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Jennifer Lyon Bell

Filmmaker Jennifer Lyon Bell (Blue Artichoke Films) has made empathy the centre of her practice as an alternative porn filmmaker. This blend of artist manifesto and academic essay illuminates the three ways in which empathy is a driving force at every level of her artistic efforts. 1) Structure: Using a foundation of cognitive film theory and specifically the work of Murray Smith, she builds empathy into the structure and content of her films themselves. 2) Production: She prioritises empathy in her production process on the set with cast and crew 3) Society: By creating and spreading empathetic pornography, she aims to introduce more empathy into society at large.

Film Studies
Charles Gaines by way of conclusion
Nizan Shaked

. What this means for the work of art, as the practice of Gaines has demonstrated time and again, is that the political referent can return in 233 234 The synthetic proposition a non-descriptive way, or as a way to render the underlying structure of description itself. By the mid-1970s Gaines began employing photography, adding images to his systems. In Faces (1978–79) he took government-style headshots of people and then plotted their likenesses in a series containing three parts for each person. The first was the photograph. In the second, Gaines applied a system

in The synthetic proposition
Michael Leyshon and Catherine Brace

returned to silent movie scripts to evaluate the way screenwriters communicated emotion on screen without words. The relations of looking that structure the film are communicated through both scenes in which characters look at and between each other and through close-up headshots through which anxiety, distress, anger, struggle, ambiguity, ambivalence, jealousy and lust are expressed. Tom is alerted to his

in Cinematic countrysides
Mark Garnett

of verbal surrender to the irreconcilable forces within his party: ‘This is the last thing I shall say as Colonial Secretary.’ But then came the punch to the Imperialist solar plexus, without further preamble: ‘The third principle is that I believe quite simply in the brotherhood of man – men of all races, of all colours, of all creeds.’ Reinforcing this message with the predictable quotation from Burns, Macleod followed up with a parting head-shot to Salisbury and his ilk, describing those who denied the commonality of all human beings as ‘foolish men’ who would

in Conservative orators from Baldwin to Cameron
Abstract only
Claire Hines

Moonraker. The full-page advert was headed ‘Be a James Bond Girl’ and encouraged readers: ‘Maybe you know her. Or maybe you are her. That special kind of girl who will appear in the upcoming James Bond film, For Your Eyes Only.’30 In order to enter, applicants were asked to submit two photographs, one headshot and one full-figure swimsuit shot, along with fifty words or fewer on why they belonged in the new Bond film. As might be expected, the most important aspect of the contest lay in the small print, which set out the various rules and regulations governing the

in The playboy and James Bond
Steven Peacock

, its metallic sheen. Glass dividers are slid open and chrome buttresses criss-cross into a kind of luxurious cage. Drugged and dragged to the basement, where Martin conducts his grisly torture and killing of young girls, Blomkvist finds himself being filmed on a digital camera. His misery is being memorialised for Martin’s later enjoyment, in cutting-edge celluloid form, just as Blomkvist’s image will, presumably, join the other head-shots of murder victims displayed as Polaroid photos across the basement walls. Here, then, is a collection of wipe-clean surfaces

in Swedish crime fiction
Screen and digital labour as resistance
Photini Vrikki, Sarita Malik, and Aditi Jaganathan

They made a film called Being Black , a little film, a little short film with me – just me. They came to talk to me about what it was like to be black in Britain at that point. I was a sociologist, so they asked me about all kinds of stuff, and they finished up making a film that was not about all these things. Actually, what they put out extraordinarily, was about film aesthetics and so on. It was essentially a headshot of Colin Prescod, me (locks man at that point). Just the picture, for like

in Creativity and resistance in a hostile world
Metaphor and relation in the poetry of Ted Hughes and Sylvia Plath
Charles Mundye

knows it is the nature of blind Cupid’s arrows to be indiscriminate in their target); Venus herself stung by her son’s arrows into love for Adonis, Myrrha’s son. The theme of such stinging sees Hughes inhabit a further aspect of Plath’s poetic imagery in his poem ‘The Bee God’: And I was flung like a headshot jackrabbit Through sunlit

in Incest in contemporary literature
Kelly Jones

liveness captured on camera to be revived for future screenings. 11 Both production teams fostered a control over the liveness of the productions, at least for the livecast audiences, through their positioning of the cameras, used to pre-edit the action that was planned and ‘staged’. The pre-set camera/editing suite controlled and directed the ‘live’ viewing experience (indeed the language of editing itself with its reference to ‘cuts’, ‘headshots’, ‘splicing’ is not dissimilar to the language of surgery, although, ironically, this language itself is rendered ephemeral

in Adapting Frankenstein
Abstract only
Hawling like a brooligan
Andrew Roberts

and Mini cars’ (cited by Campbell 2009 : 116). Byrd lives in a drabber Macmillan-era twilight, for he could have been any number of the ageing juveniles to be found in the Spotlight Casting Directory , with their professionally jaunty headshots at least five years out of date. Their billing matter may contain the claims ‘have just returned from a successful tour of Rhodesia’ or ‘specialise in military roles’ and each betrays the desperation that a casting director will contact a Putney or Flaxman telephone number for a role in a second feature. Hope must be

in Idols of the Odeons