Fashioning a journeyer identity
Emma Robinson-Tomsett

that each day takes me further. But they say we may be back in six months’.14 Women’s counting and recording of exactly how many letters they received also indicates how important communication with home was to them. Janet Smith was disappointed ‘at not getting any letters’ before she left the United States for her return journey to Britain in 1896, noting ‘I have only had 5 letters all the time’ she had been away.15 Dora Pennyman was saddened not to receive letters from her sons during her journey on the Nile in early 1905: j 171 J women, travel and identity the

in Women, travel and identity
Open Access (free)
Bryony Dixon

fascinating decade for the film archivist. Technically speaking there was a lot going on: the end of the nitrate era, the development of wide-screen and novelty formats, the increasing use of colour, advances in sound recording technology, lighter more portable 16mm camera equipment, the coming of television. I am concentrating on the holdings of the British Film Institute’s National Film and TV Archive

in British cinema of the 1950s
REC and the contemporary horror film
Agnieszka Soltysik Monnet

device serves to break the illusion of transparency created by conventional Hollywood narration and to foreground its recording technology, REC 2 brings the camera even more explicitly and thematically into the narrative frame. Dramaturgically, however, the crescendo effect is not as effective in REC 2 as in REC. The little girl is reprieved but her attack no longer commands the

in Monstrous media/spectral subjects
Abstract only
Live television and improvised comedy in the Soviet Union, 1957–71
Andrew Janco

. Everyone in the audience knew that Yangel had said ‘TsKtukha’ not ‘tsokotukha’, but without recordings or proof the matter was dropped. In May 1967, the Moscow television theatre was filled with more than 1,000 young men and women. Naturally, most were from Moscow, but several hundred fans travelled from Odessa to the capital. The theme of the final competition was announced as ‘Telepathy surrounds us’. Both teams were expected to utilise this theme when composing their ‘homework’. On the stage, Matvei Levinton’s corps of medical students from MOLMI wore their

in Popular television in authoritarian Europe
Abstract only
Don Fairservice

design and costume planning; on music scoring and recording. By not shooting unnecessary scenes, or camera angles within scenes, filming days could be reduced to a minimum. This unusual production method is of particular interest because it involves editorial matters that are directly concerned with dramatic structure. Pépé le Moko is a French film, stylishly directed by Julien Duvivier and featuring Jean Gabin in the title role

in Film editing: history, theory and practice
Martyn Hammersley

forms of qualitative research in several, quite specific, ways. Up to the early 1970s a great deal of it relied on fieldnotes as data. However, with cheap and portable audio-recorders becoming available towards the end of that period, these increasingly came to be used alongside, or instead of, writing fieldnotes.7 Later still, camcorders or video cameras also began to be employed by some qualitative researchers, and these too offered advantages, in particular the possibility of replaying recordings of sequences of social interaction audiovisually and thereby

in The radicalism of ethnomethodology
The Smiths and the challenge of Thatcherism
Joseph Brooker

2 ‘Has the world changed or have I changed?’: The Smiths and the challenge of Thatcherism Joseph Brooker Welcome me, if you will, as the ambassador for a hatred who knows its cause (Frank O’Hara, ‘For James Dean’)1 What’s frightened you? Have you been reading the newspapers? (Shelagh Delaney, A Taste of Honey)2 The Smiths’ recording career roughly corresponded to Margaret Thatcher’s second term in office. ‘Hand In Glove’ was released a month before 1983’s general election; Strangeways, Here We Come appeared four months into Thatcher’s third term. Such facts can

in Why pamper life's complexities?
M. T. Clanchy

, then present at the assembly ( placitum ) in Durham’. 39 This document is one half of a chirograph recording the agreement by which Robert of St Martin gave whatever he had in the church of Blyborough and its lands to Durham. The knife, which is not inscribed like the one for Lowick, is attached to the document by a knotted strip of parchment, which passes through a hole bored in the handle and through two slits cut in the document. Like the Lowick knife, it was presumably offered to the monks by Robert of St Martin as a ‘sign’ or corroboration of his gift. In

in Law, laity and solidarities
Willem de Blécourt

The way Viehmann told a story, correcting it where she thought it necessary, and then slowly dictating it again, she cannot have managed more than three or, at the most four stories at a time. And a more or less faithful recording did not mean that stories appeared unaltered in subsequent print. The Zwehrn text of the King of the Golden Mountain (KHM 92), for instance, was only included in the 1822

in Tales of magic, tales in print
Guy Austin

documentary film-making which was most directly influenced by what happened in May 1968. Documentary film-making in France in the 1960s had been dominated by cinéma-vérité – the recording of everyday life and events – as in Jean Rouch’s Chronique d’un été (1961) and Chris Marker’s Le Joli Mai (1963). This style was gradually supplanted by more formally experimental and politically-motivated forms of

in Contemporary French cinema