that the notion of categorisation remains important, even if some film, television and radio examples resist easy classification. The concept of genre has been one of the most useful ways of categorising and classifying a range of popular culture artefacts and has long provided the film industry - producers and exhibitors - with an effective way to promote its product to audiences. It was also found
As we have argued in the previous chapter, the domain of documentary is problematic either to identify or to define easily. Documentary as a genre, as a concept, is inherently unstable and continuously undergoing transformations. Historically documentary has been quick to adapt to external changes, such as the emergence of television (Corner, 1996 ; Winston, 1996 ; Hughes, 1996 ). More recently
In this article I demonstrate the significance of a flexible approach to examining the autobiographical in early eighteenth-century womens writing. Using ‘old stories’, existing and developing narrative and literary forms, womens autobiographical writing can be discovered in places other than the more recognizable forms such as diaries and memoirs. Jane Barker and Delarivier Manley‘s works are important examples of the dynamic and creative use of cross-genre autobiographical writing. The integration of themselves in their fictional and poetic works demonstrates the potential of generic fluidity for innovative ways to express and explore the self in textual forms.
Visual representations have often played a crucial role in imagining future urban forms. In the aftermath of the Second World War, a noteworthy new genre of urban plan was published in Britain, most deploying seductively optimistic illustrations of ways forward not only for the reconstruction of bomb-damaged towns and cities but also for places left largely undamaged. Visual representations have often played a crucial role in imagining future urban forms. In the aftermath of the Second World War, a noteworthy new genre of urban plan was published in Britain, most deploying seductively optimistic illustrations of ways forward not only for the reconstruction of bomb-damaged towns and cities but also for places left largely undamaged. This paper assesses the contribution of visual elements in this,process with a detailed case study of the maps, statistical charts, architectural drawings and photographs enrolled into the 1945 City of Manchester Plan. The cultural production of these visual representations is evaluated. Our analysis interprets the form, symbology and active work of different imagery in the process of reimagining Manchester, but also assesses the role of these images as markers of a particular moment in the cultural economy of the city. This analysis is carried out in relation to the ethos of the Plan as a whole.
This article, originally published in 1958, was written to commemorate William Blake’s bicentenary. In it, the author observes that Blake has been claimed or dismissed by successive generations since his death in 1827: for the Romantics, he was a ‘weird crank’, while the Victorians enveloped him in ‘their own damp sentimentalism’. The author argues that Blake ‘evades appraisal because he was always working for a synthesis of creation far beyond outward forms and genres’, which meant ‘he had to invent his own methods to express himself adequately’. He notes that the recent bicentenary was marked by ‘floods of exhibitions, magazine supplements, radio features, new books from all sides devoted to him’. This clearly anticipates the Blakean explosion of the 1960s, in which the author himself would play a major role. This article can therefore be seen as marking the beginning of Sixties Blake in Britain.
Hartmann Schedel’s Liber Chronicarum (1493), better known as the Nuremberg Chronicle, pictures and describes world civilisations and illustrious individuals from Creation to 1493. Although its sources and circumstances of production have been extensively explored, the cultural significance of its many woodcut images has received far less attention. This preliminary study highlights relationships between images, audience and the humanist agenda of Schedel and his milieu by examining selected representations of cultural outsiders with reference to external illustrated genres that demonstrated the centrality of Others in German Christian culture. I argue that the Chronicle’s images of ‘foreign bodies’ harnessed their audience’s established fascination with monsters, wonders, witchcraft, Jews and the Ottoman Turks to advance the German humanist goal of elevating the position of Germania on the world historical stage and in so doing, contributed to the emerging idea of a German national identity.
Rylands English MS 60, compiled for the Spencer family in the eighteenth century, contains 130 printed portraits of early modern artists gathered from diverse sources and mounted in two albums: 76 portraits in the first volume, which is devoted to northern European artists, and 54 in the second volume, containing Italian and French painters. Both albums of this ‘Collection of Engravings of Portraits of Painters’ were initially planned to include a written biography of each artist copied from the few sources available in English at the time, but that part of the project was abandoned. This article relates English MS 60 to shifting practices of picturing art history. It examines the rise of printed artists’ portraits, tracing the divergent histories of the genre south and north of the Alps, and explores how biographical approaches to the history of art were being replaced, in the eighteenth century, by the development of illustrated texts about art.