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varicose veins I’d like to know,’ she furiously retorts, ‘them blasted tunnels if you ask me.’ That ‘blasted’ tunnel sequence is vividly underscored by a soundtrack of rhythmic prose poetry by MacNeice in the style of some earlier documentaries. After the Smiths are ordered to motorise Sunny Valley , almost literally over Pa’s dead body, the dramatic interludes impinge rather less while the history and current status of the canals move rather more centre stage, notably when ‘the war’ finally gets its proper recognition about two-thirds of the way in to the film
and challenges in film policy and trends within film industry practices, twenty-seven interviews with film exhibition and industry experts were conducted between September and October 2018. The interview approach was one of ‘theory-generating’ elite and expert interviews (Bognor, Littig and Mertz, 2009 ). In this approach, the interviewees are selected in ways that go beyond the formal markers of high social status (Littig, 2008 ) to the recognition of particular skills, knowledge and experience of specific sectors, to interview participants who are experienced
media within post-industrial society. These changes include developments such as moving from living-room audiences gathered together around televisions (Ang, 1996 ; Livingstone, 1998 ), to individualised home viewing on portable TVs and digital devices and mobile audiences using digital devices (O’Dea, 2019 ; Bakardjieva, 2005 ; Maccormick, 2012 ). There are also continuities, though, such as cinema audiences and festival audiences (Evans, 2011 ). There is some recognition that audiences mix their audience experiences across individual viewing, home viewing and
-arcs, which can last from a single scene to several seasons, resonate with one another as the scheming protagonist repeats signature strategies, offering the pleasures of recognition and prediction as we follow his progress. Mittell suggests that the self-conscious flourishes that often characterise a complex narrative produce an ‘operational aesthetic’ ( 2015 : 43), inviting the viewer to marvel at the virtuosity of the storytelling. 3 It is a voyeuristic fascination with the ‘operational aesthetic’ of Frank's elaborate
competence, is both listened to and recognized by the squad room at large. Knowing about manicure is, like Tennison's earlier recognition of a victim's clothing, shown to make a critical contribution to a traditionally masculine game of detection. Similarly, it is Tennison's respect for the prostitute women […] which elicits crucial information from them in a scene which shows both female solidarity and the way in which class differences fracture this. ( 1998 : 234) This type of detection
's structure is both simple and complex at the same time. The most glaring distortion of duality arises from a recognition that the characters in Veep showcase really quite terrible personality traits and types. Knowing these characters are fictional, and that Veep is a fictive world rather than true reflection of reality, as viewers we are able to savour its schadenfreude while simultaneously, if inclined, questioning the motivations behind our own political actions. As we shall see, the juxtaposition of hyperbolic distortions of nationalist tropes
the generous pile of presents at its foot, and retrieves a large, wrapped parcel from his wardrobe, carrying it with care along the landing and into his parents’ bedroom. Smiling, the boy extends the gift to his bleary-eyed parents. As Campaign 's laudatory appraisal underlines, simplicity (‘a simple, wonderful thought’) has long been commended in advertising, in view of its perceived advantage in selling products and creating strong brand recognition. The Long Wait was created as part of John Lewis's wider marketing strategy. John Lewis
Schwimmer in Friends , specifically in the episode ‘The One with All the Kissing’ (5.2). Friends is a show that has achieved global recognition, and has been acknowledged as ‘one of the most significant programmes in the history of television and media culture’ (Knox and Schwind 2019 : 4). The tempestuous on-off-again relationship between Schwimmer's Ross and Aniston's Rachel is one of Friends’ most important storylines, one ‘which simultaneously drives the dramatic narrative and serves as a regular source for humour as part of the series’ comedic sensibility
histories of race may be a passive act, but if it leads to recognition of one's self in others, then our job as critical analysts is done’ ( 2019 : 239). References Abbiss , Will Stanford ( 2020 ) ‘ Proposing a post-heritage critical framework: The Crown, ambiguity, and media self-consciousness ’. Television & New Media 21 : 8 , pp. 825–41 . https
his hat band, an event that – like the boy's popsicle – finds a literal counterpart in the fantastical ‘feather canyons’ of Collins's song. This harmony of colour, words, actions and objects, the prominence and strength of their connection amplified by the music, suggests a moment in which the randomness of the world is arranged into a passing state of unity. But it is a unity we intuit through flashes of connection or recognition. It does not consist in the coherence offered by so many other television serials: that of