DOCSLIB.ORG

A Sheffield Hallam University Thesis

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Sheffield Hallam University Thesis Faith in view: religion and pirituality in factual British television 2000-2009 DELLER, Ruth A. <http://orcid.org/0000-0003-4935-980X> Available from the Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/5654/ A Sheffield Hallam University thesis This thesis is protected by copyright which belongs to the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Please visit http://shura.shu.ac.uk/5654/ and http://shura.shu.ac.uk/information.html for further details about copyright and re-use permissions. Sheffield ’ 1WD ^ | 102 070 948 0 REFERENCE ProQuest Number: 10694429 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 10694429 Published by ProQuest LLC(2017). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 Faith in View: Religion and Spirituality in Factual British Television 2000-2009. Ruth Anna Deller A thesis submitted in partial fulfilment of the requirements of Sheffield Hallam University for the degree of Doctor of Philosophy. Funding 2008-11 provided by the Arts and Humanities Research Council (AHRC) March 2012 Contents Abstract Acknowledgements Chapters Chapter One: Introduction Thesis aims and key questions Defining religion/spirituality Why this topic? Context A very British spirituality? 'Doing God': religion/spirituality in the public sphere Back to 'reality': factual television developments Thesis approach and structure Chapter Two: Literature Review Introduction Religion and spirituality Defining religion/spirituality The secularisation thesis Secularisation and Britain Religion/spirituality and world events Postmodernity and the quest for 'meaning' Individualisation and religious/spiritual identity Spirituality New religious movements Fundamentalisms Ethnicity, nationality and identity 'Othering' and Orientalism Britishness and postcolonial identity 43 Multiculturalism 44 Media Studies 46 Representation 46 Moral panics 48 Audience studies 49 Factual media 52 Documentary 53 Reality and lifestyle 55 Religion/spirituality and the media 58 Visibility of religion/spirituality 58 Religious/spiritual practice and media 61 Existing analyses of religion/spirituality and media 64 Orientalism and media portrayals of Islam 65 Problematic religion/spirituality in the media 67 Public service broadcasting and religion/spirituality 70 Media audiences and religion/spirituality 72 Conclusion 73 Chapter Three: Methodology 75 Introduction 75 Methodological and analytical strategy 77 Discourse-conceptions and understandings 77 Critical Discourse Analysis 80 Thematic Analysis 85 Semiotics 86 Narrative 88 Encoding/decoding and discourse 89 3 Research processes and practices 90 Programmes: sample selection 92 Industry research: documentary analysis 94 Interviews 94 Audience research: finding perspectives 99 Audience research: processes 101 Ethics 107 Conclusion 111 Chapter Four: Industry 112 Introduction: television for a changing world 112 Public service context and background 113 Renewed obligations: changes in broadcasting policy 114 Changing faces: personnel and roles 117 Regulating religion and spirituality? Broadcasting policy and guidelines 118 Representing religion/spirituality: industry perspectives 123 Dealing with diversity 124 Programming, priorities and production 131 Presenters, provocation and problematising: discussions of programme content 138 Who are we making it for? Notions of the audience in PSB programme making 146 Expanding online 148 What are 'they' doing? How broadcasters perceive each other 151 The future of faith on factual TV 153 Conclusion 154 Chapter Five: Programmes - The 'Threat' 156 Introduction: The Soul of Britain? 156 Religious 'fundamentalism' as a threat to British values: Panorama & Dispatches 160 Mosques, Mullahs and'moderates': the'threat'of Islam 161 Sex, salvation and the 'sinister': the Christian threat 170 A fundamental problem with religion? 178 Religion and spirituality as a threat to the 'vulnerable' 183 The spirituality'industry' 183 Suffer little children? 196 Conclusion 218 Chapter Six: Programmes - 'The Journey' 220 Introduction: journeys of faith 220 Journeys to 'other' cultures 220 Look at me, looking at 'them': travelogues and the practice of 'othering' 223 The 'religious' guide and authenticity 228 'Home'is where the heart is? 231 The effect on 'me' 231 Journeys into the past 234 Britain, the world and a history of (dis)belief 235 A culture of faith 243 Digging up the past 245 Journeys into the self 247 Transforming the adult self 249 Transforming teenage behaviour 262 Journeys around Britain 266 The 'extraordinary' in 'ordinary' Britain 266 Conclusion 277 Chapter Seven: Audiences 280 Introduction: seeing 'ourselves' and 'others' 280 'Ourselves' 281 That doesn't look like me: diversity and representation 281 This is who I am: identification 288 I remember when: connections with lived experience 291 'Others' 292 We know how they see us, here's how we see them: discussion of 'the media' 295 What are they talking about? Discussion of personalities and presenters 300 What I know about you: discussing'other1 faiths 305 Foreign affairs: discussions of'other'nations 309 Poor things: discussion of'vulnerable1 others 312 They're not that bad, really: defending the'others' 318 . I like what I see: discussing positive portrayals of 'others' 320 Dialogue between 'ourselves' and 'others' 321 Serving our public? The industry and its audience 322 Is that me you're talking about? Dialogue with participants 327 Conclusion 336 Chapter Eight: Conclusion 340 Introduction 340 Representation of religion/spirituality 341 A diversity problem? 341 God bless Britain? 345 Acceptable and unacceptable forms of religion/spirituality 349 Religion/Spirituality, television and Britain 351 A very British take on religion/spirituality? 351 Decoding, interactivity and audiencehood 354 Faith in factual formats ' 356 Faith in the future? 357 Conclusion 358 6 Appendix Appendix One: Bibliography 361 Appendix Two: Filmography 421 Appendix Three: Programme websites - screenshots 431 Appendix Four: Annual reviews & programme publicity packages - sample pages 434 Appendix Five: Sample consent forms and ethics committee emails 438 Appendix Six: Participant details 446 Appendix Seven: Sample interview transcript 457 Appendix Eight: Sample focus group transcripts 469 Appendix Nine: Sample screenshots of online discussion environments 539 Appendix Ten: ITV's statement re: religious programming 543 7 Abstract This thesis explores the nature of, and developments in, the coverage of religion and spirituality in factual British television programming 2000-2009, focusing on mainstream terrestrial networks (BBC, ITV, Channel 4, Five) with a public service remit. The study employs a mixed-method approach with an emphasis on discourse. Working within a broadly Critical Discourse Analysis (CDA) framework, it explores discourses around religion/spirituality, identity and nationality across a range of environm ents-from the programmes themselves to audience discussion (in focus groups, questionnaires, forum and Twitter discussions, YouTube comments and blogs) and industry accounts of production (in policies, guidelines, publicity and interviews with several of those involved at different stages of the production process). The theoretical context of this study includes debates over the 'secularisation thesis', the rise of 'fundamentalism', the individualisation of religion and the apparent interest in 'spirituality' as opposed to 'religion', the role of public service broadcasting, issues of media representation of minorities, and developments within British factual television genres. The study concludes that, despite public service commitments, there is a lack of diversity in the portrayal of religion and spirituality within mainstream factual British television, with Christianity, Islam and Atheism dominating coverage. All faiths are represented by a limited repertoire of signifiers. Audiences, both those who have been researched for this study and those who feature in research by the broadcasters and Ofcom, often complain about what they perceive as 'misrepresentation1, whilst at the same tim e discussing 'other' people in stereotypical terms. Within all of the discursive contexts studied, there is a construction of Britain as a liberal, tolerant, moderate place, where spiritual/religious belief is acceptable as long as it operates within particular parameters. When beliefs and practices do not conform to these standards, they are exoticised, ridiculed or presented as dangerous, and often linked to other nations, thus emphasising how they are not a British way of expressing one's spirituality. However, I argue that the problematic nature of these constructions is in part a result of the complex interaction between audiences, programme makers, policy, academic
Load more

Recommended publications
  • Medical Television Programmes and Patient Behaviour
    Gesnerus 76/2 (2019) 225–246, DOI: 10.24894/Gesn-en.2019.76011 Doing the Work of Medicine? Medical Television Programmes and Patient Behaviour Tim Boon, Jean-Baptiste Gouyon Abstract This article explores the contribution of television programmes to shaping the doctor-patient relationship in Britain in the Sixties and beyond. Our core proposition is that TV programmes on medicine ascribe a specifi c position as patients to viewers. This is what we call the ‘Inscribed Patient’. In this ar- ticle we discuss a number of BBC programmes centred on medicine, from the 1958 ‘On Call to a Nation’; to the 1985 ‘A Prize Discovery’, to examine how television accompanied the development of desired patient behaviour during the transition to what was dubbed “Modern Medicine” in early 1970s Brit- ain. To support our argument about the “Inscribed Patient”, we draw a com- parison with natural history programmes from the early 1960s, which simi- larly prescribed specifi c agencies to viewers as potential participants in wild- life fi lmmaking. We conclude that a ‘patient position’ is inscribed in biomedical television programmes, which advance propositions to laypeople about how to submit themselves to medical expertise. Inscribed patient; doctor-patient relationship; biomedical television pro- grammes; wildlife television; documentary television; BBC Horizon Introduction Television programmes on medical themes, it is true, are only varieties of tele- vision programming more broadly, sharing with those others their programme styles and ‘grammar’. But they
    [Show full text]
  • The Edward R. Murrow of Docudramas and Documentary
    Media History Monographs 12:1 (2010) ISSN 1940-8862 The Edward R. Murrow of Docudramas and Documentary By Lawrence N. Strout Mississippi State University Three major TV and film productions about Edward R. Murrow‟s life are the subject of this research: Murrow, HBO, 1986; Edward R. Murrow: This Reporter, PBS, 1990; and Good Night, and Good Luck, Warner Brothers, 2005. Murrow has frequently been referred to as the “father” of broadcast journalism. So, studying the “documentation” of his life in an attempt to ascertain its historical role in supporting, challenging, and/or adding to the collective memory and mythology surrounding him is important. Research on the docudramas and documentary suggests the depiction that provided the least amount of context regarding Murrow‟s life (Good Night) may be the most available for viewing (DVD). Therefore, Good Night might ultimately contribute to this generation (and the next) having a more narrow and skewed memory of Murrow. And, Good Night even seems to add (if that is possible) to Murrow‟s already “larger than life” mythological image. ©2010 Lawrence N. Strout Media History Monographs 12:1 Strout: Edward R. Murrow The Edward R. Murrow of Docudramas and Documentary Edward R. Murrow officially resigned from Life and Legacy of Edward R. Murrow” at CBS in January of 1961 and he died of cancer AEJMC‟s annual convention in August 2008, April 27, 1965.1 Unquestionably, Murrow journalists and academicians devoted a great contributed greatly to broadcast journalism‟s deal of time revisiting Edward R. Murrow‟s development; achieved unprecedented fame in contributions to broadcast journalism‟s the United States during his career at CBS;2 history.
    [Show full text]
  • The Emergence of Digital Documentary Filmmaking in the United States
    Academic Forum 30 2012-13 Conclusion These studies are the second installment of a series which I hope to continue. Baseball is unique among sports in the way that statistics play such a central role in the game and the fans' enjoyment thereof. The importance of baseball statistics is evidenced by the existence of the Society for American Baseball Research, a scholarly society dedicated to studying baseball. References and Acknowledgements This work is made much easier by Lee Sinins' Complete Baseball Encyclopedia, a wonderful software package, and www.baseball-reference.com. It would have been impossible without the wonderful web sites www.retrosheet.org and www.sabr.org which give daily results and information for most major league games since the beginning of major league baseball. Biography Fred Worth received his B.S. in Mathematics from Evangel College in Springfield, Missouri in 1982. He received his M.S. in Applied Mathematics in 1987 and his Ph.D. in Mathematics in 1991 from the University of Missouri-Rolla where his son is currently attending school. He has been teaching at Henderson State University since August 1991. He is a member of the Society for American Baseball Research, the Mathematical Association of America and the Association of Christians in the Mathematical Sciences. He hates the Yankees. The Emergence of Digital Documentary Filmmaking in the United States Paul Glover, M.F.A. Associate Professor of Communication Abstract This essay discusses documentary filmmaking in the United States and Great Britain throughout the 20 th century and into the 21 st century. Technological advancements have consistently improved filmmaking techniques, but they have also degraded the craft as the saturation of filmmakers influence quality control and the preservation of “cinema verite” or “truth in film.” This essay’s intention is not to decide which documentaries are truthful and good (there are too many to research) but rather discuss certain documentarians and the techniques they used in their storytelling methods.
    [Show full text]
  • 1 "Documentary Films" an Entry in the Encylcopedia of International Media
    1 "Documentary Films" An entry in the Encylcopedia of International Media and Communication, published by the Academic Press, San Diego, California, 2003 2 DOCUMENTARY FILMS Jeremy Murray-Brown, Boston University, USA I. Introduction II. Origins of the documentary III. The silent film era IV. The sound film V. The arrival of television VI. Deregulation: the 1980s and 1990s VII. Conclusion: Art and Facts GLOSSARY Camcorders Portable electronic cameras capable of recording video images. Film loop A short length of film running continuously with the action repeated every few seconds. Kinetoscope Box-like machine in which moving images could be viewed by one person at a time through a view-finder. Music track A musical score added to a film and projected synchronously with it. In the first sound films, often lasting for the entire film; later blended more subtly with dialogue and sound effects. Nickelodeon The first movie houses specializing in regular film programs, with an admission charge of five cents. On camera A person filmed standing in front of the camera and often looking and speaking into it. Silent film Film not accompanied by spoken dialogue or sound effects. Music and sound effects could be added live in the theater at each performance of the film. Sound film Film for which sound is recorded synchronously with the picture or added later to give this effect and projected synchronously with the picture. Video Magnetized tape capable of holding electronic images which can be scanned electronically and viewed on a television monitor or projected onto a screen. Work print The first print of a film taken from its original negative used for editing and thus not fit for public screening.
    [Show full text]
  • HBO and the AIDS Epidemic Shayne Pepper Northeastern Illinois University, [email protected]
    Northeastern Illinois University NEIU Digital Commons Communication, Media and Theatre Faculty Communication, Media and Theatre Publications 2014 Subscribing to Governmental Rationality: HBO and the AIDS Epidemic Shayne Pepper Northeastern Illinois University, [email protected] Follow this and additional works at: https://neiudc.neiu.edu/cmt-pub Part of the Film and Media Studies Commons, and the Television Commons Recommended Citation Pepper, Shayne, "Subscribing to Governmental Rationality: HBO and the AIDS Epidemic" (2014). Communication, Media and Theatre Faculty Publications. 6. https://neiudc.neiu.edu/cmt-pub/6 This Article is brought to you for free and open access by the Communication, Media and Theatre at NEIU Digital Commons. It has been accepted for inclusion in Communication, Media and Theatre Faculty Publications by an authorized administrator of NEIU Digital Commons. For more information, please contact [email protected],[email protected],[email protected]. Dr. Shayne Pepper 1 Department of Communication, Media and Theatre Northeastern Illinois University Subscribing to Governmental Rationality: HBO and the AIDS Epidemic By October of 1987, approximately 20,000 people had died of AIDS in the United States, and nearly 36,000 had been diagnosed with HIV/AIDS.1 With this public health crisis quickly reaching epidemic proportions, U.S. Surgeon General Dr. C. Everett Koop directly faced a television camera to reassure a frightened public. He answered questions candidly and discussed how HIV is contracted, what sort of practices increase risk, and the steps that one may take to prevent contracting the virus. This was not a live broadcast to the entire nation via one of the major American broadcast networks, a documentary for PBS, or even a federally funded educational video for public health departments or schools.
    [Show full text]
  • A Guide to US-Japan Documentary Coproduction
    A Guide to US-Japan Documentary Coproduction (Hard copies of the following booklet are available upon request to the US CULCON secretariat at the contact information listed under the main menu) ACKNOWLEDGMENTS We would like to thank Michael Berger, who reported on the final CPB-NHK seminar and pulled together materials from three previous seminars to prepare this guide. Thanks to Sosuke Yasuma of the NHK Communications Training Institute and Leo Eaton, Executive Producer, InCA East for the inspirational manner in which they moderated the four seminars. Our appreciation to Beth Mastin, whose work on legal issues from the report of the second seminar is included in the appendix of this guide. Thanks to David Davis, Eric Gangloff, Burnill Clark and Leo Eaton who provided additional input and advice during the editing process. Our thanks, too, to Carol Crandall and Elizabeth Levenson for their expertise in formatting the final product. This guide has been prepared with funding from the Corporation for Public Broadcasting (CPB) and the U.S. panel of CULCON (U.S.-Japan Conference on Cultural and Educational Interchange).* This guide is based on reports of four U.S./Japan Producer seminars jointly supported by CPB and NHK/CTI and the U.S. CULCON initiative to improve media cooperation between Japan and the United States. Editors Meg Villarreal, CPB Pamela Fields, CULCON May, 1995 *CULCON is a binational advisory panel to the governments of the United States and Japan for improvement of cultural and educational relations. CPB is a private non-profit corporation that oversees the distribution of the annual Federal contribution to the national public broadcasting system.
    [Show full text]
  • The BBC and Disaster Films: from Education to Entertainment Georges Fournier
    The BBC and Disaster Films: From Education to Entertainment Georges Fournier To cite this version: Georges Fournier. The BBC and Disaster Films: From Education to Entertainment. InMedia : the French Journal of Media and Media Representations in the English-Speaking World, Center for Re- search on the English-Speaking World (CREW), 2019. hal-02468020 HAL Id: hal-02468020 https://hal.archives-ouvertes.fr/hal-02468020 Submitted on 5 Feb 2020 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. InMedia The French Journal of Media Studies 7.2. | 2019 Documentary and Entertainment The BBC and Disaster Films: From Education to Entertainment Georges Fournier Electronic version URL: http://journals.openedition.org/inmedia/1766 ISSN: 2259-4728 Publisher Center for Research on the English-Speaking World (CREW) Printed version Date of publication: 15 December 2019 Electronic reference Georges Fournier, « The BBC and Disaster Films: From Education to Entertainment », InMedia [Online], 7.2. | 2019, Online since 02 December 2019, connection on 19 December 2019. URL : http:// journals.openedition.org/inmedia/1766 This text was automatically generated on 19 December 2019. © InMedia The BBC and Disaster Films: From Education to Entertainment 1 The BBC and Disaster Films: From Education to Entertainment Georges Fournier Introduction 1 The early years of the twenty-first century witnessed the production of TV films based on disaster scenarios, films both tragic in their denouement and anticipatory in their intentions.
    [Show full text]
  • Documentary and Cognitive Theory: Narrative, Emotion and Memory
    Article Documentary and Cognitive Theory: Narrative, Emotion and Memory Ib Bondebjerg Department of Media, Cognition and Communication, University of Copenhagen, Karen Blixens Vej 4, 2300 Copenhagen S, Denmark; E-Mail: [email protected] How to Cite this Article Bondebjerg, I. (2014). Documentary and Cognitive Theory: Narrative, Emotion and Memory. Media and Communication, 2(1), 13-22. Copyrights © 2014 by the author; licensee Cogitatio (Lisbon, Portugal). This article is licensed under a Creative Commons Attribution 4.0 International License (CC BY). Published by: www.cogitatiopress.com About the Journal Media and Communication is an international open access journal dedicated to a wide variety of basic and applied research in communication and its related fields. It aims at providing a research forum on the social and cultural relevance of media and communication processes. www.cogitatiopress.com/mediaandcommunication Editors-in-Chief Professor Bradley Greenberg, Departments of Communication and Telecommunication, Information Studies and Media, Michigan State University, USA Professor Elisabeth Klaus, Department of Communication, University of Salzburg, Austria Managing Editor Mr. António Vieira, Media and Communication, Cogitatio Press, Portugal Media and Communication 2014, Volume 2, Issue 1, Pages 13–22 Article Documentary and Cognitive Theory: Narrative, Emotion and Memory Ib Bondebjerg Department of Media, Cognition and Communication, University of Copenhagen, Karen Blixens Vej 4, 2300 Copenhagen S, Denmark; E-Mail: [email protected] Submitted: 15 October 2013 | In Revised Form: 18 December 2013 | Accepted: 11 March 2014 | Published: 9 April 2014 Abstract This article deals with the benefits of using cognitive theory in documentary film studies. The article outlines general aspects of cognitive theory in humanities and social science, however the main focus is on the role of narrative, visual style and emotional dimensions of different types of documentaries.
    [Show full text]
  • Media Appearances
    PROFESSOR NICK BOSTROM List of Media Appearances The Future of Humanity Institute Programme on the Impacts of Future Technology Oxford Martin School & Faculty of Philosophy Oxford University www.nickbostrom.com [My work has been covered extensively in the media. I have done over 500 interviews for television news and documentaries, radio, newspapers, and magazines, including BBC, CNN, NBC, ABC News, PBS, CBC, Discovery Channel, Financial Times, New York Times, Washington Times, The New Yorker, Der Spiegel, The Independent, the Telegraph, The Sunday Times, The Guardian, The Observer, Times Higher Educational Supplement, Le Devoir, Toronto and Ottawa Suns, L’Hebdo, Utildnings Radion, Boston Globe, San Diego Union-Tribune, The Sunday Herald, Nature, New Scientist, Science & Avenir, Volkskrant, Discover Magazine, Forbes, and many others.] Media list - Interviews 1. New Scientist. September 2012. Interviewed about illiciting ‘ethical’ behaviours and responses in AI through ‘emotional’ programming. 2. Akzia Newspaper (Russian independent newspaper). September 2012. Interviewed about technological innovations and future implications. 3. BBC Documentary. August 2012. Interviewed about the future of human evolution. 4. BBC World Service. August 2012. Interviewed about the Paralympics and the ethical issues of technical enhancements. 5. Austraian Broadcasting Corporation. August 2012. Interviewed about technology, the future, and the Alpbach Forum. 6. WIRED. August 2012. Interviewed about the ethics of transhumanism. 7. Family Circle Magazine. August 2012. Interviewed about bodies of the future and ethical enhancements. 8. The Independent (documentary pitch). August 2012. Interviewed on tech forecasting. 9. ISIS. (Oxford student magazine). August 2012. Interviewed about cognitive enhancements. 10. APA - Austria Presse Agentu. July 2012. Interviewed about big picture scenarios for humanity, including the most important crucial considerations – and how can they transform into reality and the impact of future transformative technologies.
    [Show full text]
  • Television Documentary.Pdf
    The Television Documentary 1950s-1970s The coming of television Documentary - profoundly affected by television Before, 35 mm documentaries - released theatrically Also non-theatrical field for industrially- sponsored films educational films After WWII – documentary began to slip – loses financial support no longer need for massive propaganda & indoctrination But - new channel for distribution & exhibition opens up: TELEVISION Television in Great Britain Thanks to television – larger audiences ever for documentaries Before WWII – experiments in telecasting After WWII – expansion of commercial television 1946 Great Britain BBC begins regular broadcasts Governmental organism Supported by tax on TV sets Non-commercial 1953 - Documentary Department 1955 Independent Television ITV Runs programs produced by commercial companies e.g. Granada Television Thames Television British television documentaries World in Action Granada Television Public affairs & doc series The World at War Thames Television 26-part series on WWII John Grierson Presents Scotish Television weekly programs Television in the United States 1948 Beginning of network television Out of New York By 1951 - coaxial cable & microwave relay connected all of U.S. 1951 See It Now w/ Edward R. Murrow & Fred Friendly news & public affairs weekly series NBC & CBS produce their own documentaries Later ABC 1953 Origins of Public Broadcasting Service PBS Non-commercial network federally- funded Sponsored, commissioned & purchased documentaries - domestic & British Documentary Series See It
    [Show full text]
  • British Docudrama Georges Fournier
    British Docudrama Georges Fournier To cite this version: Georges Fournier. British Docudrama. InMedia : the French Journal of Media and Media Represen- tations in the English-Speaking World, Center for Research on the English-Speaking World (CREW), 2013. hal-02467735 HAL Id: hal-02467735 https://hal.archives-ouvertes.fr/hal-02467735 Submitted on 5 Feb 2020 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. InMedia The French Journal of Media and Media Representations in the English-Speaking World 3 | 2013 Cinema and Marketing British Docudrama Georges Fournier Publisher Center for Research on the English- Speaking World (CREW) Electronic version URL: http://inmedia.revues.org/591 ISSN: 2259-4728 Electronic reference Georges Fournier, « British Docudrama », InMedia [Online], 3 | 2013, Online since 16 November 2013, connection on 15 October 2016. URL : http://inmedia.revues.org/591 This text was automatically generated on 15 octobre 2016. © InMedia British Docudrama 1 British Docudrama Georges Fournier 1 Hybridized forms or representation, whether for the big screen or for television, have only recently aroused the interest of researchers, though the practice itself can be traced back to the origins of film. The tug of war that lies at the heart of docudrama − the generic term for this type of representation − springs from the mixture of elements borrowed from the fictional and documentary genres.
    [Show full text]
  • How Contemporary Christians React to Media Portrayals of Faith, Beliefs, and Rituals
    Georgia State University ScholarWorks @ Georgia State University Religious Studies Theses Department of Religious Studies 5-3-2007 Loose Canon on Deck: How Contemporary Christians React to Media Portrayals of Faith, Beliefs, and Rituals Mitchell L. Leopard Follow this and additional works at: https://scholarworks.gsu.edu/rs_theses Part of the Religion Commons Recommended Citation Leopard, Mitchell L., "Loose Canon on Deck: How Contemporary Christians React to Media Portrayals of Faith, Beliefs, and Rituals." Thesis, Georgia State University, 2007. https://scholarworks.gsu.edu/rs_theses/6 This Thesis is brought to you for free and open access by the Department of Religious Studies at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Religious Studies Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. LOOSE CANON ON DECK: HOW CONTEMPORARY CHRISTIANS REACT TO MEDIA PORTRAYALS OF FAITH, BELIEFS, AND RITUALS by MITCHELL L LEOPARD Under the Direction of Timothy Renick ABSTRACT Throughout much of Christian history, the church had predominant control over religious ritual and belief. As early as the 1st Century, institutions representing “orthodoxy” were banning, forbidding or destroying the “heretical”, separating it from what eventually would become canon and religious practice. The 21st Century provides new ways for spiritual knowledge to spread, bypassing traditional methods. Modern Martin Luthers can nail a manifesto to an internet door while the media’s obsession with non-canonical texts provides no shortage of material for movies and television. A multi-media barrage challenges orthodox concepts and scriptural definition, often blurring the line between religion and entertainment.
    [Show full text]