Search results

You are looking at 1 - 10 of 2,150 items for :

  • Film, Media and Music x
  • Refine by access: All content x
Clear All
Abstract only
John Corner

2 Form Whereas ‘power’ is a term taking us immediately to the contested centre of media research and debate, including that conducted outside the academic sphere, the notion of ‘form’ is far less certain in its indications. To talk beyond the academy, and even at points within it, about enquiry into form is to invite a degree of suspicion. Around the notion of form in respect of the media there is often the sense of something elusive and possibly of secondary significance to what really needs to be known more about. Formal analysis suggests a carrying over of

in Theorising Media
Robin Nelson

5 Techniques, technologies and cultural form The title of this chapter pays conscious homage to Raymond Williams’s seminal work, Television: Technology and Cultural Form (1974), which established a way of locating the outputs of the television medium in the technological and cultural contexts of production and aimed to understand them in these terms. Though technology is not seen to determine cultural forms, it is one of the main forces in a field which shapes the programmes to appear on the small screen. In TV3, developments in technologies have played a

in State of play
Abstract only
The Street, Moving On, Accused
Steve Blandford

‘Hybrid’ forms: The Street, Moving On, Accused 2 The decision to create a separate chapter for these three programmes is designed to highlight McGovern’s increasing tendency in his later career to both nurture new writers and push at the boundaries of television forms. All three programmes were made by independent production companies with McGovern acting in a producing as well as writing role, though as we shall see, he saw his contribution as being very much confined to the development of the ideas and the scripts rather than to production in any wider sense

in Jimmy McGovern
Abstract only
Don Fairservice

the film was so influential and its form widely copied, many of the experimental editing practices that had been discovered previously were to be ignored and play no part in the development of editing practice until they were rediscovered some years later. Porter’s film is constructed from fourteen scenes and each scene consists of one shot, mostly a wide shot. In 1903 there were very few precedents for filming a scene from

in Film editing: history, theory and practice
Alison Smith

The films we have considered in the first four chapters derive from 1968 primarily in terms of content. Their styles remain modelled on pre-existing cinematic conventions, even if they have introduced innovations in emphasis and sometimes even in form. While in the 1940s and 1950s naturalism could be associated with a politically inspired break with previous production, notably in the early days of Italian neo-realism, by the 1970s it was both traditional and depoliticised. The implied low budget and social honesty did

in French cinema in the 1970s
The Gothic in Shelley‘s ‘The Triumph of Life’
John Whatley

The criticism of Shelley‘s ‘The Triumph of Life’ now makes up a small library of its own, though the status of the poem as a fragment yet precludes any final closure of commentary. The article proposes that criticism of the ‘Triumph’ falls between two poles. One view, of which Paul De Man is representative, sees the Shelley of his final poem as mature, becoming skeptical of romantic uses of the language of the uncanny. The other, of which Ross Woodman is representative, sees him finally as a fascinated believer in the supernatural and transcendent. This paper argues that the poem might be better seen as a complex and subtle mixing of these two frames, a skeptical fascination that relies on Shelley‘s refined use of the Gothic mode in the poem. This unstable frame results in an evaluation of Rousseau‘s philosophy as a form of truth flawed by desire, and a counterfeit ghost of the originating ideas when it reaches the public sphere. Seen this way, Shelley places Rousseau‘s ‘shape all light’ within a pantheon of other great figures of world history as an idealist who was made into a gothic cult by those in power.

Gothic Studies
The origins, characteristics and theoretical foundation of the nineteenth-century French realist, and naturalist tradition
Ian Aitken

distinction between realism and modernism initially emerged most forcefully in inverted form, within the classical Marxist tradition, when Engels argued that a radical opposition should be made between ‘progressive’ realism and ‘decadent’ modernism. Although later writers within media studies were to turn this evaluation on its head, they nevertheless adhered to Engels’s belief that a critical distinction must be made between

in Realist film theory and cinema
Dave Rolinson

Form and narrative in the 1980s 3 In this chapter I discuss Clarke’s work in the 1980s, addressing his themes and approaches and the ideological ramifications of his style and experimentation with narrative. The first section covers various productions in the period between Beloved Enemy and Road, the second section looks at his plays on terrorism and Northern Ireland, PsyWarriors, Contact and Elephant, and the third section focuses on his final production, The Firm. Throughout, I draw attention to the way that Clarke dissected the political climate of the 1980

in Alan Clarke
Clive Cazeaux

9 Aesthetics as ecology, or the question of the form of eco-art Clive Cazeaux Although the origins of ecological art or eco-art (I shall use the latter name from here on) are relatively easy to identify, the full meaning and scope of the name are not so easy to determine. The emergence of eco-art as a visual art form is arguably the result of a number of interrelated factors in the 1960s: American and United Kingdom countercultures, including disillusionment with government and material wealth; conceptual art’s reaction against traditional aesthetic values

in Extending ecocriticism
Technologies of Surveillance, Knowledge and Power in Paramount Budget Documents, 1927–58
William Thomas McClain

Film production at Paramount Pictures during the so-called classical era required the mobilisation of massive material and human capital that depended on institutional systems of surveillance, knowledge creation and control ranging from departmental affiliations to the pre-printed budget forms. This article focuses on those pre-printed budget forms as technologies of knowledge and power, revealing that the necessities of creating and managing coalitions of expert labourers created alternative power centres and spaces where being the object of surveillance was itself a source of power. It concludes by discussing the implications of this ecology for the historiography of Hollywood.

Film Studies