A conceptual framework for considering mapping projects as they change
Maps as foams and the rheology
of digital spatial media: a conceptual
framework for considering mapping
projects as they change over time
The world of mapping has rapidly moved from provisioning users with static twodimensional hard copy displays to maps that are on-line, immediate and dynamic.
(Cartwright, 2013: 56)
With a curious twist, we have come to think of a map like a ‘folding’ map that
we carry around on our travels – a tactile three-dimensional thing with movement encapsulated in its title – as static as Abend also argues in
The Visual Politics and Narratives of Red Cross Museums in Europe and the
United States, 1920s to 2010s
improve and deepen collaborations between professional
historians and humanitarian institutions (see Borton, 2016 ; O’Sullivan and
Chéilleachair, 2019 ; Taithe
and Borton, 2016 ), this essay seeks to explore how public historians and
their work may enrich and contribute to extending the uses of history among
In what follows, I depart from the assumption that Red Cross museums, like other
humanitarian media, are about seeing
Episcopal chaplains and control
of the media, 1586–1642
he chaplains to the bishop of London had a direct effect on English literature before the civil war in a more extensive and overtly political way than
any other domestic chaplains, because the task of pre-publication press censorship was overwhelming theirs. This was particularly so after the Star Chamber
decree of 1586, which made press licensing the responsibility of the bishop of
London and the archbishop of Canterbury, already the busiest clerics in the
This article looks at contemporary film scholarship in order to address one of the
disciplines pressing questions: the place of cinema in a context of rapid
technological change. Rather than simply focus on technology, however, the article
calls for a broad set of criteria to define what counts as cinema today. In
particular, it revisits the concept of expanded cinema and treats filmmaking as an
event that combines the contexts of production and reception. Finally, the article
insists on the relevance of film studies as a field that will continue to lead the
debate on moving image media.
Film studies is currently undergoing a needed and healthy expansion of methodologies
and critical approaches, including media, cultural and technology studies. This is
crucial not just for examining cinemas present but also its past. Using format
theory, this article opens up our understanding of what cinema has been, rather than
what it should have been. It does this by documenting the minor technological
footprint of movie theatres when compared to the expansive one consisting of 8mm and
16mm small-gauge projectors. In the United States by 1980, these portable
devices,outnumbered commercial theatres by an estimated factor of 1000:1.
The Boom of 1960s–70s Erotic
Cinema and the Policing of Young Female Subjects in Japanese
The purpose of this article is to analyse the ambivalent politics of looking and
discourses of gender, class and sexuality in a variety of 1960s–70s
Japanese studio-made exploitation films, known as sukeban
films. It first contextualises their production within a transnational and
domestic shift emphasising sex and violence in film and popular culture. The
article then highlights instances where the visual, narrative and discursive
articulation of non-conforming femininities flips the gendered power balance, as
in the sketches that satirise men’s sexual fetishes for girls. In
conclusion, it suggests to understand the filmic construction of young
women’s agency, and their bodily and sexual performance, in terms of a
recurring modus operandi of Japanese media that ambivalently panders to and
co-constitutes youth phenomena.
James Baldwin, the Religious Right, and the Moral
In the 1980s, James Baldwin recognized that a major transformation had occurred in the
socio-political functions of religion. His critique adapted accordingly, focusing on the
ways in which religion—particularly white evangelical Christianity—had morphed into a
movement deeply enmeshed with mass media, conservativepolitics, and late capitalism.
Religion in the Reagan era was leveraged, sold, and consumed in ways never before seen,
from charismatic televangelists, to Christian-themed amusement parks, to mega-churches.
The new movement was often characterized as the “religious right” or the “Moral Majority”
and was central to both Reagan’s political coalition as well as the broader culture wars.
For Baldwin, this development had wide-ranging ramifications for society and the
individual. This article draws on Baldwin’s final major essay, “To Crush the Serpent”
(1987), to examine the author’s evolving thoughts on religion, salvation, and
transgression in the context of the Reagan era.
Artists, scholars, and popular media often describe James Baldwin as
revolutionary, either for his written work or for his role in the civil rights
movement. But what does it mean to be revolutionary? This article contends that
thoughtlessly calling James Baldwin revolutionary obscures and erases the
non-revolutionary strategies and approaches he employed in his contributions to
the civil rights movement and to race relations as a whole. Frequent use of
revolutionary as a synonym for “great” or
“important” creates an association suggesting that all good things
must be revolutionary, and that anything not revolutionary is insufficient,
effectively erasing an entire spectrum of social and political engagement from
view. Baldwin’s increasing relevance to our contemporary moment suggests
that his non-revolutionary tactics are just as important as the revolutionary
approaches employed by civil rights leaders such as Malcolm X or Martin Luther
This article defends the view that Gothic Studies should encourage research on contemporary gothic youth cultures from a Cultural Studies point of view. This is justified on two grounds: research on these youth cultures is a unique chance to consider gothic as a living cultural practice and not just as textual analysis mostly disengaged from the present; on the other hand, these subcultures are currently under attack by the media and moral minorities, especially in the USA, and Gothic Studies could - maybe should - help correct this regrettable situation born of prejudice against, and ignorance about, Gothic itself. The article reviews the embarrassing position of the Gothic Studies researcher today as regards gothic youth cultures and calls for the reinforcement of the poor knowledge we have of the evolution of these cultures in the last 20 years.
A Recombinant Pygmalion for the Twenty-First Century
As a gothic iteration of Ovid‘s Pygmalion myth, the television show ‘Dark Angel’ demonstrates how anxiety over the laboratory creation of people persists in popular culture. The paper looks through the lenses of media representation of cloning, complexity theory‘s trope of iteration, and gothic literary criticism, first to analyze Dark Angels heroine as a gothic version of Pygmalion‘s statue. It goes on to explore some of the implications of rewriting sculptor/lover Pygmalion into Dark Angels Donald Lydecker and Logan Cale, before examining the first season in its entirety. The analysis ends on a short exploration of some interactions between the show and the popular culture that produces and consumes it.