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Abstract only
Clare Wilkinson
and
Emma Weitkamp

events and activities you might be involved in, including festivals, cafes, talks, lectures, at generic venues and in museums, science centres and galleries. The chapter will draw on examples from contemporary movements, for instance the use of comedy in communication, the continuing popularity of Café Scientifique and how face-to-face events are being used in research processes. Why face-to-face? In today’s technological and knowledge-driven society the role of face-to-face communication can appear to be ever diminishing. With a wealth of resources at

in Creative research communication
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Andrew Dix

lightly armoured man wearing a skirt-like garment and carrying a shield and short sword tends, on the whole, to make us feel we are viewing epic rather than sci-fi (see Figure 15 ); similarly, a submarine is part of the visual array of a war film but rarer in the high school movie. However, while iconographic analysis is intermittently effective in this context, it breaks down when confronted by genres that are less strongly marked by distinctive visual features. What are the key icons of comedy, say, or romance? In addition, icons that may appear securely assigned to

in Beginning film studies (second edition)
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World politics and popular culture
Jack Holland

among the first to take seriously the importance of Star Trek , a show which has garnered relatively sustained attention in IR. 45 Indeed, where film and television have been studied within IR, science fiction has tended to feature more prominently than other genres. 46 That having been said, Harry Potter and, particularly, zombies have also attracted significant and sustained critical enquiry, alongside other popular cultural media, such as comedy, cartoons, and Tom Clancy novels. 47 At times, however, analysis of film and television in IR has focused on their

in Fictional television and American Politics
Peter Barry

avoids the problems frequently encountered in ‘straight’ Marxist criticism: it seems less overtly polemical and more willing to allow the historical evidence its own voice. STOP and THINK ‘Doing’ new historicism essentially involves the juxtaposition of literary material with contemporary non-literary texts. But how would you attempt to set about doing this yourself, rather than just reading published essays which use this formula? For instance, if you wished to use the new historicist method for an essay about, say, a Shakespeare comedy where would you look

in Beginning theory (fourth edition)
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Steven Earnshaw

being a forerunner of the ‘problem play’, the type of play that Shaw and Pinero were to become known for, plays that deal with contemporary social issues. Caste , for instance, deals with the difficulties of a marriage between different social classes, and while this in itself is hardly new, it treats it seriously rather than simply as a vehicle for comedy, and the ending is nowhere near as pat as the term ‘comedy’ might lead an audience to expect. Tydeman’s introduction to Plays of Tom Robertson asserts that: his plays do convey something of the quality of

in Beginning realism
Jack Holland

forms, which have also offered important outlets for the imagining of better, alternative realities when official routes to greater equality appeared closed off. This, as was argued in Part I, is where television and popular culture can excel, offering pathways to and sites of resistance when faced with troubling and blanketing hegemonies. Moreover, the cumulative social significance of these depictions is important, even where they are heterogeneous and/or prone to reproduce a range of cliched portrayals of African Americans. 38 Comedy, in particular, has provided

in Fictional television and American Politics
Edward Tomarken

is made emphatic by the fact that the conclusion involves marriage, a convention of comedy, and the presence of dancing, particularly at the beginning and end of the film. This free or modern version of Indian dance is emblematic of the point Muriel makes in her final letter: instead of resistance and restraint, she advises openness to the flow and natural impetus of life, trust in yourself, in others, in life itself. As an example, she offers herself, a woman who scrubbed floors for forty years and now is the manager of a hotel in India. Life is full of unexpected

in Why theory?
Bill Jones

reveals how this can happen in a comedic fashion but its popularity with politicians (especially Margaret Thatcher) at home and abroad attests to the fundamental truth that senior advisers can be more devious and instrumental in decision-making than the nominal head of the department or even the government as a whole. The British civil service is non-partisan and permanent; it still tends to be led in the most senior positions by graduates from Oxbridge universities. Margaret Thatcher was keen to reduce the size of the civil service and to introduce devolved

in British politics today
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Ethics and literary theory
Edward Tomarken

as applying only to that genre: ‘Not only novels prove appropriate, because … many serious dramas will be pertinent as well, and some biographies and histories … I leave for a future inquiry as well, the ethical role of comedy and satire, both in the novel itself and in other genres’ (Nussbaum, 46). By extension, I shall argue that film analysis – particularly if considered as a visual form of narrative, comedy and satire – can also facilitate the ‘join’ between literary theory and ethics. This chapter will focus on three of Nussbaum’s ideas about the relationship

in Why theory?
Jack Holland

politicians simply cannot say. An excellent example of this is the difficulty of speaking out during McCarthyism. And yet some did so. This is where popular culture – especially film and fictional television – outside the realm of formal politics can play a vital democratic role, by fostering continued debate during eras of discursive stability. Consider, for example, the role of satirical comedy, or the artwork of activists such as Banksy. 16 Although clearly possessing the ability and, frequently, the will to amplify or reinforce dominant discourses, popular culture

in Fictional television and American Politics