corporateidentity on the resources within its care. For
the Tan y Coed woodland the new logo has been pasted over the old
on the interpretation panels themselves, but in some places that has
meant leaving the distinctive shape of the Forestry Commission boards
with the associated old logo still in place. In other places on this site,
the headboard has been removed altogether which removes the logo
and disrupts the distinctive shape, as well as giving the board a vandalised appearance. It is evident that imposing a brand image on the countryside is far from simple and
though the film was shown on television later in
Canada. Stone suspected dirty work at play. The lobbying of HBO’s
corporate owners, Time Warner, probably by Cuban exile groups
in Miami and quite possibly also by the White House, were among
Stone’s suspicions.4 The backdrop to this controversy was, after all,
the launch by President Bush in March 2003 of full-scale military
operations in Iraq backed up by the president’s stated post-9/11
ideological conviction that everyone was either ‘with us or with the
terrorists’.5 The film’s cancellation captured the mood of
themes, from meaning, taste and
identity, through social division, cohesion and the dynamics of economic
and political life, to the various social worlds (‘music worlds’ as I call
them) which form around different clusters of musical interactivity.
Underlying all of this, however, is a relational conception of both social
life and music. There are several competing versions of ‘relational sociology’
in the literature (Depelteau and Powell 2013), with the perspectives of
Born (e.g. 2010a) and Bourdieu (1984, 1993) proving particularly influential
within music sociology
”. With the
cameras rolling, onlookers had watched Dryden fetch a revolver, strap a
holster to his hip and calmly shoot the Council official.
Drawing upon the work of the Amber Film and Photography
Collective, this chapter explores the relationship between performance,
representation and identity. In particular, it looks at how the
landscape of the former Durham coalfields is simultaneously identified
Screening capital and culture in Airbag and Smoking Room
William J. Nichols
subsidiary of an American
multinational company that imposes its own corporate culture by forcing
its workers to smoke outside. Seen as a significant cultural marker
associated with Spanish national identity, one especially combative
worker begins to circulate a petition and accumulate signatures
requesting an abandoned storage room be transformed into a sala de
fumar . Fear, paranoia, selfishness
On 11 September 2001, two hijacked aircraft were flown into the
twin towers of the World Trade Center, a third into the US Department of Defence’s Pentagon building while a fourth, seemingly aiming for the Capitol in Washington, crashed in rural Pennsylvania.
Self-evidently, as commentators such as Noam Chomsky have argued, this was a massive symbolic attack on the Western world –
most specifically the military-industrial complex of American corporate capitalism.1 But while the sheer ambition of Al-Qaeda’s assault was entirely without precedent, the
Memories of cinema-going in the ‘Golden Age’ of Hollywood
research into the memory narratives of a particular local city press,
the study argues that personal memory of cinema is socially constructed
by its context to create certain culturally sanctioned discourses, in
this case figured around age, community, and city identity.
If the last two chapters raised issues of history and
memory through particular historical and commemorative texts and events
in the 1920s
theoretical and methodological approaches, and it is certainly one that
has been continuously well-funded, including by governments and by
corporate enterprise. However, the concern with the power of the media
goes beyond the specific research objectives of ‘influence and effects’
research, even if it is regularly returned to them in one form or another.
It is present, for instance, in much content and textual analysis, it is
often the central issue underlying production studies, and it is a principal theme in work on history, policy and, with an
national identities is not to do with ‘truth’, but rather to do with
the economic systems that they are part of.
1 Udden (2009: 29) notes, ‘The longest take in the film, the last meal among
the three main protagonists, lasts almost seven minutes uninterrupted by
the reputed machinations of editing’.
2 Production notes at www.cinema.com/articles/812/y-tu-mam-tambienproduction-notes.phtml.
3 Udden explains Bazin’s ideas on pp. 34–35 of his article.
4 Maciel (1999: 220–227) outlines the problems faced by IMCINE from
1994 to 1997.
5 The notion of corporate
of propaganda, all media systems will show many examples of different
kinds of promotionalism, sometimes involving the activities of government and corporate
PR agencies ‘placing’ their accounts in ostensibly journalistic material. To see this as
confirming the ‘model’ would simply be impressionistic, without firm criteria for scale
and intensity. Corner (2003) develops a more comprehensive discussion of the model’s
limitations as a framework for research and argument, and I have looked further at the
question of deceit in politics, in Corner (2010a).