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COOKE PRINT.indd 9 05/07/2012 13:36 10 A Sense of Place by some form of human use. In either case the region is often so clearly distinguishable as a separate entity that it receives recognition in the shape of a distinct name. Take for example the Lake District, the Black Country, the Vale of the White Horse . . . Now geography is, in my view, the art of recognizing, describing and interpreting the personalities of regions. Regions, like individuals, have very different characters; moreover, the character of regions, like those of individuals, are constantly
of British cinema’s ‘climate’ across almost seven decades following fast on the advent of talkies in this country. Crichton’s film ‘school’ was Denham Film Studios where, under a foreign-born mogul, Alexander Korda, domestic movie-making grew up and first attained international recognition; his postgraduate ‘academy’ was Ealing Studios, soon to become firmly in the vanguard of indigenous independent production as cinemagoing boomed during, and immediately after, the war years. Then, as American film finance began to flee the UK industry while, at the same time
) (There was a real shift, a generational change. It was a particularly moving speech given by Jacques Chirac, who had been elected two months prior, in May 1995 … The legacy of Jacques Chirac's speech lies in its political and memorial benefits, it was the recognition of the Vichy regime's responsibility. Historians have shown that there is a ‘before Chirac's speech’ and an ‘after Chirac's speech’.) Sémelin's words here fundamentally echo this book's central proposition that 1995
to believe that new forms of relation are at stake for Cavell's arguments. Relations of acknowledgment are forged on the basis of freedom and equality, as well as mutual recognition, between members of a loving, ‘remarried’ couple. Cavell certainly argues, as much as I do, that relations between humans made on such a basis have the ability to resist forms of oppression, possessiveness and the power of one human being over another. The stakes of those arguments are humble enough to declare that such relationships need to be forged one at a time: the social begins
. Indeed, what is interesting about Linda’s denunciation of feminine grooming rituals in this episode is that her actions are coded as a temporary rebellion associated with her failure to ‘pull’ a man rather than being situated as a political recognition of unequal heterosexual power relations. As a response to her heterosexual failures, Linda questions her own identity and sexuality. Displaying obvious confusion and insecurity regarding what it is that she actually really desires, Linda oscillates between lamenting that she is no longer sexy to men and declaring her
. As Foy is revealed in a hospital bed with a polystyrene dish under his chin to catch the copious amount of dribble and spit he is producing, Della and Dan make a deal with him based on money. They agree to pay Foy £10,000 in exchange for an email that, in Della’s words, ‘links one of the top brass at U-Ex, Richard Zeigler, to Paul Channing at Johnson_PaulAbbott.indd 102 05/08/2013 12:28 State of Play 103 Warner Schloss, to Sonia Baker’. For once, Dominic delivers, though, as Dan avers, ‘I think the money helped.’ Looking up as if in recognition of the deal he
indicative of changing trends, which include: the proliferation of personal, media, venue and pop-up screens; the widening of viewers’ choice about which screen is used; inequality in the diversity of film programming and venue types; and new practices in film viewing and audience engagement by diverse groups within regional populations. These aspects of audiences have not yet been properly identified or clearly understood in the scholarship. There is a recognition that changes are occurring, however, partly because developments in audience studies – especially in the
any other episode’ (Linehan and Mathews 1999 : 232). Nevertheless, the popularity of this episode with viewers has seen it broadcast on Irish and/or British television (usually Channel 4) every Christmas from its first broadcast in 1996 until today. In the first part of the episode, Ted saves himself, Dougal and six other priests from certain scandal when they become trapped in the lingerie section of a large department store while Christmas shopping, and he is presented with the prestigious Golden Cleric award in recognition
, Peacock and the co-editors of this volume, all key contributors to work on television aesthetics, it is the responsibility of television criticism to ‘negotiate the potential complexities and meanings of style’, in recognition of television as capable of ‘expressive richness’ (Jacobs and Peacock 2013 : 5, 6). My appreciation of the achievements of The Americans aims to address its style not as opposed to its substance, but rather as the constitution of its meaningfulness, and more specifically to locate this meaning in the fine detail of the series’ design. The
texts and readers, however, it is not assumed that a supposed semiotic democracy of “personal choice” has redressed imbalances of power across the globe. The more excessive postmodern notions of freefloating signifiers will accordingly be qualified in recognition of a degree of semantic commonality within and across speech communities, even whilst acknowledging that readings are inflected through the prisms of local cultures and microcultures. This approach makes it possible once again to discuss the forms, compositional principles and implications of texts and to