a lecturer in film and television studies at the University of Warwick, wrote in 2000 that Kneale and Cartier together created an entirely new, more expansive vision for British television drama in the 1950s. It was the arrival of Nigel Kneale... and Rudolph Cartier... that challenged the intimate drama directly. Cartier is rightly recognised as a major influence on the visual development of British television drama... Cartier and Kneale had the ambition for their productions to affect a mass audience, and the scope of their attention was not confined to the 'cosy' aesthetics of intimacy. Cartier uses the close-up both to reveal emotions and as a shock device: a more threatening—and perhaps exhilarating—method than was used before. 'Intimacy' is reformulated by Cartier in terms of his power and control over the viewer—no longer a part of the family, but isolated in his home. Cartier's pioneering use of an increased number of pre-filmed sequences to open out the studio-bound, live television drama productions of the 1950s is also praised by Lez Cooke. "While film inserts were being used in television drama from the early 1950s, Nineteen Eighty-Four represented the most extensive use of them in a TV play up to that time, and signalled Cartier's determination to extend the boundaries of TV drama." Similarly, his Times obituary stated that: "At a time when studio productions were usually as static as the conventional theatre, he was widely respected for a creative contribution to British television drama which gave it a new dimension." In addition to his 1950s productions, several of Cartier's later works have also been regarded as influential. His 1962 production of Wuthering Heights was praised by Dennis Potter, then a television critic, who wrote in the Daily Herald newspaper that the production "was like a thunderstorm on the flat, dreary plains of the week's television... The howl of the wind against the windows, the muted pain of Claire Bloom as the wretched Cathy, and the hunted misery of Keith Mitchell as Heathcliff, made this a more than adequate offering of a great work." While Screenonline states that Lee Oswald—Assassin (1966) "could be argued [to be] of historical interest only", due to its basis in the flawed Warren Commission report, The Times praised it as being "possibly the first drama-documentary". Not all of Cartier's work was so well regarded; in particular, his cinematic efforts have not achieved the level of praise