This article describes the rise of MA programmes in audio-visual archiving,
preservation and presentation. It distinguishes between two key developments that are
transforming the contemporary graduation education in AV heritage: digital
developments that significantly impact the professional field, and new governance
structures that comprise a (forced) move away from film studies as disciplinary home.
It is the latter, this article argues, that poses the real threat for the future of
professional education in preservation and presentation of moving images.
‘Critical social optics’ and the transformations
of audio-visual culture
I wanted to focus here on a particular form of photography, the prize-winning press
image, but to go beyond the terms of analysis appropriate to exploring professional work
of this kind and to look at the ways in which such images circulated on the web and
became the subject of intensive and varied critical commentary. It seemed to me that the
range and detail of some of this commentary contributed to an unprecedented situation in
international visual culture. It made an
This groundbreaking book is the first full-length study of British horror radio from the pioneering days of recording and broadcasting right through to the digital audio cultures of our own time. The book offers an historical, critical and theoretical exploration of horror radio and audio performance examining key areas such as writing, narrative, adaptation, performance practice and reception throughout the history of that most unjustly neglected of popular art forms: radio drama and “spoken word” auditory cultures. The volume draws on extensive archival research as well as insightful interviews with significant writers and actors. The book offers detailed analysis of major radio series such as Appointment with Fear, The Man in Black, The Price of Fear and Fear on Four as well as one-off horror plays, comedy-horror and experimental uses of binaural and digital technology in producing uncanny audio.
Between “Stranger in the Village” and I Am Not Your
Jovita dos Santos Pinto, Noémi Michel, Patricia Purtschert, Paola Bacchetta, and Vanessa Naef
James Baldwin’s writing, his persona, as well as his public speeches,
interviews, and discussions are undergoing a renewed reception in the arts, in
queer and critical race studies, and in queer of color movements. Directed by
Raoul Peck, the film I Am Not Your Negro decisively contributed
to the rekindled circulation of Baldwin across the Atlantic. Since 2017,
screenings and commentaries on the highly acclaimed film have prompted
discussions about the persistent yet variously racialized temporospatial
formations of Europe and the U.S. Stemming from a roundtable that followed a
screening in Zurich in February 2018, this collective essay wanders between the
audio-visual and textual matter of the film and Baldwin’s essay
“Stranger in the Village,” which was also adapted into a
film-essay directed by Pierre Koralnik, staging Baldwin in the Swiss village of
Leukerbad. Privileging Black feminist, postcolonial, and queer of color
perspectives, we identify three sites of Baldwin’s transatlantic
reverberations: situated knowledge, controlling images, and everyday sexual
racism. In conclusion, we reflect on the implications of racialized, sexualized
politics for today’s Black feminist, queer, and trans of color movements
located in continental Europe—especially in Switzerland and France.
In this book, we have surveyed a
century of audio drama. Throughout this history, horror is recurrent
partly because it was a significant genre of popular performance that
was ‘absorbed’ into what was an unprecedentedly popular
medium. It is also recurrent because of the social context: Paul Wells
argues that the ‘history of the horror film is essentially a
Radio / body draws from the philosophical discipline of phenomenology to question a number of prevalent ideas in radio theory and practice. The intention is to shift the basis for comprehending the experience of radio drama from theoretical systems such as semiotics, and abstract metaphors such as ‘visual imagination’ and ‘theatre of the mind’, towards a model that understands it in terms of perceptual, bodily experience of a holistic, graspable world. It posits that radio drama works because the sonic structure created through its dramaturgy expresses the perceptual experience of encountering the auditory world – a ‘listening to a listening’ – and radio dramaturgy can be understood as a process of structuring sounds that listen to the dramatic world. Using this insight, it is posited that conventional radio dramaturgy generates a mode of listening focused on the referential meaning of the sounds, rather than their affective qualities – this is labelled the semantic paradigm of British radio. The history of this paradigm is explored in depth, revealing its emergence to be the product of contingent cultural and technological factors. Now that these factors have changed radically due to the rise of digital technologies, it is argued that a paradigm shift is taking place, with a move towards a more bodily, more resonant dramaturgy.
2997 The European Union and culture
The Communitarisation of broadcasting
regulation: the ‘Television Without
The very nature of broadcasting, as both a commercial activity and a
cultural product, created acute rivalries among policy actors desirous of
imposing their own concerns on public political agendas. Broadcasting is
also a policy sector closely associated with member states’ ‘sovereignty’,
thus resulting in unwavering tensions between EU institutions’ propensity
to intervene in the audio-visual field and
British art cinema: Creativity, experimentation and innovation brings together a selection of essays from both new and established scholars that engage with how far artistic creativity, entertainment and commerce have informed a conceptual British ‘arthouse’ cinema. The chapters show that rather than always sitting in the shadow of its European counterparts, for example, British cinema has often produced films and film-makers that explore intellectual ideas, and embrace experiment and innovation. The book examines the complex nature of state-funded and independent British filmmaking, the relationship between the modernist movement and British cinema, and the relationship between British cinema, Hollywood and US popular culture. The chapters cover the history of British cinema from the silent period to the 2010s. Film-makers explored in detail include Alfred Hitchcock, Michael Powell and Emeric Pressburger, Derek Jarman, Ken Russell, Horace Ové, Joseph Losey, John Krish, Humphrey Jennings, Nicolas Roeg, and lesser-known artists such as Enrico Cocozza and Sarah Turner. There are new essays on the British New Wave, the 1980s, poetic realism and social realism, the producer Don Boyd, the Black Audio Film Collective, films about Shakespeare, and the work of the Arts Council in the aftermath of World War Two.
There is no soundtrack is a specific yet expansive study of sound tactics deployed in experimental media art today. It analyses how audio and visual elements interact and produce meaning, drawing from works by contemporary media artists ranging from Chantal Akerman, to Nam June Paik, to Tanya Tagaq. It then links these analyses to discussions on silence, voice, noise, listening, the soundscape, and other key ideas in sound studies. In making these connections, the book argues that experimental media art – avant-garde film, video art, performance, installation, and hybrid forms – produces radical and new audio-visual relationships that challenge and destabilize the visually-dominated fields of art history, contemporary art criticism, cinema and media studies, and cultural studies as well as the larger area of the human sciences. This book directly addresses what sound studies scholar Jonathan Sterne calls ‘visual hegemony’. It joins a growing body of interdisciplinary scholarship that is collectively sonifying the study of culture while defying the lack of diversity within the field by focusing on practitioners from transnational and diverse backgrounds. Therefore, the media artists discussed in this book are of interest to scholars and students who are exploring aurality in related disciplines including gender and feminist studies, queer studies, ethnic studies, postcolonial studies, urban studies, environmental analysis, and architecture. As such, There Is No Soundtrack makes meaningful connections between previously disconnected bodies of scholarship to build new, more complex and reverberating frameworks for the study of art, media, and sound.
films they produced challenged the dominant language and form of mainstream cinema but also provided an alternative to the European- and North American-inflected timbre of the British avant garde in this period. Chief among these groups was Black Audio Film Collective. Consisting of seven young film-makers, writers and students, Black Audio Film Collective was formed in 1982 under the tenets of the ACTT (Association of Cinematograph, Television and Allied Technicians) Workshop Declaration. 2 The Declaration, backed by the British Film Institute (BFI), the Greater