Diary of a Year in the Life of a Single Mother. [Sharon Ann
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Beyond the Money Shot; Or How Framing Nature Matters? Locating
Beyond the money shot; or how framing nature matters? Locating Green at Wildscreen Sian Sullivan, [email protected] revised submission for Journal of Environmental Communication, special issue on ‘Spectacular Environments/Environmentalisms’ Natural history films use technological mediations to frame aspects of nature so as to communicate information, in part through engendering particular viewer affects. As an entertainment industry embedded in capitalist social relations and concerned with competition for finance and ratings, natural history film-making is also a search for ‘the money shot’ – associated with extremes including rarity, sensational behaviour, and otherwise un(fore)seen views. I highlight this sensationalising impetus through ethnographic fieldwork conducted at the biannual Wildscreen film festival in 2010. Here, wildlife films were frequently presented as action dramas with a rhythm of anticipation, climax and satisfaction. I argue that, through generating significantly disconnective affects, such framing may work against composition of a caring ecocultural ethics that entwines human with more-than-human natures and futures, thus paralleling the similarly disconnecting effects documented for pornographic film. In contrast, I engage with the differently constructive frames guiding the low-budget, open access, activist film Green, which, perhaps paradoxically given the thrust of the natural history film industry, won the prestigious WWF Gold Panda Award at Wildscreen 2010. I follow framing theorist George Lakoff to emphasise that since cognition is both embodied and embedded in diverse inter-relationships, affective registers generating mimetic connection are as significant in communicating information regarding ‘the environment’ as the text and words by which nature might be framed. I conclude that attention to affective registers and embodied (dis)connections in natural history film may enhance a turning of capitalist spectacle against itself, so as to work for composition of abundant socionatural futures. -
How Freud Got Under Our Skin
This isn't exactly a deep holiness theological issue but I found it to be of significant interest. I hope it is an acceptable topic for this list. It was published today in my local paper but you can find it at: http://www.guardian.co.uk/Archive/Article/0,4273,4371266,00.html It expresses how the concept of Self has evolved and changed dramatically over the past 100 years or so. It is a secular view but understanding the secular world will help us to better understand how to minister and witness to it. One comment towards the end in particular caught my eye. "In the near future (by 2010), it seems, the Self will enjoy its own unencumbered space. If you run a society based on the satisfaction of desire, then, of course, there should be no surprise when conventions based in part on duty, such as marriage, begin to collapse." We have of course been a selfish lot ever since the Garden but it seems, in light of this article, that a new Hedonism exists today that affects each and everyone of us in a new and different way. Christ asked us to deny Self, take up the cross, and follow Him. Doing so puts us in direct conflict with modern society. Are we up to the task or have we evolved along with the rest of society? Jerry Frank - Calgary, Alberta [email protected] How Freud Got Under Our Skin From advertisers to politicians, everyone wants to appeal to our sense of Self. And, as a new TV series shows, it was Sigmund Freud’s nephew who turned the analysis of our subconscious into a boom industry: PR Tim Adams Observer Sunday March 10, 2002 Sigmund Freud may have invented the Self, full of unspoken dreams and desires, in 1900, but it was his American nephew, Edward Bernays, who packaged it and put it on to the market. -
Infrastructural Aesthetics in the Films of Adam Curtis
Cultural Politics vol.14, no.3, November 2018. Accepted: 3rd May 2018. “Destabilized Perception” Infrastructural Aesthetics in the Films of Adam Curtis Rob Coley Abstract: The formerly dissident status of the essay film has, in recent years, been exchanged for a great deal of favorable attention both inside and outside of academia. In the more overly moralistic commentary on the form, the contemporary essay film is submitted as a tactical response to a surfeit of audiovisual media, to an era in which most of us have become both consumers and producers of a digital deluge. The work of Adam Curtis is notably absent from these ongoing debates. Yet Curtis is far from an underground figure— he has been making essayistic films for the BBC for more than twenty years and was the first to produce work directly for the iPlayer platform. Using archival images to examine the present, his films produce counterintuitive connections and abrupt collisions that supplant the authority of narrative causality for a precarious network of associations and linkages. This article treats Curtis’s recent body of work diagnostically. It argues that, quite apart from any promise of escape or deliverance, the aesthetic form of his work actively inhabits the rhythms and vectors of contemporary media. For Curtis, the media- technological conditions of the twenty-first century provoke a crisis that is both political and epistemological, one in which sensemaking can no longer claim to take place at a distance from the infrastructure that mediates such processes but is instead thoroughly and inescapably immanent to them, a situation that prevents contact with the outside. -
Coversheet for Thesis in Sussex Research Online
A University of Sussex PhD thesis Available online via Sussex Research Online: http://sro.sussex.ac.uk/ This thesis is protected by copyright which belongs to the author. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from 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 Sussex Research Online for more information and further details 1 UNIVERSITY OF SUSSEX Alice Compton Ph.D Waste of a Nation: Photography, Abjection and Crisis in Thatcher’s Britain May 2016 2 ABSTRACT This examination of photography in Thatcher’s Britain explores the abject photographic responses to the discursive construction of ‘sick Britain’ promoted by the Conservative Party during the years of crisis from the late 1970s onwards. Through close visual analyses of photojournalist, press, and social documentary photographs, this Ph.D examines the visual responses to the Government’s advocation of a ‘healthy’ society and its programme of social and economic ‘waste-saving’. Drawing Imogen Tyler’s interpretation of ‘social abjection’ (the discursive mediation of subjects through exclusionary modes of ‘revolting aesthetics’) into the visual field, this Ph.D explores photography’s implication in bolstering the abject and exclusionary discourses of the era. Exploring the contexts in which photographs were created, utilised and disseminated to visually convey ‘waste’ as an expression of social abjection, this Ph.D exposes how the Right’s successful establishment of a neoliberal political economy was supported by an accelerated use and deployment of revolting photographic aesthetics. -
Borderlands E-Journal
borderlands e-journal www.borderlands.net.au VOLUME 16 NUMBER 1, 2017 Adam Curtis’s compelling logic: the tortuous corridor to the hypernormal Brett Nicholls University of Otago It’s like living in the mind of a depressed hippy (Curtis 2007b) Adam Curtis is a BAFTA award-winning documentary filmmaker who employs borrowed images from the past to construct complex accounts of the political present. Produced primarily for the medium of television (the BBC), though this has expanded in recent years to include digital platforms, his films consist of an idiosyncratic use of archived image and sound fragments: Hollywood and British films, news footage, expert vox pops, television shows, corporate training films, drone footage, film music, sound effects, and so on. These fragments are generally overlayed by a serious ‘matter of fact’, Journalistic voice-over narration (Curtis himself), that tells the story of our times. Curtis is well- known as a polemicist. His films directly question and challenge the proficiency of political elites. For instance, a powerful sequence in Curtis’s most debated and cited film, The power of nightmares (2004), consists of news footage of George W Bush on a podium looking direct to camera. Bush triumphantly announces, ‘one by one terrorists are learning the meaning of American justice’. This image is inserted at the end of a longer sequence that provides an account of absurdist court cases against ‘terror suspects’ in the USA. After the attacks upon the WTC towers, law enforcement, in its various forms, is busy gathering evidence against ‘terror suspects’ inside America’s borders. The film reveals that the gathered evidence is specious and thin. -
Journalists As Investigators and ‘Quality Media’ Reputation
JOURNALISTS AS INVESTIGATORS AND ‘QUALITY MEDIA’ REPUTATION ALEX BURNS (Refereed) Faculty of Business and Law Victoria University [email protected] BARRY SAUNDERS Researcher, Centre for Policy Development [email protected] The current ‘future of journalism’ debates focus on the crossover (or lack thereof) of mainstream journalism practices and citizen journalism, the ‘democratisation’ of journalism, and the ‘crisis in innovation’ around the ‘death of newspapers’. This paper analyses a cohort of 20 investigative journalists to understand their skills sets, training and practices, notably where higher order research skills are adapted from intelligence, forensic accounting, computer programming, and law enforcement. We identify areas where different levels of infrastructure and support are necessary within media institutions, and suggest how investigative journalism enhances the reputation of ‘quality media’ outlets. Keywords investigative methods; journalism, quality media, research skills 1. Research problem, study context and methodology In the land of the blind, the man with a print-out of a Clay Shirky blog is king. (Ben Eltham, Fellow, Centre for Policy Development (Eltham 2009)) 1.1 Study context: The polarised debate on the ‘future of journalism’ It’s currently fashionable in ‘future of journalism’ and similar new media conferences to proclaim the demise of journalists due to social media platforms, and a ‘crisis in innovation’ which may lead to the ‘death of newspapers’. Citizen Journalists who write for local media (Gillmor 2004) and ‘professional amateurs’ or ProAms (Leadbeater and Miller 2004) are portrayed as the preferred future in many university programs on journalism and new media. Some social media proponents even claim, in adversarial language, that journalists co-opt ‘our stories’ from ‘our community’ of bloggers and user-generated content (Papworth 2009). -
Inventory to Archival Boxes in the Motion Picture, Broadcasting, and Recorded Sound Division of the Library of Congress
INVENTORY TO ARCHIVAL BOXES IN THE MOTION PICTURE, BROADCASTING, AND RECORDED SOUND DIVISION OF THE LIBRARY OF CONGRESS Compiled by MBRS Staff (Last Update December 2017) Introduction The following is an inventory of film and television related paper and manuscript materials held by the Motion Picture, Broadcasting and Recorded Sound Division of the Library of Congress. Our collection of paper materials includes continuities, scripts, tie-in-books, scrapbooks, press releases, newsreel summaries, publicity notebooks, press books, lobby cards, theater programs, production notes, and much more. These items have been acquired through copyright deposit, purchased, or gifted to the division. How to Use this Inventory The inventory is organized by box number with each letter representing a specific box type. The majority of the boxes listed include content information. Please note that over the years, the content of the boxes has been described in different ways and are not consistent. The “card” column used to refer to a set of card catalogs that documented our holdings of particular paper materials: press book, posters, continuity, reviews, and other. The majority of this information has been entered into our Merged Audiovisual Information System (MAVIS) database. Boxes indicating “MAVIS” in the last column have catalog records within the new database. To locate material, use the CTRL-F function to search the document by keyword, title, or format. Paper and manuscript materials are also listed in the MAVIS database. This database is only accessible on-site in the Moving Image Research Center. If you are unable to locate a specific item in this inventory, please contact the reading room. -
THE POLITICAL AVANT-GARDE: OPPOSITIONAL DOCUMENTARY in BRITAIN SINCE 1990 STEVE PRESENCE a Thesis Submitted in Partial Fulfilmen
THE POLITICAL AVANT-GARDE: OPPOSITIONAL DOCUMENTARY IN BRITAIN SINCE 1990 STEVE PRESENCE A thesis submitted in partial fulfilment of the requirements of the University of the West of England, Bristol for the degree of Doctor of Philosophy Faculty of Arts, Creative Industries and Education, University of the West of England, Bristol February 2013 Contents ACKNOWLEDGEMENTS .................................................................................................................. III ABSTRACT .......................................................................................................................................... IV INTRODUCTION .................................................................................................................................. 1 1 VIDEO-ACTIVISM IN THE 1990S: DESPITE TV, CONSCIOUS CINEMA, UNDERCURRENTS ............................................................................................................................ 42 2 VIDEO-ACTIVISM IN THE 2000S: THE CONTEMPORARY LANDSCAPE ........................ 79 3 OPPOSITIONAL FEATURE DOCUMENTARY IN THE 1990S: CHANNEL 4 AND OPPOSITIONAL AUTEURS ............................................................................................................ 130 4 OPPOSITIONAL FEATURE DOCUMENTARY SINCE 2000: LIBERAL-HUMANISTS AND RADICAL ACTIVISTS ..................................................................................................................... 168 CONCLUSION .................................................................................................................................. -
Raymond Campbell
Raymond Campbell School of Arts and Digital Industries University of East London Title: Comic Cultures: commerce, aesthetics and the politics of stand-up performance in the UK 1979 to 1992 Thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy. October 2016 Abstract This thesis represents the first Cultural Studies analysis of the 1980s entertainment form commonly known as ‘alternative comedy’, which emerged against the backdrop of social, industrial and political unrest. However, the use of the term ‘alternative comedy’ has obscured a diverse movement that contained many different strands and tendencies, which included punk poets, street performers, chansonniers and improvising double acts. This thesis goes some way to addressing the complex nature of this entertainment space by recognising the subtle but important differences between New Variety and alternative cabaret. Alternative cabaret was both a movement and an entertainment genre, while New Variety grew out of CAST’s theatre work and was constructed in opposition to Tony Allen’s and Alexei Sayle’s Alternative Cabaret performance collective. Taken together, alternative cabaret and New Variety comprise one part of the alternative space that also includes post-punk music, and were the cultural expressions of the 1980s countercultural milieu. Alternative cabaret and New Variety were the products of cultural change. Each genre has its roots in the countercultural movements of the 1960s and 1970s and it was the knowledge that agents had acquired through participation in these movements that helped to shape their political-aesthetic dispositions or their weltanschauunng. As well as political activism, rock music influenced performers and promoters and contributed much to their art. -
Workplace Democracy for the 21St Century Towards a New Agenda for Employee Voice and Representation in Canada
Workplace Democracy for the 21st Century Towards a New Agenda for Employee Voice and Representation in Canada A discussion paper authored by Rafael Gomez and Juan Gomez* | June, 2016 *Professor Rafael Gomez is Director of the Centre for Industrial Relations and Human Resources (University of Toronto). Juan Gomez is Senior Partner, Policy and Public Affairs at ThinkTankToronto Inc. The information and views set out in this discussion paper are those of the authors alone and do not represent those of the Broadbent Institute. The authors would like to thank the helpful research assistance of Viet Hoang and the useful comments of Timothy Bartkiw, Andrew Jackson, Chris Roberts, Jonathan Sas and Kaylie Tiessen. TABLE OF CONTENTS 1.0 Introduction ........................................................... 4 2.0 Workplace Democracy: Making the Case . 7 2.1 Three Key Assumptions about Workplace Democracy ...................... 8 2.2 The Golden Age of Workplace Democracy ................................. 16 2.3 Workplace Democracy on the Wane: 1980 — Present ...................... 18 2.4 Weaker employee voice leads to increased inequality and ................. 23 marginalization, lower productivity, stressed-out workers 2.5 Challenges for Workplace Democracy: ...................................... 35 Rise of the “Precariat”, Racialized Workers and the “Sharing Economy” 3.0 Towards a New Workplace Democracy ................................... 41 3.1 Time for a Revival? ........................................................... 41 3.2 Towards a -
59.389, $12.00
Vb. D?CUMENT RESUME ED 236 671 CS 207 947 ft ,AUTHOR Christensen, Jane, Ed. TITLE Your Reading: A Booklist for Junior High and Middle f/ School,Students-Sixth Edition. -INSTITUTI,ON ,National Council of Teachers of English, Urbana,. Ill. REPORT NO ISBN-0-8141-5938-9 PUB DATE '83' NOTE 772p:; Prepared by,..,the Committee on the Junior High ,and Middle SChpol.Bopklist of the National Council of Teachers of Engl,ish. d. 'AVAILABLE:FROM National Council of Teachers 6f: English, 11110 Kenyon Rd., Urhana,.IL 61801'(StockNC). 59.389,$12.00 /now-member, $10.00 member). PUB TYPE Reference Materials BibliographieS( .131) Books (010) ' -' EDRS PRICE MF05/PC31 Plus Postage. DESCRIPTORS' *Adoielent Literature; Annotated BibliographieS-;, Element ry SecoRdary Education;, Juaipr High Schools; *Literature-Appreciation;. Middle Reading I,,nterests; *Reddilng Materials; St, Interests °°- ABSTRACT .1 , . , , With many annotations writtenoredited tystudents this booklist contains 3,,1(10 citations of fiction anld,nonfiction . pub'litations for adolescents. Most entries were published within The past few 'years, althOugh well-written older 'books are also included? The annotations, which include appropriate age ranges:lare 'categorized. as.folldws: Fiction,-(1) adyenture;. (.2) .family'. Situations; (3),friendship;(4) dating and love; (5Y racial,. ethnic, or religious groups; (6) sports; (7) 'physical \handicaps;(8) mental .and emotional problems; (9) deith'and dyirig;(10) mysteries; (11) historica,1 novels; (12) science fiction; ,(13) fantasy and folklore; (14) 'the supernatural; (15) humor and/satite; (16)'poeiry; (17) plays; and (18) short stoilir collections; Nonfiction--(19) animals; (20) biography; 21) fine arts; 422) mass, Illedia;.(231 personal improvement and health;, (24) histbry and gOvernme4; (25) hobbies and 7;:crafts;(26) occupations and' careers; (27) places and people of the. -
Park Avenue Armory Announces
Created by Adam Curtis and Robert Del Naja, U.S. Premiere of Massive Attack V Adam Curtis, a Major Film and Music Experience, Begins September 28 at Park Avenue Armory Designed and Staged by Robert Del Naja and United Visual Artists in collaboration with Es Devlin Co-commissioned by Park Avenue Armory, Manchester International Festival, and Ruhrtriennale International Festival of the Arts September 28 Performance is Sold Out: Tickets Currently Available to Remaining Performances New York, NY – August 29, 2013 – The U.S. premiere of Massive Attack V Adam Curtis will open at Park Avenue Armory September 28. The epic work, created by film maker Adam Curtis and Robert Del Naja, will run through October 4 and is a co-commission of Park Avenue Armory, Manchester International Festival, and Ruhrtriennale International Festival of the Arts. Robert Del Naja from the legendary English band Massive Attack and the radical film maker Adam Curtis have worked together to create an epic experience unlike any other. Music and film are woven together with personal stories and the grand sweep of history to conjure up a rich and multilayered experience. Intense volume and giant multiple screens completely envelop the audience in a mesmerizing and overwhelming sensory extravaganza that also carries a powerful political argument. The overall narrative of the show tells the history of the last 50 years in a totally original way. It describes the transition from a world inspired by an optimistic vision of the future to today's fearful and risk averse, managed society. In a vivid and emotional way the narrative shows how we have tried to build a bubble to protect us from all possible future dangers and keep us safe from harm.