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Factory landscapes, leisure and the model employee

‘Happy healthy workers are the world’s best’ 4  ✧  ‘Happy healthy workers are the world’s best’: factory landscapes, leisure and the model employee O evening in the summer of 1933, an employee of the Spirella Corset Company in Letchworth Garden City called in on the company sports ground to see what was going on. On a previous visit in the spring, the grounds had been disappointingly quiet, but this time the thwack and thud of cricket and tennis balls and the sound of dance music coming from the pavilion evoked the sights and sounds of an English summer Arcadia

in The factory in a garden
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years ago, in a book about English and American artists outside the mainstream of institutionally accredited ‘modern art’. Economically, the first three decades of the twentieth century had been described as Rochester’s golden age, and the centrality of Eastman-Kodak to the city’s prosperity had important cultural consequences. The establishment by George Eastman of the Eastman School of Music and the Eastman Theatre in 1922 was the single most important event marking the ‘end of provincialism’. Eastman brought musicians, opera directors, and teachers to Rochester

in Austerity baby
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, meant that British radio programmes valued information and education above entertainment. Though jazz bands and ‘sketches by humorists’ such as ‘Our Lizzie’ (Helena Millais), ‘Wireless Willie’ (Willie Rouse) and John Henry did feature in programming from 1922 onwards, much of the BBC’s early output was designed to be ‘uplifting’ and informative, with classical music, light

in Laughing matters

television Channel 4’s Comic Strip series, and is a text which falls within the same mock-rockumentary ‘tradition’ as This Is Spinal Tap . It features a ‘documentary crew’ covering a brief tour by a completely unknown and conspicuously talentless heavy metal band. In contrast to Spinal Tap , however, Bad News Tour offers a more complex commentary on the nature of popular music and the role played by the media in the creation

in Faking it
From Burke’s Philosophical Enquiry to British Romantic art

The challenge of the sublime argues that the unprecedented visual inventiveness of the Romantic period in Britain could be seen as a response to theories of the sublime, more specifically to Edmund Burke’s Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful (1757). While it is widely accepted that the Enquiry contributed to shaping the thematics of terror that became fashionable in British art from the 1770s, this book contends that its influence was of even greater consequence, paradoxically because of Burke’s conviction that the visual arts were incapable of conveying the sublime. His argument that the sublime was beyond the reach of painting, because of the mimetic nature of visual representation, directly or indirectly incited visual artists to explore not just new themes, but also new compositional strategies and even new or undeveloped pictorial and graphic media, such as the panorama, book illustrations and capricci. More significantly, it began to call into question mimetic representational models, causing artists to reflect about the presentation of the unpresentable and the inadequacy of their endeavours, and thus drawing attention to the process of artistic production itself, rather than the finished artwork. By revisiting the links between eighteenth-century aesthetic theory and visual practices, The challenge of the sublime establishes new interdisciplinary connections which address researchers in the fields of art history, cultural studies and aesthetics.

the use of music, work against the containing patriarchy of the ‘women’s film.’ Music and dance, race and sexuality The cabaretera, like most Mexican genres, is not a simple ‘copy’ but instead a transnational negotiation between national and Hollywood models. The cabaretera emerged in its initial form at a time when sound opened a window of opportunity for the Mexican film industry. Post the advent of

in Emilio Fernández
Charles Gaines by way of conclusion

of War (1993); were processed into a suite of drawings, videos, and music through coded translation. Applying a set of rules he devised, Gaines first collaged the entire manifesto onto hand-drawn 40 × 30 in. music working sheets, double staffed for piano, substituting the first letter of every word with its corresponding musical note (A, B, C, D, E, F, G, with H used for B-flat, as in the early Baroque tradition), treating letters without equivalent notes as a silent musical rest.20 The result was a series of music and chord notations on what he termed “working

in The synthetic proposition
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consistently held to throughout the film, with the presenter also engaging in nonsense speech at different points. The film uses a classic expository mode of documentary as its departure point. It has a narrator, and uses interviews, archival footage, extensive use of captions to identify locations and dates of ‘archival material’, and cultural artefacts (albums, music, films) as evidence to present a historical narrative. The film

in Faking it
Futurist cinema as metamedium

significant functions; it means trauma, shock, production concentrated on the moment of its consumption’ (Abruzzese et al. 1979: 19). In this context, Adorno associates Wagner’s enterprise with that of Schopenhauer, who proposed the adoption of music as a point of reference in order to remove social relations in the bourgeois model of production (Adorno 1970). In this way, the collaboration between the different artistic disciplines would be a model for cultural and social reality. According to Wagner, ‘[n]ot one rich faculty of the separate arts will remain unused in the

in Back to the Futurists

parodic stance. As a contemporary review of the film noted, ‘the introductory scenes make a neat enough send-up of traditional Western routines, situations and dialogue’ and, they might have added, music (Monthly Film Bulletin 1966 : 41-2), but these are coated with incessant puns about characters and events, with a heavy diet of ‘near-the-knuckle’ double entendres. Told

in Laughing matters