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Press Freedom Under Attack
LEVESON’S ILLIBERAL LEGACY AUTHORS HELEN ANTHONY MIKE HARRIS BREAKING SASHY NATHAN PADRAIG REIDY NEWS FOREWORD BY PROFESSOR TIM LUCKHURST PRESS FREEDOM UNDER ATTACK , LEVESON S ILLIBERAL LEGACY FOREWORD EXECUTIVE SUMMARY 1. WHY IS THE FREE PRESS IMPORTANT? 2. THE LEVESON INQUIRY, REPORT AND RECOMMENDATIONS 2.1 A background to Leveson: previous inquiries and press complaints bodies 2.2 The Leveson Inquiry’s Limits • Skewed analysis • Participatory blind spots 2.3 Arbitration 2.4 Exemplary Damages 2.5 Police whistleblowers and press contact 2.6 Data Protection 2.7 Online Press 2.8 Public Interest 3. THE LEGISLATIVE FRAMEWORK – A LEGAL ANALYSIS 3.1 A rushed and unconstitutional regime 3.2 The use of statute to regulate the press 3.3 The Royal Charter and the Enterprise and Regulatory Reform Act 2013 • The use of a Royal Charter • Reporting to Parliament • Arbitration • Apologies • Fines 3.4 The Crime and Courts Act 2013 • Freedom of expression • ‘Provided for by law’ • ‘Outrageous’ • ‘Relevant publisher’ • Exemplary damages and proportionality • Punitive costs and the chilling effect • Right to a fair trial • Right to not be discriminated against 3.5 The Press Recognition Panel 4. THE WIDER IMPACT 4.1 Self-regulation: the international norm 4.2 International response 4.3 The international impact on press freedom 5. RECOMMENDATIONS 6. CONCLUSION 3 , LEVESON S ILLIBERAL LEGACY 4 , LEVESON S ILLIBERAL LEGACY FOREWORD BY TIM LUCKHURST PRESS FREEDOM: RESTORING BRITAIN’S REPUTATION n January 2014 I felt honour bound to participate in a meeting, the very ‘Our liberty cannot existence of which left me saddened be guarded but by the and ashamed. -
RFCB 12 Mai 2013
The United Kingdom over the Lomé Years: A Constructive Partner in Europe? Gordon D. CUMMING University of Cardiff Not long after joining the European Economic Community (EEC) in 1973, Britain came to be regarded by other member states as ‘an awkward partner’ and ‘a semi-detached member of the Community’.1 The British felt particularly aggrieved that their voices were not being heard on issues such as the British budget rebate and the Common Agricultural Policy (CAP). They complained in more measured tones about their lack of influence over the EEC’s ‘haphazard’ and ‘diffuse’ aid programmes.2 Yet how justified were the British in harbouring such grievances in relation to European development assistance? Did Britain simply have to fall into line with the demands of its European aid partners or did it enjoy discreet but discernible influence over EEC assistance? This question of reciprocal influence has not been properly addressed in the literature. Only a handful of commentators touch upon Britain’s role in shaping European aid and most suggest that the United Kingdom had little or no influence. Cosgrove Twitchett argues that, during the negotiations on Lomé I (Europe’s first aid and trade agreement with former African, Caribbean and Pacific colonies), the United Kingdom was ‘temperamentally less interested in promoting an accommodation between her former colonies and the EEC than had been the case during the 1960s’, when Britain first applied to the EEC.3 Hewitt also plays down British influence, suggesting that, despite a doubling of British aid through the EEC, Britain’s ‘levels of political clout were stagnating’ between 1979 and 1990.4 A notable exception comes in the form of a thinkpiece by the then British Overseas Development Minister Lynda Chalker. -
(500) Days of Summer 2009
(500) Days of Summer 2009 (Sökarna) 1993 [Rec] 2007 ¡Que Viva Mexico! - Leve Mexiko 1979 <---> 1969 …And Justice for All - …och rättvisa åt alla 1979 …tick…tick…tick… - Sheriff i het stad 1970 10 - Blåst på konfekten 1979 10, 000 BC 2008 10 Rillington Place - Stryparen på Rillington Place 1971 101 Dalmatians - 101 dalmatiner 1996 12 Angry Men - 12 edsvurna män 1957 127 Hours 2010 13 Rue Madeleine 1947 1492: Conquest of Paradise - 1492 - Den stora upptäckten 1992 1900 - Novecento 1976 1941 - 1941 - ursäkta, var är Hollywood? 1979 2 Days in Paris - 2 dagar i Paris 2007 20 Million Miles to Earth - 20 miljoner mil till jorden 1957 20,000 Leagues Under the Sea - En världsomsegling under havet 1954 2001: A Space Odyssey - År 2001 - ett rymdäventyr 1968 2010 - Year We Make Contact, The - 2010 - året då vi får kontakt 1984 2012 2009 2046 2004 21 grams - 21 gram 2003 25th Hour 2002 28 Days Later - 28 dagar senare 2002 28 Weeks Later - 28 veckor senare 2007 3 Bad Men - 3 dåliga män 1926 3 Godfathers - Flykt genom öknen 1948 3 Idiots 2009 3 Men and a Baby - Tre män och en baby 1987 3:10 to Yuma 2007 3:10 to Yuma - 3:10 till Yuma 1957 300 2006 36th Chamber of Shaolin - Shaolin Master Killer - Shao Lin san shi liu fang 1978 39 Steps, The - De 39 stegen 1935 4 månader, 3 veckor och 2 dagar - 4 Months, 3 Weeks and 2 Days 2007 4: Rise of the Silver Surfer - Fantastiska fyran och silversurfaren 2007 42nd Street - 42:a gatan 1933 48 Hrs. -
R128 New Media
Contents Acknowledgements ..................................................................................................... vivi SummarySummary ...................................................................................................................... 33 The purpose of our review ..................................................................................... 3 Key conclusions ...................................................................................................... 8 Summary of recommendations ............................................................................ 10 Implementation ..................................................................................................... 13 Recommendations ................................................................................................ 15 Chapter 1Chapter 1 Introduction .............................................................................................. 2222 The purpose of our review ................................................................................... 22 The New Zealand context .................................................................................... 30 Our approach ........................................................................................................ 35 Chapter 2Chapter 2 The News Media’s rights and responsibilities ........................................ 3838 Introduction .......................................................................................................... 38 News -
2.3 Flash-Forward: the Future Is Now
2.3 Flash-Forward: The Future is Now BY PATRICIA PISTERS 1. The Death of the Image is Behind Us Starting with the observation that “a certain idea of fate and a certain idea of the image are tied up in the apocalyptic discourse of today’s cultural climate,” Jacques Rancière investigates the possibilities of “imageness,” or the future of the image that can be an alternative to the often-heard complaint in contemporary culture that there is nothing but images, and that therefore images are devoid of content or meaning (1). This discourse is particularly strong in discussions on the fate of cinema in the digital age, where it is commonly argued that the cinematographic image has died either because image culture has become saturated with interactive images, as Peter Greenaway argues on countless occasions, or because the digital has undermined the ontological photographic power of the image but that film has a virtual afterlife as either information or art (Rodowick 143). Looking for the artistic power of the image, Rancière offers in his own way an alternative to these claims of the “death of the image.” According to him, the end of the image is long behind us. It was announced in the modernist artistic discourses that took place between Symbolism and Constructivism between the 1880s and 1920s. Rancière argues that the modernist search for a pure image is now replaced by a kind of impure image regime typical for contemporary media culture. | 1 2.3 Flash-Forward: The Future is Now Rancière’s position is free from any technological determinism when he argues that there is no “mediatic” or “mediumistic” catastrophe (such as the loss of chemical imprinting at the arrival of the digital) that marks the end of the image (18). -
PDF) ISBN 978-0-9931996-4-6 (Epub)
POST-CINEMA: THEORIZING 21ST-CENTURY FILM, edited by Shane Denson and Julia Leyda, is published online and in e-book formats by REFRAME Books (a REFRAME imprint): http://reframe.sussex.ac.uk/post- cinema. ISBN 978-0-9931996-2-2 (online) ISBN 978-0-9931996-3-9 (PDF) ISBN 978-0-9931996-4-6 (ePUB) Copyright chapters © 2016 Individual Authors and/or Original Publishers. Copyright collection © 2016 The Editors. Copyright e-formats, layouts & graphic design © 2016 REFRAME Books. The book is shared under a Creative Commons license: Attribution / Noncommercial / No Derivatives, International 4.0 (http://creativecommons.org/licenses/by-nc-nd/4.0/). Suggested citation: Shane Denson & Julia Leyda (eds), Post-Cinema: Theorizing 21st-Century Film (Falmer: REFRAME Books, 2016). REFRAME Books Credits: Managing Editor, editorial work and online book design/production: Catherine Grant Book cover, book design, website header and publicity banner design: Tanya Kant (based on original artwork by Karin and Shane Denson) CONTACT: [email protected] REFRAME is an open access academic digital platform for the online practice, publication and curation of internationally produced research and scholarship. It is supported by the School of Media, Film and Music, University of Sussex, UK. Table of Contents Acknowledgements.......................................................................................vi Notes On Contributors.................................................................................xi Artwork…....................................................................................................xxii -
Flash-Forward: the Future Is Now 2016
Repositorium für die Medienwissenschaft Patricia Pisters Flash-Forward: The Future is Now 2016 https://doi.org/10.25969/mediarep/13486 Veröffentlichungsversion / published version Sammelbandbeitrag / collection article Empfohlene Zitierung / Suggested Citation: Pisters, Patricia: Flash-Forward: The Future is Now. In: Shane Denson, Julia Leyda (Hg.): Post-Cinema. Theorizing 21st- Century Film. Falmer: REFRAME Books 2016, S. 145–170. DOI: https://doi.org/10.25969/mediarep/13486. Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell - Keine Bearbeitungen 4.0/ Attribution - Non Commercial - No Derivatives 4.0/ License. For Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz more information see: finden Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0/ https://creativecommons.org/licenses/by-nc-nd/4.0/ 2.3 Flash-Forward: The Future is Now BY PATRICIA PISTERS 1. The Death of the Image is Behind Us Starting with the observation that “a certain idea of fate and a certain idea of the image are tied up in the apocalyptic discourse of today’s cultural climate,” Jacques Rancière investigates the possibilities of “imageness,” or the future of the image that can be an alternative to the often-heard complaint in contemporary culture that there is nothing but images, and that therefore images are devoid of content or meaning (1). This discourse is particularly strong in discussions on the fate of cinema in the digital age, where it is commonly argued that the cinematographic image has died either because image culture has become saturated with interactive images, as Peter Greenaway argues on countless occasions, or because the digital has undermined the ontological photographic power of the image but that film has a virtual afterlife as either information or art (Rodowick 143). -
Patrick Hill Call: 2010
Patrick Hill Call: 2010 Patrick Hill has a broad practice spanning the fields of fraud/regulatory, criminal, public, human rights, extradition, inquests/inquiries/investigations, asset recovery, contempt, international/immigration/EU, civil/quasi-civil, and professional discipline and licensing law. Regularly instructed in high profile and complex cases, Patrick’s recent and current instructions in these areas include: SFO Unaoil/Iraqi oil corruption/bribery prosecution Unexplained wealth order case HBOS corruption £245m prosecution News International/The Sun hacking and misconduct in public office litigation Leave.EU and Vote Leave PPERA appeals Human rights/RIPA claims before the IPT Judicial review proceedings in relation to production orders on behalf of a Russian national Private prosecution £97m confiscation proceedings $2 billion Commercial Court contempt Judicial review proceedings on behalf of ENRC Computer hacking of Gordon Ramsay Inquiry into collapse of a trial of 13 police officers Hatton Gardens jewellery burglary Max Clifford historic sexual offences 1 3 Raymond Buildings, Gray’s Inn, London WC1R 5BH | T: +44 (0)20 7400 6400 (24 hours) | E: [email protected] Crime and regulatory crime Patrick is regularly instructed to act for private individuals and companies in high profile and complex criminal and regulatory cases, including those with an international dimension. His practice encompasses fraud, money laundering, bribery, corruption, and misconduct in public office, as well as compute misuse, hacking and data protection -
On Space in Cinema
1 On Space in Cinema Jacques Levy Ecole polytechnique fédérale de Lausanne [email protected] Abstract The relationship between space and cinema is problematic. Cinema can be seen as a spatial art par excellence, but there are good reasons why this view is superficial. This article focuses on geographical films, which aim to increase our understanding of this dimension of the social world by attempting to depict inhabited space and the inhabitance of this space. The argument is developed in two stages. First, I attempt to show the absence both of space as an environment and of spatiality as an agency in cinematographic production. Both of these contribute to geographicity. Second, I put forward and expand on the idea of opening up new channels between cinema and the social sciences that take space as their object. This approach implies a move away from popular fiction cinema (and its avatar the documentary film) and an establishment of links with aesthetic currents from cinema history that are more likely to resonate with both geography and social science. The article concludes with a “manifesto” comprising ten principles for a scientific cinema of the inhabited space. Keywords: space, spatiality, cinema, history of cinema, diegetic space, distancing, film music, fiction, documentary, scientific films Space appears to be everywhere in film, but in fact it is (almost) nowhere. This observation leads us to reflect on the ways in which space is accommodated in films. I will focus in particular on what could be termed “geographical” films in the sense that they aim to increase our understanding of this dimension of the social world by 2 attempting to depict inhabited space and the inhabitance of this space. -
PRESS 2021 Beth Williamson, Shaping the World
PRESS 2021 Beth Williamson, Shaping the World: Sculpture from Prehistory to Now - Book Review, Studio International, 4 January 2021 2020 Martin Gayford, 'How Antony Gormley's failed Buddhist monkhood turned him into the world's best sculptor', The Sunday Telegraph, London, U.K., 13 December 2020 Lauren Christensen, 'The Big Picture - Book Review', The New York Times, New York, USA, 6 December 2020 Matthew Craske, 'Stone Poses', Literary Review, December 2020 Rachel Campbell-Johnston, 'Antony Gormley: 'We live in a culture addicted to spectacle'', The Times, London, U.K., 23 November 2020 Sam Leith, 'Podcast with Antony Gormley and Martin Gayford'. The Spectator, London, U.K., 11 November 2020 Julia Sutherland, 'Shaping the World - a refreshing invitation to rethink sculpture', The Financial Times, London, U.K., 10 November 2020 Henri-Francois Debailleux, 'Antony Gormley: "Le corps dont il est question ici ets celui du spectateur"', Le Journal des Arts, 8th May 2020 Matthieu Jacquet, 'Antony Gormley sculpte notre monde à la galerie Thaddaeus Ropac', Numero, Paris, France, April 2020 Adrian Horton, 'An act of hope': why Antony Gormley teamed up with K-pop superstars BTS', The Guardian, 5th February 2020 Miranda Bryant, 'BTS are opening up the art world to a whole new audience, says Sir Antony Gormley,' The Evening Standard, 5th February 2020 Sara Aridi, BTS Announces Global Arts Project Featuring Antony Gormley, International New York Times, 14th January 2020 Kabir Jhala, 'K-pop stars collaborate on major artist projects', 14th January 2020 -
For Distribution to Cps MOD300000712
For Distribution to CPs A Boulton First 25 April 2012 Exhibits TABBl-7 m THE LEVESON INQUIRY INTO THE CULTURE. PRACTICES AND ETHTrS OF THE PRESS EXHIBIT TABB5 This is the exhibit TABB5 referred to in the first witness statement of Thomas Adam Babington Bolton dated 25 April 2012. MOD300000712 For Distribution to CPs Greenwich University Law Faculty 2/*^ March 2012 The UK Media & The Law in 2012 Public Lecture bv Adam Boulton INTRODUCTION I am not a law yer: I am a journalist still working in this country, and what's more one who has worked for twenty three years for an organisation. Sky News, which is ultimately managed by Rupert Murdoch and his News Corporation. I have interviewed Presidents, Prime Ministers and Nobel prize winners but I've also interviewed Katie Price when she was still known as Jordan and Nancy Dell'Olio, Eric Cantona only yesterday. I've asked Cabinet ministers when they are going to resign and I've persuaded the freshly bereaved and terrorised to go on television. Up market / down market I'm proud of serving both ends, all ends, of the news market, since I believe this spectrum contributes to my audience's greater understanding of the world we live in. I'm from the private not the public sector of journalism but I have no quarrel with Lord Reith's mission statement for the BBC; "to educate, inform and entertain." MOD300000713 For Distribution to CPs At the moment the issues which have raised greatest concern about the behaviour of the media , concern only one medium - newspapers - and predominantly only one media group - News International. -
Visiting Parliamentary Fellowship Celebrating 25 Years 1994-2019
VISITING PARLIAMENTARY FELLOWSHIP CELEBRATING 25 YEARS 1994-2019 St Antony's College 1 Roger Goodman, Warden of St Antony’s At a recent breakfast with the students, it was decided that the College should do more to advertise what distinguished it from other colleges in Oxford. St Antony’s is: The Oxford college founded by a Frenchman The Oxford college with two Patron Saints (St Antony of Egypt and St Antony of Padua) The Oxford college where almost 90% of the 500 graduate students are from outside UK and the alumni come from 129 countries The Oxford college with international influence: ‘In the mid-2000s, 5% of the world’s foreign ministers had studied at St Antony’s’ (Nick Cohen, The Guardian, 8 Nov, 2015) The Oxford college mentioned in the novels of both John Le Carré and Robert Harris The Oxford college which holds the most weekly academic seminars and workshops The Oxford college with two award-winning new buildings in the past decade To this list can be added: St Antony’s is the Oxford college with a Visiting Parliamentary Fellowship (VPF). There is no other Oxford college that can boast such a list of parliamentarians responsible for a seminar programme over such a long period of time. The College is immensely proud of the Fellowship and greatly indebted to all those who have held it over the past 25 years. We were very grateful to those who have were able to come to the 25th anniversary celebration of the Fellowship programme at the House of Commons on 24 April 2019 and for the many generous letters from those who could not.