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Methods for exploring mundane jographies
Simon Cook

conversation while running without becoming breathless. Audio recording was the next challenge to overcome in using GAIs for running, which is far from simple. Not only is there the issue of somehow carrying an audio recording device while running, but ensuring that it can pick up all parties without being dominated by the noise of wind or passing vehicles can also be difficult. So far, I have used two different set-ups for audio recording. One of my projects was based in Plymouth, UK. Plymouth is a relatively small and quiet English city, which afforded a simpler

in Mundane Methods
Walking from the mundane to the marvellous
Morag Rose

generated empathy between them. Walking also aids kinaesthetic learning through the engagement of multiple senses and an innate desire to ‘show and tell’, as explored by Pink ( 2015 ) as part of what she terms ‘sensory ethnography’. Mobile methodologies like walking can create problems, especially around recording data. Jones et al. ( 2008 ) are critical of studies which do not attempt to physically map the places where participants make revelations, believing there needs to be a precise record of where something has been said so that this can be linked with the

in Mundane Methods
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John Williamson and Martin Cloonan

on the Union’s first sixty years written by Bertram Newton Brooke in 1954, which can be found in Farmer, 67/3. 6 6 Players’ work time Profession in Britain since the Eighteenth Century (1985). This contains several references to the AMU and its early battles with employers as well as outlining the subsequent development of the MU, but has little on the recording era. Nott’s Music for the People (2002) also provides some insight into the Union’s problems in the 1920s and 1930s. Cottrell’s Professional Music-Making in London (2004) is a useful ethnographic study

in Players’ work time
Kelly Jones

? Liveness, performance, and adaptation In his book, Liveness and Recording in the Media , Andrew Crisell seeks to account for the value that is placed on the quality of liveness in television and radio broadcasting. He explains that ‘the crucial element of liveness is temporal: co-presence in time ’ (original emphasis), and that ‘[c]o-presence in space without temporal co-presence is almost meaningless because if two people are not temporally co-present they cannot be spatially co-present’ (14). He continues

in Adapting Frankenstein
Richard Hewett

117 3 The genesis of location realism By the mid-​ 1970s, studio realism might be expected to have reached its apotheosis, yet it was by no means all-​encompassing as a style of television acting, and there were already elements in play that would ultimately come to threaten its primacy as the dominant mode of acting in British television drama. The decade saw the emergence of various factors that would influence actors’ work at the Corporation, beginning with the BBC’s further investment in its existing rehearsal and recording model via the opening in 1970 of

in The changing spaces of television acting
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Andy Birtwistle

this relates to the experience of watching their work. Drawing loosely on the life of the exiled German opera singer and wildlife sound recordist Ludwig Koch, Birdman features Koch’s son, Val Kennedy, playing the role of his father. The soundtrack is made up of three distinct elements: extracts from Koch’s autobiography, read as voice-over by Kennedy; recordings of bird-song made by Koch; and the dense

in Cinesonica
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Sam Rohdie

chronicle or history. Though concerned with encountering reality and revealing it, it is an encounter mediated by images and their relation to each other that take precedence as if, to discover reality, you need first to change it into an image and then the image must change in its encounter with other images. What is primary is not the camera, recording, but the reconstruction, the montage. The images in the film cited from other films are rendered as pure surface and form, like the repeated, staccato images of Ethan Edwards picking up Debbie in his arms in Ford’s The

in Film modernism
William H. Rosar

Psycho have not been found, so that information is not available for comparison with Herrmann’s manuscript score for the cues, though the timings can be related to the film as it was released. In addition to the surviving autograph score, an Ozalid copy (an alternative photographic process that prints on to translucent media) of it was evidently made at the time. Presumably Herrmann conducted the recording sessions from the autograph, and the copy was made for reference by the personnel in the recording booth on the scoring stage, chiefly the music editor and music

in Partners in suspense
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Notes on methodology
Sarah Daynes

use of these presents different advantages: one is composed of artists linked to the Rastafari movement, but is not limited to the seventies and contains several dancehall artists; the other is based solely on the charts, and therefore gives due prominence to love songs and, since the mid-eighties, to reggae dancehall. In order to constitute a corpus of songs for content analysis, I have tried to define what a “classic” was. In every musical style, some recordings stand the test of time and are considered as important by common consensus, both for their own quality

in Time and memory in reggae music
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Unfolding oral history methods
Alison Slater

collected background contextual information relating to these factors, but it was recorded in writing prior to the interview to ensure anonymity in the audio recording (Slater, 2011 ). Some oral historians, including myself, use standardised interview questions to compare responses from different interviewees. Others have a schedule of topics to discuss. Where questions are used, the type of question asked should be considered. Ideally, a combination of open and closed questions should be used to allow the interviewee to share anything they feel is relevant. For example

in Mundane Methods