Tuning in to the neo-avant-garde offers the first in-depth study of the radio play’s significance for the neo-avant-garde. In the postwar period, radio began to function as a site of artistic experimentation for the literary neo-avant-garde, especially in the form of the radio play. In the wake of the historical avant-garde, the neo-avant-garde had a strong interest in aural media, in the seemingly autonomous power of sound and voice. Therefore, it is not surprising that postwar avant-garde artists and literary writers in particular all across Europe, the US and the UK started to experiment with the radio play. Neo-avant-garde artists actively engaged with newly created studios and platforms in the postwar period. The contributions to this book examine how the radiophonic neo-avant-garde stages political questions and acknowledges its own ideological structure, while taking into account the public nature of radio. Alongside these cultural and political contexts, the book also reflects on intermedial and material issues to analyse how they have impacted artistic production in different parts of the world. Specific attention is paid to how artists explored the creative affordances of radio and the semiotics of auditory storytelling through electroacoustic manipulation, stereophonic positioning, montage and mixing, while also probing the ways in which they experimented in related genres and media such as music, sound poetry and theatre, questioning the boundaries between them. Because of its exclusive focus on the audiophonic realm, the book offers a valuable new perspective on the continuing debate surrounding the neo-avant-garde and its relationship with the historical avant-garde.
produced. As I will explore shortly, this is
particularly relevant to TV antiquity insofar as in the UK, an emphasis
on high-quality programming that was part of a publicbroadcasting
ideology created a more favourable environment for new television
dramas set in the ancient world than that on the other side of the
In the US, commercial considerations were in most cases at the
forefront of programming decisions. As a consequence, ‘game shows,
soap operas, variety shows, dramatic anthologies, and sitcoms’ (Solomon,
2008: 12) were the most popular genres, as were
some support I
couldn’t approach the European media foundations. And if that was
bad news, it was almost matched by what I heard from Pat and Andy,
my Canadian co-producers.
Like me they had started out with tremendous enthusiasm, Pat in
particular working and reworking my original proposal till we were
all happy. Then, when I had starting putting out feelers in Europe
they had also started searching out prospects in Canada and the USA.
Their biggest hope had been PBS (the US PublicBroadcasting System)
for whom they’d made many films in the past.
In preparing this
The election of Barack Obama was a milestone in US history with tremendous symbolic importance for the black community. But was this symbolism backed up by substance? Did ordinary black people really benefit under the first black president? This is the question that Andra Gillespie sets out to answer in Race and the Obama Administration. Using a variety of methodological techniques—from content analysis of executive orders to comparisons of key indicators, such as homeownership and employment rates under Clinton, Bush, and Obama— the book charts the progress of black causes and provides valuable perspective on the limitations of presidential power in addressing issues of racial inequality. Gillespie uses public opinion data to investigate the purported disconnect between Obama’s performance and his consistently high ratings among black voters, asking how far the symbolic power of the first black family in the White House was able to compensate for the compromises of political office. Scholarly but accessible, Race and the Obama Administration will be of interest to students and lecturers in US politics and race studies, as well as to general readers who want to better understand the situation of the black community in the US today and the prospects for its improvement.
This book explains the direct link between the structure of the corporation and its limitless capacity for ecological destruction. It argues that we need to find the most effective means of ending the corporation’s death grip over us. The corporation is a problem, not merely because it devours natural resources, pollutes and accelerates the carbon economy. As this book argues, the constitutional structure of the corporation eradicates the possibility that we can put the protection of the planet before profit. A fight to get rid of the corporations that have brought us to this point may seem an impossible task at the moment, but it is necessary for our survival. It is hardly radical to suggest that if something is killing us, we should over-power it and make it stop. We need to kill the corporation before it kills us.
the programme from a contemporary point of
view. As such, the show is a strong indicator of the publicbroadcasting
ethos that dominated the European market at the time and facilitated the
production of such a demanding artistic work as The Odyssey. In fact,
most European countries preserved their publicbroadcasting monopoly
much longer than the UK. In Italy, attempts to introduce independent
commercial television only started in 1971 and France followed in 1975.
In Germany it was not until 1984 that commercial television channels
started to enter the market. This
TV antiquity 59
both I, Claudius and The Eagle of the Ninth are indeed dramatisations of
historical novels. Despite the growing popularity of miniseries in the US
during the 1970s, however, it took the creation of the PublicBroadcasting
Services (PBS) to first provide an outlet for high-quality dramas set in
antiquity, in particular those purchased from the BBC (Solomon, 2008).
This increasing focus on quality entertainment in the US was also
related to the way in which audiences were now measured. The change
towards ‘compiling viewer numbers based not only
campaign begins and shall communicate the result of the distribution
to the broadcasting stations within the same time limit” 140 . While extensively
regulated, the Portuguese provisions do not provide mathematical
parity of views.
The same is true for Estonia. The Estonian PublicBroadcasting Act 2007 specifies that “Broadcasting shall be
politically balanced”, that is
Nuclear energy and terrorism are other sectors
in which the Dear Leader is believed to exercise direct authority.
See, for instance, the documentary film Kim’s Nuclear
Gamble (PublicBroadcasting Service, 2000 ).
Shin and his wife now live in Southern
California. They tend to avoid the
Ken Russell, national culture and the possibility of experimental television at the BBC in the 1960s
publicbroadcasting and postwar politics. On the whole, Monitor was comfortably studio-bound and typically comprised two different segments, usually interviews. In contrast,
Russell’s most striking contributions to the show were lengthy dramatised
profiles of individual artists that often swallowed up the whole Monitor slot.
Little by little, Russell edged impersonation into the material he provided for
the series in an attempt to dismantle the barriers blocking theatrical modes
of expression from attaining the status of the historical document.