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Mattias Frey
Sara Janssen

This introduction to the Film Studies special issue on Sex and the Cinema considers the special place of sex as an object of inquiry in film studies. Providing an overview of three major topic approaches and methodologies – (1) representation, spectatorship and identity politics; (2) the increasing scrutiny of pornography; and (3) new cinema history/media industries studies – this piece argues that the parameters of and changes to the research of sex, broadly defined, in film studies reflect the development of the field and discipline since the 1970s, including the increased focus on putatively ‘low’ cultural forms, on areas of film culture beyond representation and on methods beyond textual/formal analysis.

Film Studies
Four Conversations with Canadian Communications Officers
Dominique Marshall

of power over the making and dissemination of images, the ethical principles involved in their visual practice and, finally, the concerns they share with historians. Apprenticeships and Career Trajectories among Visual Media Specialists in Canadian NGOs The course of the careers of all five publicists is marked by the history of the technical and institutional transformations of the media industry, from the decrease in size and number of newspapers, magazines, and news agencies, to the multiplication of online platforms, the deregulation of news outlets

Journal of Humanitarian Affairs

The book presents a never-before-written case study of the UK-based organisation Secret Cinema – widely considered the leading provider of large-scale immersive experiences in the UK. They are used as a lens through which to understand the wider experiential economy. The book provides a comprehensive and encyclopaedic history of the organisation and its productions. It defines and examines the Secret Cinema format. It critically interrogates the work and operations of Secret Cinema as an organisation and analyses the many layers of audience experience. It combines rigorous academic study with practical industry insight that has been informed by more than fifty in-depth interviews with Secret Cinema practitioners and sector professionals who have worked on immersive productions in areas including performance direction, acting, video design, sound design and composition, lighting design, special effects, stage management, operations and merchandising. Framed within the context of the UK in late-2019, at which point the immersive sector had grown significantly, both through its increasing contribution to UK GDP and its widespread and global recognition as a legitimate cultural offering, we have captured an organisation and a sector that is in transition from marginal and sub-cultural roots to a commodifiable and commercial form, now with recognisable professional roles and practices, which has contributed to the establishment of an immersive experience industry of national importance and global reach. This book will appeal to scholars, students, film fans, immersive experience professionals and their audiences. It is written in an accessible style with rich case study materials and illustrative examples.

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‘You had to be there’
John Mundy
Glyn White

Comedy has been intrinsically important in the development, influence and impact of radio, film and television. Its importance for these media industries and its role in their construction of our cultural landscape are clearly linked at all stages of their symbiotic development. Examples of comedy from these media need to be understood in relation to their specific time and

in Laughing matters
Middle-class identity and documentary film
Thomas Austin

represented in popular film – both fiction and documentary. But the critical tools with which to approach the classed nature of such portrayals need to be refined and developed. The same is true of classsensitive perspectives on the media industries and media audiences. On the latter, Jostein Gripsrud suggests that many academic celebrations of consumers of popular culture are tacitly motivated in part by the desire of upwardly mobile entrants into academia for a 06chap five.p65 110 6/28/2007, 10:40 AM 111 Middle-class identity and documentary film ‘symbolic

in Watching the world
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Susanne Becker

Ann Radcliffe, important novels like A. S. Byatt’s Possession ( 1990 ) and Margaret Atwood’s Alias Grace ( 1996 ) use the possibilities of the neo-gothic form to disclose the epistemological urge, the emotionalised sense of (global) culture and sensationalist media industry on the threshold of the millennium. Throughout, my reading also involves a recentring: although the power and international impact of

in Gothic Forms of Feminine Fictions
Clive Barker’s Halloween Horror Nights and brand authorship
Gareth James

the Crypt 's ( 1989 –96) Cryptkeeper. Barker's involvement in these theme park mazes has received no attention in scholarship on his relationship to the film and media industries, with most work focusing on his innovations as a director in early films like Hellraiser , and subsequent frustrations with studio interventions on titles like Nightbreed (1990) and Lord of

in Clive Barker
Lenny Henry, Caitlin Moran and Sathnam Sanghera
Tom Kew

The West Midlands has a problem with ‘talent drain’. This term, derived from the Royal Society's 1963 report on ‘brain drain’, was initially used to describe the phenomenon of British academics and scientists emigrating to the USA throughout the 1950s and early 1960s. 1 In the three biographical case studies that follow, I consider why the Midlands struggles to retain talent and why the bright lights of London's media industry keep ensnaring some of the multicultural Midlands’ best writers from

in The multicultural Midlands
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Surveying Scottish cinema, 1979 –present
Christopher Meir

, supportable arguments about the objects of study and at the same time acknowledge that there is still, and likely always will be, more to be done to account for the entirety of what Barbara Klinger calls a film’s ‘discursive surround’ (1997, pp. 108 –109). For attempting to recreate the contexts of production and circulation, this book can be located within the paradigm of Media Industry Studies, which despite its dramatic announcement as a field in works such as Jennifer Holt and Alisa Perrin’s anthology Media Industry Studies: History, Theory and Method (2009) and a

in Scottish cinema
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Shane Kilcommins
Susan Leahy
Kathleen Moore Walsh
, and
Eimear Spain

media industry that was becoming more specialised and instantaneous. The media was also increasingly adept at individualising the experiences of victimhood through focused analysis and imagery. Aside from consciousness raising, these insights have also contributed to the development of a healthy scepticism of institutions of power, and any uncritical deference to such power. This has been aided, no doubt, by repeated findings of corrupt practices in political and executive circles. The noble post-war dream of winning the war on crime began to fade in Western

in The victim in the Irish criminal process