Rewiring the Text

Total Page:16

File Type:pdf, Size:1020Kb

Rewiring the Text Rewiring the Text: Adaptation and Translation in the Digital Heterogossia. Richard Berger. A thesis in partial fulfilment of the requirements of Bournemouth University for the degree of Philosophy Doctorate. March 2005. Bournemouth University. Rewiring the Text: Abstract. This dissertation is concerned with adaptation, in the context of new emerging digital media platforms. The project proposes that new media has allowed for the creation of a universal digital heteroglossia; a heteroglossia that contains the plurality of the unstable utterances of cinema, radio, television, the web and computer games. This has allowed for the process of adaptation to become more instantaneous in the simultaneous deployment of narratives across the digital heteroglossia. Therefore, the process of adaptation is far more dialogical, with previous variants of narratives being ‘rewired’ and gaining an ‘afterlife’ through adaptation, and through the creation of new variants and versions. The Internet has allowed for adaptation to move into a participatory mode, where fanfic writers fill in ‘gaps’ left by the creators of televisual and filmic texts. Videogames, based on pre-existing or co-existing texts, mean that players can experience moments of supreme and non-permanent adaptation themselves. This thesis suggests that this participation has democratised adaptation, and has fundamentally altered the nature of ‘traditional’ adaptation. The thesis concludes that, due to a digital heteroglossia, ‘traditional’ adaptation will decline, as the process becomes more plural and instantaneous. With previous variants of narratives being summoned back into life - due to adaptation, remaking and refashioning - it is increasingly unlikely that ‘fidelity’ strategies of adaptation will continue to be the dominant discourse, as all variants of narratives begin to exist in a dialogical plurality with one another; a mutual exchange of fluctuating source and target texts, cross-referenced through intertextuality and assembling a collage of influences. Rewiring the Text - Contents: Abstract: ii. Acknowledgements: vi. Dedication: vii. Author’s Declaration: viii. Introduction: The End of Adaptation? 1. Methodology. 15. Rationale. 19. Part I: Sourcing the Text. 22. Chapter 1.1: Comparative Approaches. 23. Trainspotting. 32. Trainspotting: Textual Afterlife. 37. The English Patient. 40. The English Patient: Textual Afterlife. 44. Film as Source: The Tie-in. 47. Film as Source: The Remake. 50. Chapter 1.2: New Texts, New Voices. 62. The Changing Nature of Authorship. 62. The Auteur Theory. 68. Death of the Author. 72. Heteroglossia, Utterance and the Intertext. 77. Franz Kafka and Orson Welles. 83. New Media, New Authors. 87. Towards Transmedia. 90. Part II: The Digital Heteroglossia. 95. Chapter 2.1: The Emerging Digital Heteroglossia. 96. Introduction. 96. Pre-history. 102. Convergence and Remediation. 107. Adaptation, Disruption and the Digital Heteroglossia 112. Chapter 2.2: Framing the Subversive. 118. Television, the Web and Celebrity. 118. Tabloids, Television and Celebrity. 120. The Web and Celebrity. 124. Adaptation and the ‘Democratic Genre.’ 133. Convergence and Remediation revisited. 141. VCR revisited. 146. Towards instantaneous adaptation? 149. Part III: Parallel Texts. 153. Chapter 3.1: Parallel and Hypermediate Texts. 154. Introduction. 154. Screening Superman. 160. Superman: From text to screen. 161. Superman on Film. 165. Superman on television and the origins of Smallville. 167. Smallville: The Hypermediate text. 169. Interactive Television revisited. 176. Chapter 3.2: iMP, The Matrix and Transmedia. 183. The BBC and Interactive Television. 183. Medium Specific Adaptation. 187. The BBC and the Graf Report. 193. The BBC’s Interactive Media Player. 203. Videogame adaptation. 206. The Matrix: The Transmedia Text. 215. Conclusion: The End of Adaptation. 225. The Future. 226. The End of Temporality. 228. Adaptation as Participation. 230. New Adaptation. 231. New Adaptation Studies 232. Bibliography. 235. Novels, Novelisations and Screenplays. 249. Filmography. 251. Videogames. 256. Television Series. 258 Websites. 259. Appendix A: Trainspotting paperback sales. 260. Appendix B: The English Patient paperback sales. 261. Appendix C: Time Warner companies. 263. Appendix D: Interview with Jonathan Carter (BBC). 267. Appendix E: Interview with Matt Walton (BBC). 270. Rewiring the Text – Acknowledgements: Firstly to John Ellis for getting me started and helping to focus my ideas, and foremost to David Gauntlett for his support, helpful insights, good nature and for sticking with me through the long haul and putting up with my whinging. To my supportive colleagues at the Bournemouth Media School, particularly Stephen Bell, Robin Chater, Fiona Cownie, Sheila Daubeney, Stephen Deutsch, Joe Flitham, John Foster, Maike Helmers, Tracy Hixson, Dan Hogan, Matt Holland, Andrew Ireland, Katrina King, Jan Lewis, Marian Mayer, Chris Pullen, Tristan Tull, Peter Legge, Jim Pope, Jan Johnson-Smith, Joe Tunmer, Jonathan Wardle and Chris Wensley. To Jonathan Carter, Jon Cuthill, Alun Newman and Matt Walton at the BBC, for their time and patience. Sincere thanks and appreciation to Lucy Mazdon at the University of Southampton for help in the early stages of this project, and Bronwen Thomas at the Bournemouth Media School, and Sheenagh Pugh, at the University of Wales, for their invaluable suggestions in the later stages of writing this thesis. Special thanks to the singer, songwriter, playwright and scholar Mick Ryan, who I have had the privilege of being taught by, and later working with and who pointed out both the path I now find myself on and E. M. Forster’s Aspects of the Novel. I am really sorry about the Lord of the Rings chapter though. Finally, to assorted friends, loved-ones and hangers-on, without whose constant badgering for me to go out with them, this thesis would have been finished a long time ago, namely Owen Bailey, Dale and Ailsa Ballard, Sarah Berger, Matt Bowler, Ian and Vicky Brosch, Jane Cooper, Nick Cutts, Dover, John Edwards, Jason & Sally Field, Matt Grace, Giles Gwinett, Go Mark, Ashar Hamilton, Jim & Sue Muir, Tim Oliver, Steve Parry, Dan Scully and Justin Williamson. Any errors which remain however, are entirely my own. Rewiring the Text – Dedication: In memory of my parents, John and Valerie, whose infectious and combined love of literature and cinema has in part, resulted in this thesis. Rewiring Adaptation- Author’s Declaration: Name of Candidate: Richard John Berger. Award for which work is submitted: Philosophy Doctorate. 1. Statement of any advanced studies undertaken in connection with the programme of research. N/A. 2. Concurrent registration for two or more academic awards. I declare that while registered as a candidate for the university’s research award, I have not been a registered candidate or enrolled student for an award of any other academic of professional institution. 3. Material submitted for another award. N/A. 4. Declaration. I hereby declare that this thesis is all my own work. Signature of candidate. Date: Introduction: The End of Adaptation? “Since the early days of its cinematic production Hollywood has adapted, copied, plagiarised, and been inspired by other works” (Mazdon, 2000: 2). In 2005 two prequels to William Friedkin’s 1973 horror film, The Exorcist were released on DVD. Exorcist: The Beginning (Harlin, 2004) had been exhibited in cinemas the previous year, but Dominion: Prequel to The Exorcist (Schrader, 2005) had not, being a ‘straight to video’ release. However, Schrader’s film had in fact been made first, with an unhappy studio recalling cast and crew for Harlin’s re-shoot and a final cut that incorporated scenes from Schrader’s version. The poor commercial and critical reception of Exorcist: The Beginning led to the eventual release of Schrader’s version on DVD. This also coincided with a re-issue of the original Exorcist, as well as William Peter Blatty’s source novel and its sequel, Legion, previously adapted and filmed by Blatty himself as Exorcist III in 1990. Blatty’s book was in part based on the diaries of a priest, Father Raymond J. Bishop, in turn the source material for a, “well-researched potboiler entitled Possessed” (Kermode, 1997: 11). Film fans posting comments on the Internet Movie Database (www.imdb.com) admitted confusion: by - pythontounge (Sat Apr 29 2006 09:00:29 ) ok ive seen the 3 exorsist [sic] films in the past plus "E’3" [Exorcist III] on sky lastnight since id seen "E’ the begining" [Exorcist: The Beginning] last week now i learn there is another exorsist [sic] film with the same actor playing young father merin in both films can anyone tell me how all the films fit in to a credable [sic] time line excuding "E’2" [Exorcist II: The Heretic] whitch [sic] doesent [sic] deserve the right to be in the series i also thought in "E’ the beginning" was quite credible as it shows merrin having a relationship with a doctor woman then loosing her but at the same time renouncing his faith it also set up the origional ragan possession [sic] film up so is DOMINION [Dominion: Prequel to the Exorcist] a sequel to beginning[?] http://www.imdb.com/title/tt0449086/board/nest/42137005 This example shows how new versions of pre-existing texts can cause bemusement in some audiences expecting a logical contribution to previous chronological events. It also shows how previous versions, and source material can be ‘rewired’ and can be brought back into cultural transmission, due to the appearance of new versions, subsequently gaining an ‘afterlife’. Indeed, new digital acquisition and exhibition technologies can ‘frame’ several versions of a narrative, hence pythontounge’s understandable confusion from seeing an array of Exorcist texts exhibited on his/her Sky television platform. In addition, 2005’s Batman Begins (Nolan) also seemed to be a prequel to Batman (Burton, 1989) ending at the suggested appearance of The Joker. However, Nolan’s film retold Bruce Wayne’s origins, having his parents killed by Joe Chill – therefore being ‘faithful’ to Frank Miller’s Dark Knight Returns (1986) comic book – instead of Jack Napier/The Joker as in Burton’s version.
Recommended publications
  • Judgment Mr Justice Nicol
    Neutral Citation Number: [2011] EWHC 2454 (QB) Case No: HQ10X022389 IN THE HIGH COURT OF JUSTICE QUEEN'S BENCH DIVISION Royal Courts of Justice Strand, London, WC2A 2LL Date: 29/09/2011 Before : THE HONOURABLE MR JUSTICE NICOL - - - - - - - - - - - - - - - - - - - - - Between : Rio Ferdinand Claimant - and - MGN Limited Defendant - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Hugh Tomlinson QC and Sara Mansoori (instructed by Simons Muirhead Burton ) for the Claimant Gavin Millar QC and Yuli Takatsuki (instructed by Reynolds Porter Chamberlain LLP) for the Defendant Hearing dates: 4th , 5 th , 6 th July 2011( Redacted Version) - - - - - - - - - - - - - - - - - - - - - Judgment Mr Justice Nicol : 1. On 25 th April 2010 the Sunday Mirror published an article under the headline “My Affair with England Captain Rio”. In very similar terms the article also appeared on the website www.mirror.co.uk between 25 th and 30 th April 2010. The Defendant is the publisher of the newspaper and website. The Claimant is the well known footballer, Rio Ferdinand. He claims that the article in both formats was an unjustified infringement of his right to privacy, a misuse of his private information and a breach of confidence. The Defendant defends its publications as a legitimate exercise of its right of freedom of expression. 2. The article gave an account of the Claimant’s relationship with Ms Carly Storey. They had met in 1996 or 1997 when he was a teenager and she was 17. They drifted apart from 2000, when the Claimant moved to Leeds United, until 2002. In 2002 they resumed contact via phone and text messages and also met up. The last time they met was in May 2005.
    [Show full text]
  • Laissez-Faire Regulation, the Public Spending Squeeze and the Drive to Digital Guy Starkey*
    Cultural Trends, 2015 http://dx.doi.org/10.1080/09548963.2014.1000591 COMMENTARY 5 Cultural policy in the coalition years: Laissez-faire regulation, the public spending squeeze and the drive to digital Guy Starkey* 10 Centre for Research in Media & Cultural Studies, University of Sunderland, Sunderland, UK Introduction Radio, so often described by academics as the “invisible” (Lewis & Booth, 1989), “Cinder- ” – “ ” 15 ella (Halesworth, 1971, pp. 189 191) or even forgotten medium (Pease & Dennis, 1994), has enjoyed a relatively settled period under the coalition government. There has been no crisis of confidence over ethical and legal issues, as exposed in the press by Leveson and the police operations, Elveden, Tuleta and Weeting. There have been few head- line-grabbing (if difficult-to-evaluate) initiatives like local television, as exemplified by London Live or Made in Tyne & Wear, and no government-rocking conflicts of interest as 20 spectacular as that over the ownership of BSkyB. Nor indeed has there been any game-chan- ging reorganisation of public funding, similar to the Arts Council’s lists of winners and losers. Yet, as is so often the case, radio remains a significant, but largely, ignored medium. In terms of government policy, it has suffered mixed fortunes under the five years of the coalition. Official listening figures continue to confirm recent trends in radio’s fortunes. If radio grabs 25 little of the media limelight, it remains a medium with an enviable ubiquity. It may have been slow to win audiences among younger people as large as when it broke new music and pro- vided the kind of escapism sought by youth in the 1960s and 1970s.
    [Show full text]
  • The Porn User in Public and Academic Discourse ATTWOOD, F
    ”Other” or “one of us”?: the porn user in public and academic discourse ATTWOOD, F. Available from Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/31/ This document is the author deposited version. You are advised to consult the publisher's version if you wish to cite from it. Published version ATTWOOD, F. (2007). ”Other” or “one of us”?: the porn user in public and academic discourse. Participations: journal of audience and reception studies, 4 (1). Copyright and re-use policy See http://shura.shu.ac.uk/information.html Sheffield Hallam University Research Archive http://shura.shu.ac.uk ‘ ”Other ” or “one of us ”?: The porn user in public and academic discourse.’ Published in Participations: Journal of Audience and Reception Studies 4(1), http://www.participations.org/. 2007. Summary The consumption of sexually explicit media has long been a matter of public and political concern. It has also been a topic of academic interest. In both these arenas a predominantly behaviourist model of effects and regulation has worked to cast the examination of sexually explicit texts and their consumption as a debate about harm. The broader area of investigation remains extraordinarily undeveloped. Sexually explicit media is a focus of interest for academics because of the way it ‘speaks’ sex and sexuality for its culture. In this paper I examine existing and emerging figures of the porn consumer, their relation to ways of thinking and speaking about pornography, and the implications of these for future work on porn consumption. Key words: Pornography, consumer, figure, discourse, audience research Despite the fact that pornography is a multi-billion- dollar global industry we know far less about its audiences than ‘probably any other genre of popular entertainment’ (Jenkins, 2004:2).
    [Show full text]
  • Pocketbook for You, in Any Print Style: Including Updated and Filtered Data, However You Want It
    Hello Since 1994, Media UK - www.mediauk.com - has contained a full media directory. We now contain media news from over 50 sources, RAJAR and playlist information, the industry's widest selection of radio jobs, and much more - and it's all free. From our directory, we're proud to be able to produce a new edition of the Radio Pocket Book. We've based this on the Radio Authority version that was available when we launched 17 years ago. We hope you find it useful. Enjoy this return of an old favourite: and set mediauk.com on your browser favourites list. James Cridland Managing Director Media UK First published in Great Britain in September 2011 Copyright © 1994-2011 Not At All Bad Ltd. All Rights Reserved. mediauk.com/terms This edition produced October 18, 2011 Set in Book Antiqua Printed on dead trees Published by Not At All Bad Ltd (t/a Media UK) Registered in England, No 6312072 Registered Office (not for correspondence): 96a Curtain Road, London EC2A 3AA 020 7100 1811 [email protected] @mediauk www.mediauk.com Foreword In 1975, when I was 13, I wrote to the IBA to ask for a copy of their latest publication grandly titled Transmitting stations: a Pocket Guide. The year before I had listened with excitement to the launch of our local commercial station, Liverpool's Radio City, and wanted to find out what other stations I might be able to pick up. In those days the Guide covered TV as well as radio, which could only manage to fill two pages – but then there were only 19 “ILR” stations.
    [Show full text]
  • Strictly Dating Gossip
    Jul 20, · Go behind the glitterball with all of the latest news, features and interviews from BBC One’s award-winning Strictly Come Dancing Along with all the gossip from hosts Tess Daly and Claudia. Strictly Come Dancing is a British TV dance contest where celebrities partner with professional dancers. They compete mainly with ballroom and Latin dance. Each . Nov 27, · Of course, it's not unheard of for couples to find love on Strictly Come Dancing; winners Stacey Dooley and Kevin Clifton are currently dating, as . Get the latest updates on Strictly Come Dancing here, from the judges to when it kicks off on BBC One. Strictly Come Dancing: the hottest romances. 11 Jul , am Comment: Alan Bennett's joyful humour hasn't dated in the least – so why did Talking Heads feel so nostalgic? Nov 27, · Strictly Come Dancing has had its fair share of romances since its inception in Last year, many contestants and professional dancers hit the headlines both during and after the show. Strictly Come Dancing can be unpredictable at times but one thing is guaranteed every year: there will always be rumours about backstage romances and the 'Strictly curse'.. But one couple who have. Famous Strictly Gossip, Facts And Mishaps. Strictly has been remade in other 40 countries around the world and the reality show was named the world’s most successful reality television format in the Guinness Book of Records. Ratings for the show are incredibly high and it’s been reported that electricity use in the country rises. Soon after Strictly finished, Cacace announced her separation from fellow dancer Vincent Simone and confirmed she and Di Angelo were dating.
    [Show full text]
  • 07 — 08.2012 (2.25 Mb )
    JulAgo Julio Do01 Urban TV 2012 Soundays. 12 Transmissions 2012. Festival de cine y música Xposure Don Letts Chirie Vegas Lu02 Ma03 Mi04 Ju05 Vi06 Sá07 Do08 Apertura Ebb & flow. A Onda Ciclo de cine y debate: Inéditos 2012 Cine de Verano. Soundays en Cultura Traz, O Vento Leva Exclusión social y Anime en la terraza La Terraza Medio Ambiente Un vídeo de Gabriel Mascaro desgarro Apertura Genius Party Beyond, Eyvind Kang & Jessika Educación Poesía, de Lee Chang Proto Anime Cut de Mahiro Maeda y Kenney Solidaridad Ciclo de cine y debate: Dong otros Para niños y jóvenes Solidaridad social. Cine de verano. Genérico ¿Una utopía? Anime en La Terraza Le Havre, de Aki Ghost in the Shell 2.0 aurismäki Lu09 Ma10 Mi11 Ju12 Vi13 Sá14 Do15 Ciclo de cine y debate: Reapertura de la Ciclo de cine y debate: Urban TV 2012 Cine de Verano. Soundays en Exclusión social y exposición Ciudades Exclusión social. Fecha límite Anime en la terraza La Terraza aislamiento habitables ciudades Personas sin hogar inscripciones La chica que saltaba a Concierto de Lars y una chica de de futuro convalecientes través del tiempo, de The Necks verdad, de Graig La muerte del señor Cine de verano. Mamoru Hosada Gillespie Lazarescu, de Cristi Anime en La Terraza Puiu Paprika, de Satoshi Kon Lu16 Ma17 Mi18 Ju19 Vi20 Sá21 Do22 Ciclo de cine y debate: Ciclo de cine y debate: Cine de verano. Cine de verano. Soundays en Exclusión social y Exclusión social y Anime en La Terraza Anime en La Terraza La Terraza autoestima alcoholismo Redline, de Takeshi Evangelion: 1.0 You DJ Set de Lumpen Buscando a Eric, de Redención, de Paddy Koike Are (Not) Alone, de Nobleman Ken Loach Considine Hideaki Anno Lu23 Ma24 Mi25 Ju26 Vi27 Sá28 Do29 Ciclo de cine y debate El niño de la bicicleta, Ciclo de cine y debate: Cine de verano.
    [Show full text]
  • QUARTERLY SUMMARY of RADIO LISTENING Survey Period Ending 24Th June 2012
    QUARTERLY SUMMARY OF RADIO LISTENING Survey Period Ending 24th June 2012 PART 1 - UNITED KINGDOM (INCLUDING CHANNEL ISLANDS AND ISLE OF MAN) Adults aged 15 and over: population 52,352,000 Survey Weekly Reach Average Hours Total Hours Share in Period '000 % per head per listener '000 TSA % ALL RADIO Q 46782 89 19.7 22.1 1032842 100.0 ALL BBC Q 34444 66 10.7 16.3 560644 54.3 ALL BBC 15-44 Q 15286 61 7.1 11.7 178688 42.1 ALL BBC 45+ Q 19158 71 14.1 19.9 381956 62.7 All BBC Network Radio1 Q 31454 60 9.1 15.2 476843 46.2 BBC Local/Regional Q 8962 17 1.6 9.4 83801 8.1 ALL COMMERCIAL Q 33182 63 8.5 13.5 446834 43.3 ALL COMMERCIAL 15-44 Q 17952 71 9.2 12.9 232228 54.8 ALL COMMERCIAL 45+ Q 15231 56 7.9 14.1 214606 35.3 All National Commercial1 Q 16101 31 2.5 8.2 131542 12.7 All Local Commercial (National TSA) Q 26364 50 6.0 12.0 315292 30.5 Other Listening Q 3387 6 0.5 7.5 25363 2.5 Source: RAJAR/Ipsos MORI/RSMB 1 See note on back cover. For survey periods and other definitions please see back cover. Embargoed until 00.01 am Enquires to: RAJAR, 6th floor, 55 New Oxford St, London WC1A 1BS 2nd August 2012 Telephone: 020 7395 0630 Facsimile: 020 7395 0631 e mail: [email protected] Internet: www.rajar.co.uk ©Rajar 2012.
    [Show full text]
  • Two Day Autograph Auction Day 1 Saturday 02 November 2013 11:00
    Two Day Autograph Auction Day 1 Saturday 02 November 2013 11:00 International Autograph Auctions (IAA) Office address Foxhall Business Centre Foxhall Road NG7 6LH International Autograph Auctions (IAA) (Two Day Autograph Auction Day 1 ) Catalogue - Downloaded from UKAuctioneers.com Lot: 1 tennis players of the 1970s TENNIS: An excellent collection including each Wimbledon Men's of 31 signed postcard Singles Champion of the decade. photographs by various tennis VG to EX All of the signatures players of the 1970s including were obtained in person by the Billie Jean King (Wimbledon vendor's brother who regularly Champion 1966, 1967, 1968, attended the Wimbledon 1972, 1973 & 1975), Ann Jones Championships during the 1970s. (Wimbledon Champion 1969), Estimate: £200.00 - £300.00 Evonne Goolagong (Wimbledon Champion 1971 & 1980), Chris Evert (Wimbledon Champion Lot: 2 1974, 1976 & 1981), Virginia TILDEN WILLIAM: (1893-1953) Wade (Wimbledon Champion American Tennis Player, 1977), John Newcombe Wimbledon Champion 1920, (Wimbledon Champion 1967, 1921 & 1930. A.L.S., Bill, one 1970 & 1971), Stan Smith page, slim 4to, Memphis, (Wimbledon Champion 1972), Tennessee, n.d. (11th June Jan Kodes (Wimbledon 1948?), to his protégé Arthur Champion 1973), Jimmy Connors Anderson ('Dearest Stinky'), on (Wimbledon Champion 1974 & the attractive printed stationery of 1982), Arthur Ashe (Wimbledon the Hotel Peabody. Tilden sends Champion 1975), Bjorn Borg his friend a cheque (no longer (Wimbledon Champion 1976, present) 'to cover your 1977, 1978, 1979 & 1980), reservation & ticket to Boston Francoise Durr (Wimbledon from Chicago' and provides Finalist 1965, 1968, 1970, 1972, details of the hotel and where to 1973 & 1975), Olga Morozova meet in Boston, concluding (Wimbledon Finalist 1974), 'Crazy to see you'.
    [Show full text]
  • Free Radio 80S (Coventry, Wolverhampton1 and Birmingham)
    Section 355 Review of Output: Free Radio 80s (Coventry, Wolverhampton1 and Birmingham) When a local commercial radio licence undergoes a change of control (this includes licence transfer), Ofcom is required, under section 355 of the Communications Act 2003 (the Act), to undertake a review of the effects or likely effects of the change of control in relation to: the quality and range of programmes included in the service; the character of the service, and; the extent to which Ofcom’s duty under section 314 of the Act is performed in relation to the service. Ofcom’s duty under section 314 of the Act relates to securing the inclusion of an appropriate amount of local material, and a suitable proportion of locally-made programmes in the service. Under section 356 of the Act, where it appears to Ofcom from its review that the change of control would be prejudicial to any of the three matters listed above, then it must vary the licence, by including such conditions as it considers appropriate, with a view to ensuring that the relevant change of control is not so prejudicial. In doing so, any new or varied conditions must be such that the licence holder would have satisfied them throughout the three months immediately before the change of control. Ofcom is required to publish a report of its review, setting out its conclusions and any steps it proposes to take under section 356. Where Ofcom proposes to vary the licence, it is required to give the licence holder a reasonable opportunity to make representations about the variation.
    [Show full text]
  • AS Sociology For
    3.The mass media INTRODUCTION The focus of this opening section is an examination of different explanations of the relationship between ownership and control of the mass media and, in order to do this, we need to begin by thinking about how the mass media can be defined. person (the author of a book, for example), Defining mass communicates to many people (their readers) at the same time. This deceptively media simple definition does, of course, hide a number of complexities – such as, how large Preparing the does an audience have to be before it qualifies as ‘mass’? ground In addition to thinking about a basic We can start by breaking down the concept definition of the term, we can note how of a ‘mass media’ into its constituent parts. Dutton et al (Studying the Media, 1998) A medium, is a ‘channel of communication’ suggests that, traditionally (an important – a means through which people send and qualification I will develop in a moment), receive information. The printed word, for the mass media has been differentiated from example, is a medium; when we read a other types of communication (such as newspaper or magazine, something is interpersonal communication that occurs on communicated to us in some way. Similarly, a one-to-one basis) in terms of four essential electronic forms of communication – characteristics. television, telephones, film and such like – • Distance: Communication between those are media (the plural of medium). Mass who send and receive messages (media- means ‘many’ and what we are interested in speak for information) is impersonal, here is how and why different forms of lacks immediacy and is one way (from the media are used to transmit to – and be producer/creator of the information to the received by – large numbers of people (the consumer/audience).
    [Show full text]
  • C:\Romilyquiz2010- 22 August (1) from Which
    (1) From which wood were longbows made? Yew. (2) Which member of the Bee Gees died following a stomach operation in 2003? Maurice Gibb. (3) In which country is the Corinth Canal? Greece. (4) Which king converted Leeds Castle, in Kent, into a royal palace? Henry VIII. (5) Of which European country are Madeira and the Azores a part? Portugal. (6) Where did Indian ink originally come from? China. (7) Pascal, Cobol and Basic are all types of what? Computer languages. (8) Which charge card was launched in Britain in September 1963? American Express. (9) In yards, how long was a rod, pole, or perch? Five and a half. (10) What is or was a tin lizzie? Model T Ford. C:\RomilyQuiz2010- 22nd August (11) Which comedian's catch phrase was, "Now there's a funny thing"? Max Wall. (12) What name is given to the unit of electrical power? Watt. (13) According to the proverb what do drowning men clutch? Straws. (14) Who in the Old Testament is eaten by dogs? Jezebel. (15) Back, blanket and buttonhole are all types of what? Stitches. (16) How does a grasshopper produce its distinctive sound? By rubbing its legs. (17) What is a copper's nark? An informer. (18) What tune is Liechtenstein's national anthem sung to? God Save the Queen. (19) Which TV sitcom was set in Holmfirth? Last of the Summer Wine. (20) Name the four Banana Splits? Bingo, Drooper, Fleegle and Snorky. C:\RomilyQuiz2010- 22nd August (21) 2005 marked which anniversary of the Gunpowder Plot? 400th. (22) Whom did both Natasha Kaplinsky and Fiona Phillips partner on "Strictly Come Dancing"? Brendan Cole.
    [Show full text]
  • Uma Perspectiva Musicológica Sobre a Formação Da Categoria Ciberpunk Na Música Para Audiovisuais – Entre 1982 E 2017
    Uma perspectiva musicológica sobre a formação da categoria ciberpunk na música para audiovisuais – entre 1982 e 2017 André Filipe Cecília Malhado Dissertação de Mestrado em Ciências Musicais Área de especialização em Musicologia Histórica Setembro de 2019 I Dissertação apresentada para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Ciências Musicais – Área de especialização em Musicologia Histórica, realizada sob a orientação científica da Professora Doutora Paula Gomes Ribeiro. II Às duas mulheres da minha vida que permanecem no ciberespaço do meu pensamento: Sara e Maria de Lourdes E aos dois homens da minha vida com quem conecto no meu quotidiano: Joaquim e Ricardo III Agradecimentos Mesmo tratando-se de um estudo de musicologia histórica, é preciso destacar que o meu objecto, problemática, e uma componente muito substancial do método foram direccionados para a sociologia. Por essa razão, o tema desta dissertação só foi possível porque o fenómeno social da música ciberpunk resulta do esforço colectivo dos participantes dentro da cultura, e é para eles que direciono o meu primeiro grande agradecimento. Sinto-me grato a todos os fãs do ciberpunk por manterem viva esta cultura, e por construírem à qual também pertenço, e espero, enquanto aca-fã, ter sido capaz de fazer jus à sua importância e aos discursos dos seus intervenientes. Um enorme “obrigado” à Professora Paula Gomes Ribeiro pela sua orientação, e por me ter fornecido perspectivas, ideias, conselhos, contrapontos teóricos, ajuda na resolução de contradições, e pelos seus olhos de revisora-falcão que não deixam escapar nada! Como é evidente, o seu contributo ultrapassa em muito os meandros desta investigação, pois não posso esquecer tudo aquilo que me ensinou desde o primeiro ano da Licenciatura.
    [Show full text]