Epic / everyday: moments in television appraises an eclectic selection of programmes, exploring and weighing their particular achievements and their contribution to the television landscape. It does so via a simultaneous engagement with the concepts of the epic and the everyday. The book explores how both the epic and the everyday inform television’s creative practice as well as critical and scholarly responses to TV. It argues that a fuller consideration of these two modes can revitalise TV criticism and interpretation, enabling fresh perspectives on the value of television, its essential qualities and aesthetic significance. The contributors to this collection come from diverse areas of TV studies, bringing with them myriad interests, expertise and perspectives. All chapters undertake close analysis of selected moments in television, considering a wide range of stylistic elements including mise-en-scène, spatial organisation and composition, scripting, costuming, characterisation, performance, lighting and sound design, colour and patterning. The range of television works addressed is similarly broad, covering UK and US drama, comedy-drama, sitcom, science fiction and detective shows. Programmes comprise The Incredible Hulk, Game of Thrones, Detectorists, Community, Doctor Who, The Second Coming, Years and Years, The Americans, Columbo and Lost. Epic / everyday is essential reading for those interested in how closer attention to the presence of the epic and the everyday might enhance our critical appreciation and enjoyment of television.
Chap 10 10/7/06 11:54 am Page 205 10 Everyday music Introduction One of the arguments for which Wittgenstein is most celebrated is his contention that linguistic meaning is not inherent in words, phrases, sentences and so on, but depends on the ways in which they are used (1972: 20). At first sight, this seems contrary to commonsense notions of how we communicate, and also to alternative theories of language which are based on the assumption that words represent states of affairs. After all, what could be more straightforward than a sentence like ‘The grey
In this chapter, we argue that it is necessary to reclaim economics as everyday democracy and we set out steps to achieve this goal. The aim is to build the democratic institutions, skills and practices that are necessary to enable everyone to participate in decisions about how the economy they live in is organised. This must be accompanied by
the Free Presbyterian Church, has dominated public perceptions of evangelicalism, it is in fact a much more diverse and politically varied group than is usually supposed (Mitchell and Ganiel, 2011 ). In this chapter, we develop our concept of an evangelical subculture in order to explore how both the politics of the post-Agreement period, as well as more mundane, everyday
Do you drink an americano or a rossiyano? Do you eat French fries or freedom fries? Our everyday choices are always political and ever more international. This book offers a way to theorize and expose how everyday foreign policy works at the grassroots level, using empirical material from Russia, sometimes literally from the kitchen table. The book argues that everyday foreign policy should be theorized as an assemblage of micro-practices and discourses across both physical and digital spaces, inside and outside the body. In this way, everyday foreign policy can be seen as a decentralized phenomenon, where biological and cultural elements are intertwined through physical and digital spaces, often expressed through consumerist and carnal practices. This book studies post-Crimea grassroots foreign policy and exposes motivations and coping mechanisms behind foreign policy practice on the individual level. The fundamental question this book seeks to address is: how do international relations, and specifically foreign policy, translate to the grassroots level? The book provides an overview of the most significant everyday foreign policy practices from the popular Russian perspective, ranging from sanctions to vaccinations.
cabin, a sign of their success in making a life for themselves away from the dramatic escapades of the main cast. Lost is a show explicitly concerned with survival, in which the characters not only attempt to survive being stranded on an island following a plane crash, but face everything from monsters to kidnappers to time travel. Yet if the threat of death looms over much of the show, then laundry, it seems, stands as a sign of life – of the small, everyday tasks that make up the fabric of living. Lost was created by
A great deal of evidence survives to illuminate the character of everyday monastic life in the later middle ages. In large part, this takes the form of administrative records, most notably accounts and inventories. Although extremely revealing, such records inevitably emphasise the financial and mundane aspects of monastic life to the exclusion of
9780719074707_4_C06.qxd 10/06/2008 11:16 AM Page 112 6 NMD and the ‘everyday’ The main rocket launcher spouts silver flash, green flash and golden flash with crackling. After ignition, crackling mines are discharged and two intercept missiles take off with whistling tails and reports. (Brother’s Pyrotechnics, Inc. (2003) manufacturer’s description of the missile Defence Shield fireworks) For some, it is perhaps something of a leap to move from the official strategic documents of missile defence to practices of the ‘everyday’. The concept of the everyday is
Elevators, entryways, and other invisible backdrops to public-facing practices – the often overlooked spaces of the everyday – are sites of othering and of accentuated embodiments; they also offer opportunities for resistance, refusal, and emancipation. In George Yancy’s ‘Elevators, social spaces and racism,’ the elevator is a setting in which a racist encounter between Yancy and a white woman unfolds; ‘The
Everyday resistance, peacebuilding and state-making addresses debates on liberal peace and the policies of peacebuilding through a theoretical and empirical study of resistance in peacebuilding contexts. Examining the case of ‘Africa’s World War’ in the DRC, it locates resistance in the experiences of war, peacebuilding and state-making by exploring discourses, violence and everyday forms of survival as acts that attempt to challenge or mitigate such experiences. The analysis of resistance offers a possibility to bring the historical and sociological aspects of both peacebuilding and the case of the DRC, providing new nuanced understanding of these processes and the particular case.