Tom Waits’s Bone Machine
Steen Christiansen

practices. In this sense, media technologies constitute the human and human perception. Media technologies are, as Marshall McLuhan put it, ‘extensions’ of man and engender new sense ratios ( 2001 ). Early phonographic listeners were able to hear through the noise of recording and find it flawless in a way we could not do today. As sound recordings

in Monstrous media/spectral subjects
The nurses’ role in wound management in civilian hospitals during the Second World War
David Justham

sources are a group of 19 interviews, collected by the author during 2008–10. These former nurses trained in UK hospitals during the 204 ‘Those maggots – they did a wonderful job’ 1930s and 1940s. Pseudonyms are used to preserve their confidentiality. Sound recordings are located at the United Kingdom Centre for the History of Nursing and Midwifery (UKCHNM). 2 Jocalyn Lawler, Behind the Screens: Nursing, Somology, and the Problem of the Body (Melbourne, Churchill Livingstone, 1991). 3 See, for example, V. R. Yow, Recording Oral History: A Practical Guide for

in One hundred years of wartime nursing practices, 1854–1953
Open Access (free)
Paul Henley

of practical matters of cinematography, sound recording and editing, as well as regarding more abstract issues of an epistemological or aesthetic nature, their ultimate intentions and, importantly, their ethical posture regarding the subjects. Notes 1 Geertz ( 1988 ), 17–19. 2

in Beyond observation
Sarah Glynn

people who had not reached adulthood in 1971. 7 Mohammed Israel, interviewed 25 February 2006 by Jamil Iqbal for Swadhinata Trust and University of Surrey, ‘Oral History Project’. The EPLF was dissolved when the broader Birmingham Action Committee was established. 8 Interviewed by Caroline Adams, 19 March 1998, tape recording (Tower Hamlets Local History Library). 9 Ibid. 10 Sheikh Mannan, interviewed by Caroline Adams, 19 March 1998, tape recording, and by the author, 30 March 2002. 11 Faruque Ahmed, Bengal Politics in Britain: Logic, Dynamics and Disharmony (North

in Class, ethnicity and religion in the Bengali East End
Abstract only
Elizabeth Crawford and Jill Liddington

Introduction Each entry in the Gazetteer represents one household schedule, completed on census night 1911. A total of five hundred schedules are listed. They are arranged geographically across England: by region, county (or London borough), town or city, and by neighbourhood. The information given here is just as it appears on the schedule, recording who was present on census night (usually family members, plus any visitors, boarders and servants). Individual suffrage affiliations for spring 1911 have been added, where they are known. The entries fall under

in Vanishing for the vote
Abstract only
The MU in the twenty-first century
John Williamson and Martin Cloonan

, Midlands, Wales and South-West England, London, East and South-East England. 231 Beginning again: the twenty-first century 231 Scard. For Horace Trubridge (2014) Smith’s leadership had seen the Union ‘better established in the music industry now than it has ever been’. It is important to place this in the wider context of the music industries during the same period. Each of the major music industries (publishing, live, and especially recording) attempted to get closer to Government as they increasingly sought policies that, they hoped, would help them shore up their

in Players’ work time
Abstract only
John Corner

those modes of representation designated as ‘realist’. There are other categories of significance, but these two have a particularly strong application across nearly all of media culture and they bear directly on questions both about media production and media consumption. COMPARATIVE FORMAL RELATIONS: SOUND, IMAGE, WRITING Sonic/Aural form Sound recording (sometimes called ‘phonography’) comes just a few decades after photography in the history of the various ways of achieving a mechanical, electrical, electronic and now digital ‘record’, ways that constitute the

in Theorising Media
Sound, horror and radio
Richard J. Hand

. We can never close our ears and sound has the ability to infiltrate our minds and take us by surprise. Sound technologies Prior to the invention of recording technology, sound was elusive: musical notation may have developed to ‘capture’ composition, but noise could only be described in terms of language. This is one reason that, for example, the ‘Rebel Yell’ war cry of

in Listen in terror
Constructing the televisual pop community in the GDR
Edward Larkey

the term ‘dance music’ (Tanzmusik) well into the mid-1970s; instead of ‘band’, GDR media attempted to impose the term ‘dance ensemble’ (Tanzensemble or Tanzcombo); instead of ‘disc jockey’, the ridiculously complicated term ‘recording entertainer’ (Schallplattenunterhalter) was propagated in official documents and broadcasts. The GDR radio broadcasting networks were the most significant producers of popular music – quantitatively because they had the highest output among the three institutions (the radio networks, the Amiga label, television broadcasts

in Popular television in authoritarian Europe
John Williamson and Martin Cloonan

issue facing Scard was dealing with the implications of the MMC ruling. This was a multifaceted problem and one over which the Union had only limited influence. Not only was it no longer able to allocate the ‘phonographic funds’ across the music profession as a whole, it was initially suggested that responsibility for distributing the funds to individual musicians be taken away from the Union, as the report recommended that ‘all performers should receive equitable remuneration, directly paid by PPL, specific to each recording’s use in broadcasting or public

in Players’ work time