari as "Pipes"The film's fictional, villainous spectre, referred to by the children as "Pipes" and credited simply as "Ghost", is depicted as a merging of negative, spiritual energies, which parapsychologist Dr. Pascoe theorises have been accumulating for years, possibly back to prehistory. Its physical appearance mostly resembles that of deceased child molester Raymond Tunstall, a fictional character who, it is revealed by a phone- in caller, committed suicide at the haunted property some time in the 1.

His eyes are missing and his face is badly mauled, owing to Tunstall locking himself up with his multiple pet cats prior to his suicide; the cats having "gotten hungry" in the week prior to the discovery of Tunstall's body. The entity also wears a black woman's dress, likely that of "baby farmer" and child killer Mother Seddons. It is suggested that the character of Suzanne Early may become the next "layer" in the ghost's spiritual make- up, and in the final moments of the film the entity possesses television host Michael Parkinson. Watch Along Came Auntie Putlocker# there. In May 2. 01. 0, at a public screening of the film at The Invisible Dot in Camden, director Lesley Manning revealed that she provided the voice of Pipes the ghost after the professional voice artist hired for the production could not accurately replicate the style of voice she had intended. Technology[edit]Many methods familiar to modern ghost- hunting shows such as Most Haunted are demonstrated in the show, some of which were either genuine state- of- the- art technology at the time or simulated to give the idea they were real. The house was allegedly equipped with motion detectors, temperature sensors, and covert cameras.

The temperature sensors were referred to as being able to check for dramatic changes in temperature that ghost hunters link to real- life ghost sightings. One major feature of the show was a genuine thermographic camera, which, although it did not pick up any ghosts, came in very handy when all the lights failed at the end of the show. Ghostly depictions[edit]The programme makers used many examples of allegedly paranormal phenomena. Apparitions[edit]The Ghost, described by characters in the programme as a disfigured, androgynous person wearing a buttoned- up robe or dress appears several times during the course of the film. These are often fleeting, almost subliminal appearances, and can be found by skipping ahead to the following points.