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
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.
An Interview with Rainer Schlösser, Spokesperson of the Association of the Red Cross Museums in Germany (Arbeitsgemeinschaft der deutschen Rotkreuz-Museen)
glass case either. The challenge is to present objects in a way that creates wonder and astonishment on the part of the viewer. This does not necessarily have to involve films or audio examples. For example, if I want to get across that Red Cross disaster aid often involves the building of tent cities, then I find it a modern form of display to put up an actual tent within the museum hall to allow viewers to experience hands-on what those look like, what they feel like, what things they contain.
On the other hand, we of course also use electronic media. We show
Chikezirim C. Nwoke, Jennifer Becker, Sofiya Popovych, Mathew Gabriel, and Logan Cochrane
perspectives on the challenges and successes of the nutrition support groups that are being organised by Save the Children. Interviews were audio recorded, transcribed and then translated to English. To ensure data protection, all data (tools, audio files, transcripts, analysis) were stored on password-protected computers. After the data was compiled and cleaned up by the Nigeria research team, the Carleton research team (comprising of the lead researcher and a graduate research assistant) began the analysis. In the writing of this paper, pseudonyms were used for all
Multimedia kit produced by the NFB and CIDA in 1990. Using the themes of ‘Water: The Wonder Fluid’, ‘Food for Thought’, ‘Health Matters’, and ‘Learning from Each Other’, the kit aimed at ‘exploring life in developing countries with children in Botswana, the Ivory Coast, Peru and Thailand’. It contained a Teacher’s Guide booklet of 64 pages, four posters drawn by Lucie Chantal and Stephen Clarke, three copies of the magazine Under the Same Sun , four audio cassettes, and four fixed projections.
Source: ARC, Marc Rockbrune Fonds. Photo: D. Marshall
Expanding Gender Norms to Marriage Drivers Facing Boys and Men in South Sudan
Michelle Lokot, Lisa DiPangrazio, Dorcas Acen, Veronica Gatpan, and Ronald Apunyo
Participants by location
* Two survey respondents did not provide their location.
Enumerators audio-recorded the FGDs, which were then transcribed into English by local translators in Juba. The team leaders
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.
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.