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The Servant (1963), Accident (1967) and The Go-Between (1971)
Colin Gardner

Time present and time past Are both perhaps present in time future, And time future contained in time past. If all time is eternally present All time is unredeemable. (T. S. Eliot) 1 At the time of his first collaboration with Losey in 1963, the thirty

in Joseph Losey
The case for practice theory
Matthew Hanchard

7 Digital maps and anchored time: the case for practice theory Matthew Hanchard Introduction Digital maps are increasingly embedded within everyday practices, from choosing a holiday destination to gaining directions to a bar. As hypermediate and remediate forms (Bolter and Grusin, 2000), they are situated within a complex array of connected technologies: web mapping services output digital cartography via popular web map engines like Google and Bing Maps which, in turn, sit embedded on websites. Meanwhile, location-based services allow users to check in almost

in Time for mapping
Chris A. Williams

5 Real-time communication 1848–1945 Electronic communications could greatly speed up the various processes of feedback and of control in police organisations. Their use therein was just one aspect of the way that in the nineteenth century they (in Dandeker’s words) ‘unified national populations across time-space’.1 This chapter will examine the ways that telegraph and telephone technology were adopted by police in the nineteenth century, noting how these technologies both fitted into existing practice and re-shaped it. These will also be shown in the context of

in Police control systems in Britain, 1775–1975
Valentina Vitali

1 The time of popular cinema For 80 per cent of humanity the Middle Ages ended suddenly in the 1950s; or perhaps better still, they were felt to end in the 1960s. (Hobsbawm 1995: 288) An important characteristic of academic publications on popular cinema is that, by and large, they discuss films made between the late 1950s and the early 1970s. Occasionally, earlier pre-World War Two films are considered,1 but this does not contradict the fact that writing on popular cinema tends to cover the period from the end of the Korean War (1950–3) and the debacles of

in Capital and popular cinema
Open Access (free)
Towards a contemporary aesthetic
Jonathan Dollimore

2 Jonathan Dollimore Art in time of war: towards a contemporary aesthetic In times of war In September 1914 an agonised Hermann Hesse writes of how war is destroying the foundations of Europe’s precious cultural heritage, and thereby the future of civilisation itself. Hesse stands proudly for what he calls a ‘supranational’ tradition of human culture, intrinsic to which are ideals essentially humanitarian: an ‘international world of thought, of inner freedom, of intellectual conscience’ and a belief in ‘an artistic beauty cutting across national boundaries’.1

in The new aestheticism
News media framing of Irish political interventions in the UK’s EU referendum
Anthony Cawley

social media platforms have often served, counter-intuitively, to distort rather than enrich the public sphere. The EU greeted the emergence of the World Wide Web with optimistic rhetoric about seamless participatory communication among citizens across member states ( Preston 2009a ). However, as Preston has argued, even if online technologies compressed communication ‘time-space’ across the EU, they came to mirror

in Ireland and the European Union
Terence Davies and the Paradoxes of Time
Wendy Everett

This article examines the paradoxes inherent in filmic time, with particular reference to the autobiographical work of the British director Terence Davies. Analysing ways in which film, itself constructed from still images, can create, reverse or freeze temporal flux, confuse and blend multiple and conflicting temporalities, and create the spatial dimensions of an ‘imaginary’ time, it argues that the relationship between film and music may well provide a fundamental key to the understanding of filmic time.

Film Studies
The Early Promise and Disappointing Career of Time-Lapse Photography
David Lavery

Time-lapse photography—the extremely accelerated recording and projection of an event taking place over an extended duration of time—is almost as old as the movies themselves. (The first known use of time-lapse dates from 1898.) In the early decades of the twentieth century, cineastes, not to mention scientists, artists, and poets, waxed eloquently on the promise of time-lapse photography as a means for revealing “things we cannot see,” and expanding human perception. This essay examines time-lapses tremendous initial imaginative appeal for such figures as Ernst Mach, Germaine Dulac, Jean Epstein, Rudolf Arnheim, Laszlo Moholy-Nagy, and Collette, and speculates about the possible reasons for its diminution over the course of the century.

Film Studies
Bulletin of the John Rylands Library
James Baldwin’s Pragmatist Politics in The Fire Next Time
Courtney D Ferriter

In The Fire Next Time, James Baldwin argues that the American dream is far from being a reality in part because there is much Americans do not wish to know about themselves. Given the current political climate in the United States, this idea seems just as timely as it did in the 1960s. Baldwin’s politics and thinking about race and religion are informed by an optimistic belief in the human capacity to love and change for the better, in contrast with Ta-Nehisi Coates, the heir apparent to Baldwin’s legacy. Considering current events, it seems particularly useful to turn back to The Fire Next Time. Not only does Baldwin provide a foundation for understanding racism in the United States, but more importantly, he provides some much-needed hope and guidance for the future. Baldwin discusses democracy as an act that must be realized, in part by coming to a greater understanding of race and religion as performative acts that have political consequences for all Americans. In this article, I examine the influence of pragmatism on Baldwin’s understanding of race and religion. By encouraging readers to acknowledge race and religion as political constructs, Baldwin highlights the inseparability of theory and practice that is a hallmark of both pragmatism and the realization of a democratic society. Furthermore, I argue that Baldwin’s politics provide a more useful framework than Coates’s for this particular historical moment because of Baldwin’s emphasis on change and evolving democracy.

James Baldwin Review