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An ecocritical reading

corporate identity 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

in Extending ecocriticism
Open Access (free)

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

in The cinema of Oliver Stone
Film, photography and the former coalfields

”. 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

in Cinematic countrysides
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Screening capital and culture in Airbag and Smoking Room

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

in Contemporary Spanish cinema and genre
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Introduction 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

in The wounds of nations
Open Access (free)
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

in Memory and popular film
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often contesting 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

in Theorising Media
Y tu mamá también

national identities is not to do with ‘truth’, but rather to do with the economic systems that they are part of. Notes  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

in The three amigos

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). Journalism is

in Theorising Media
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waste. Supercapitalism exists primarily for itself, driven by a principle of (in-)operativity and excess-control, symbolised by the machine-readable binary code. The bar code is a product ‘fingerprint’ that contains information concerning the identity, price and so on of particular products. Bar codes enable manufacturers and retailers to keep track of their products, through accessing information stored in a network of data banks and corporate computers, providing information about the identity and quantity of products consumed and their 150 Great Satan’s rage

in Great Satan’s rage