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. 33 I also attend to Connery's accumulation of symbolic capital – the role of awards and other forms of cultural recognition which themselves enhanced his status and salary – thus understanding stars as both symbolic and cultural entities in the ‘symbolic commerce of stardom’. 34 Acting and performance Focusing on stars’ work as professional performers includes investigating and analysing the training and creativity they bring to
, in the tastefulness of Kai’s interior design and, precisely, in the interracial relationship between Kai and Richard. In this sense, the film leaves the spectator a taste of hope that East London can serve as a cradle where racial equity and the recognition of a BEASEA consciousness can be approached , not as a fixed identity or essence to be achieved but as a process that works hand-in-hand with the city – and the nation state at large – as a constantly growing and changing imagined community. Conclusion
recognition of necessity. Harold Lasswell, writing in 1934, noted that: Propaganda is surely here to stay; the modern world is peculiarly dependent upon it for the coordination of atomized components in times of crisis and for the conduct of large-scale ‘normal’ operations. It is equally certain that propaganda will in time be viewed with fewer misgivings. (Laswell, 1934, reprinted in Jackall (ed.) 1995: 22) One can reflect on how wrong this last prediction turned out to be, certainly in terms of communicative practice openly carrying the label, either through self
women, and men, the right to form non-profit organizations, came the creation of the Conseil national des femmes françaises (1901), whose goal was to create both a federation of the dozens of women's associations and a feminist party. Dulac would become president of the cinema section of the Conseil national des femmes françaises in the 1930s where she promoted the progressive possibilities of the newsreel. The Conseil national des femmes françaises fought for equal pay for men and women, as well as for the recognition of housework
same as that of the person within the scene. Orwell’s empathetic assessment turns into his recognition that it is in fact her assessment too. We can now look at the ‘same scene’ as it is described in The Road to Wigan Pier a year later: The train bore me away, through the monstrous scenery of slag heaps, chimneys, piled scrap iron, foul canals, paths of cindery mud criss-crossed by the prints of clogs. This was March, but the weather had been horribly cold and everywhere there were mounds of blackened snow. As we moved slowly through the outskirts of the town we
about ageing that have gained greater prominence over the last twenty years as the demographics of Western societies have undergone profound changes; academic attention has mirrored the cultural industries’ recognition of the box-office appeal of ageing stars – what Sally Chivers calls the ‘silvering screen’ – itself part of greying America's multibillion-dollar ‘ageing industry’. 8 Ageing, like other markers of difference, is a discursive construction that reflects cultural assumptions, social practices and material
’, conventions of realism in soap opera expect that [characters] ‘should be credibly accounted for in terms of the “ordinariness” of their homes ... that the time should be “the present”; that the style should be such as to suggest an unmediated, unprejudiced and complete view of reality’. However, critical thought concerning televisual ‘realism’ stretches beyond conventions of recognition and reflection. As Jonathan Bignell (2004: 190) argues: ‘realism ... depends not only on construction and form within television genre but also on the discourses generated around them’. The
the proscenium as theatrical frame is not, as Haerdter may be read to suggest, a concession to an outmoded theatrical naturalism but, instead, exemplary of Beckett's recognition of the altered situation of post-war theatre in a transformed media surround. The proscenium was not, after 1945, what it had been. 6 Beckett's deliberate uses of the apparatus of the theatre respond to the proscenium-like frame of the cinema, a resemblance stressed (for instance) by the curtains that open two otherwise very different films
length with matters to do with the control of resources, nationally and perhaps internationally, and the exercising of social power through formal institutions and procedures of regulation. Within political studies, there has recently been recognition of the way in which the term ‘politics’ has often been used too narrowly, foreshortening a 190 PART TWO(2) sense of the politicality of many areas of everyday life. I want to connect both with formal and ‘colloquial’ versions of the political in documentary film, but I judge explicit address to questions of
modestly, that all human subjects are divided or split to the extent that all subjects are constructed by encounters with others, and I have already called upon Sellier's claim in this respect. In short, human subjects cannot exist as humans without being exposed to and composed out of their encounters with other humans. Love begins here. Statements like these are important for the philosophical tradition. Of particular note in that respect are G. W. F. Hegel's so-called ‘ethics of recognition’, wherein one human being gains their sense of self only