DOCSLIB.ORG

THE DIGITAL AUDIOVISUAL ESSAY Tiago Baptista

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

LESSONS IN LOOKING: THE DIGITAL AUDIOVISUAL ESSAY Tiago Baptista Thesis submitted for the Degree of Doctor of Philosophy (Film and Screen Media) Birkbeck, University of London 2016 1 Abstract This thesis examines the contemporary practice of the digital audiovisual essay, which is defined as a material form of thinking at the crossroads of academic textual analysis, personal cinephilia, and popular online fandom practices, to suggest that it allows rich epistemological discoveries not only about individual films and viewing experiences, but also about how cinema is perceived in the context of digitally mediated audiovisual culture. Chapter one advances five key defining tensions of the digital audiovisual essay: its object is the investigation of specific films and cinephiliac experiences; it uses a performative research methodology based on the affordances of digital viewing and editing technologies; it exists primarily in Web 2.0 and takes advantage of its collaborative and dialogical modes of production; it is a “rich text object” that continuously tests the different contributions of both verbal and audiovisual forms of communication to the production of knowledge about the cinema; and finally, the digital audiovisual essay has an important pedagogical potential, not only for those who watch it, but especially for those who practice it. Chapter two presents the theoretical framework of the dissertation, challenges the ‘newness’ of the digital audiovisual essay, and suggests that any investigation of this cultural practice must address its ideological implications and its role in the context of contemporary audiovisual culture. Accordingly, it relates the editing and compositional techniques of the digital audiovisual essay with modernist montage and suggests that the audiovisual essay has not only inherited, but has also updated and enhanced the dialectical interdependency between critical and consumerism drives that shaped modernism’s ambiguous relation to mass culture. The final chapter examines four case studies (David Bordwell, Catherine Grant, ::kogonada, and Kevin B. Lee) that showcase the contradictory tensions of this cultural practice and broad our understanding of the politics of the digital audiovisual essay. 3 Acknowledgments I am thankful to Fundação para a Ciência e Tecnologia whose financial support made this research possible, and to the directors of Cinemateca, Maria João Seixas and José Manuel Costa, who kindly allowed me to carry on this work in successive leaves of absence between 2011 and 2014. I am also thankful to Professor Laura Mulvey. Her work was directly responsible for my decision to undertake this project and her dedicated guidance throughout this research contributed in many ways to see it through. The comments of Dr. Joel McKim, Dr. Scott Rogers, and Dr. Michael Temple also helped shape the structure of this dissertation. Parts of this research were presented at post-graduate seminars organized at Birkbeck College by Professor Laura Mulvey and Dr. Dorota Ostrowska. I am especially thankful to Dr. Anahid Kassabian for inviting me to present my work in a research seminar at the University of Liverpool. I am indebted to all the organizers and the participants that engaged with my work on those occasions. Throughout this research, I benefitted from the friendly support of many colleagues and friends that helped me juggle this research with my professional obligations. I am extremely grateful to my colleagues at Cinemateca’s film conservation centre (ANIM), as well as to the current and past members of the direction board of AIM (Association of Moving Image Researchers). The collaborative work at the cinema website À Pala de Walsh got me out of writing isolation and introduced me to a wonderful group of new friends (Luís Mendonça, Carlos Natálio, Ricardo Vieira Lisboa, and many others) with whom the discussion, the teaching, and the making of digital audiovisual essays became a pleasurable reality. I am also thankful for the friendly support of Margarida Sousa, José Filipe Costa, Ana Catarina Pinto, Nuno Dias, Nuno Senos, Martim Martins, Luis Trindade, and Joana Estorninho de Almeida, and the daily encouragement and advices of Paulo Cunha and Daniel Ribas. I am especially grateful to Sérgio Dias Branco and Miguel Cardoso for their comments on an advanced draft of this text. I dedicate this thesis to my parents, who nurtured me in so much more ways than they realize, and to Alice and Leonor, my beloved fellow survivors of this dissertation. 4 Table of Contents Introduction: lessons in looking ................................................................................... 8 1. THe exemplary text of contemporary audiovisual culture ................................... 13 2. Terminologies, corpus and periodization .................................................................. 15 3. Dissertation structure ....................................................................................................... 18 1. The digital audiovisual essay ................................................................................. 23 1.1. Five key defining tensions ............................................................................................ 28 1.1.1. Between academia and cinephilia: a new type and a different object of knowledge about cinema ............................................................................................................................................................ 30 1.1.2. Between theory and practice: a material thinking process ..................................................... 33 1.1.3. Between private and public: a collaborative and dialogical cultural practice ................ 37 1.1.4. Between verbal and audiovisual communication: a self-reflexive “rich text object” ... 41 1.1.5. Between watching and making: the pedagogical potential of the digital audiovisual essay ............................................................................................................................................................................ 48 Concluding remarks ............................................................................................................... 54 2. The double logic of the digital audiovisual essay ............................................ 57 2.1. Contemporary audiovisual culture and modernism ........................................... 62 2.1.1 Contemporary audiovisual culture ..................................................................................................... 63 2.1.2. Back to modernism ................................................................................................................................... 71 2.1.3. Beyond modernism? The ideological functions of remediation ............................................ 84 2.2. THe formal operations of tHe digital audiovisual essay ..................................... 91 2.2.1. Soviet Montage ............................................................................................................................................ 93 2.2.2. Critical montage? The compilation film ......................................................................................... 100 2.2.3. Vernacular montage: the Remix ........................................................................................................ 110 2.2.4. Negating montage: Détournement ................................................................................................... 119 Concluding remarks ............................................................................................................. 122 3. Four examples ........................................................................................................... 125 3.1. David Bordwell: tHe absent lecturer ....................................................................... 130 Video lectures ........................................................................................................................................................ 130 Video examples ..................................................................................................................................................... 137 3.2. CatHerine Grant: continuous experimentation ................................................... 142 A performative method ..................................................................................................................................... 143 Sequential editing ................................................................................................................................................ 148 Multiple-screen comparisons ......................................................................................................................... 155 Superimpositions ................................................................................................................................................. 161 Moments of recognition .................................................................................................................................... 164 3.3. ::kogonada: tautological supercuts ......................................................................... 170 “Nicely cut together” ........................................................................................................................................... 170 What is editing? ...................................................................................................................................................
Recommended publications
  • Aural Expressionism and Montage in Hitchcock's Blackmail

    Aural Expressionism and Montage in Hitchcock's Blackmail

    Southern Illinois University Carbondale OpenSIUC Research Papers Graduate School Summer 6-25-2012 There’s Something British about That: Aural Expressionism and Montage in Hitchcock’s Blackmail, Psycho, and The irB ds Laura D. Borger [email protected], [email protected] Follow this and additional works at: http://opensiuc.lib.siu.edu/gs_rp Recommended Citation Borger, Laura D., "There’s Something British about That: Aural Expressionism and Montage in Hitchcock’s Blackmail, Psycho, and The Birds" (2012). Research Papers. Paper 260. http://opensiuc.lib.siu.edu/gs_rp/260 This Article is brought to you for free and open access by the Graduate School at OpenSIUC. It has been accepted for inclusion in Research Papers by an authorized administrator of OpenSIUC. For more information, please contact [email protected]. THERE’S SOMETHING BRITISH ABOUT THAT: AURAL EXPRESSIONISM AND MONTAGE IN HITCHCOCK’S BLACKMAIL, PSYCHO, AND THE BIRDS by Laura Borger B.A., Southern Illinois University, 1998 B.S., Southern Illinois University, 1998 M.S., Southern Illinois University, 2003 A Research Report Submitted in Partial Fulfillment of the Requirements for the Master of Arts Department of English in the Graduate School Southern Illinois University Carbondale August 2012 Copyright by Laura Borger, 2012 All Rights Reserved RESEARCH REPORT APPROVAL THERE’S SOMETHING BRITISH ABOUT THAT: AURAL EXPRESSIONISM AND MONTAGE IN HITCHCOCK’S BLACKMAIL, PSYCHO, AND THE BIRDS By Laura Borger A Research Report Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts in the field of English Approved by: Scott McEathron, PhD, Chair Graduate School Southern Illinois University Carbondale June 25, 2012 AN ABSTRACT OF THE RESEARCH REPORT OF LAURA BORGER, for the MASTER OF ARTS degree in ENGLISH, presented on June 25, 2012, at Southern Illinois University Carbondale.
  • Japanese Modernism and “Cine-Text”: Fragments and Flows at Empire’S Edge in Kitagawa Fuyuhiko and Yokomitsu Riichi

    Japanese Modernism and “Cine-Text”: Fragments and Flows at Empire’S Edge in Kitagawa Fuyuhiko and Yokomitsu Riichi

    CHAPTER 24 JAPANESE MODERNISM AND “CINE-TEXT”: FRAGMENTS AND FLOWS AT EMPIRE’S EDGE IN KITAGAWA FUYUHIKO AND YOKOMITSU RIICHI WILLIAM O. GARDNER In November 1930, literary critic Inoue Yoshio wrote that the “belief in the eye” evident in Kitagawa Fuyuhiko’s recent poetry had progressed from a faith in the human eye to a belief in “that which is all the more precise, all the more objective: to the machine eye—to the lens” (17).' This critical comment, strongly evocative of Soviet filmmaker and theorist Dziga Vertov’s conception of the “cine-eye” {kinoglaz), builds upon Kitagawas own statement that “the poetry of tomorrow is advancing toward the ‘victory of the eye’” (Usawa 30). As Inoue suggests, Kitaga­ wa’s poetry circa 1930 displays a tendency to emulate the film camera, rather than the human eye, in presenting objects that are disassociated from the viewpoint of any single subjective viewing position. This aspiration to the free-ranging and “objective” viewpoint of the “machine eye” is part of a broad confluence between the literary and the cinematic in Kitagawa’s work, which we can also identify in his exploration of the poetic genre of the “cinepoeme,” as well as his coinage of the term “prose film” in his later critical and theoretical writings on cinema. As I will 572 TRANSLATION ZONES explore in this essay, Kitagawa’s writings from the 1920s and 1930s, together with the contemporaneous works of prose author Yokomitsu Riichi, are strongly marked by this confluence of the literary and the cinematic—so much so that we might term Kitagawa and Yokomitsu’s writing from this period “cine-text”: literary and critical texts permeated with cinematic qualities and concerns.
  • COM 320, History of the Moving Image–The Origins of Editing Styles And

    COM 320, History of the Moving Image–The Origins of Editing Styles And

    COM 320, History of Film–The Origins of Editing Styles and Techniques I. The Beginnings of Classical/Hollywood Editing (“Invisible Editing”) 1. The invisible cut…Action is continuous and fluid across cuts 2. Intercutting (between 2+ different spaces; also called parallel editing or crosscutting) -e.g., lack of intercutting?: The Life of An American Fireman (1903) -e.g., D. W. Griffith’s Broken Blossoms (1919) (boxing match vs. girl/Chinese man encounter) 3. Analytical editing -Breaks a single space into separate framings, after establishing shot 4. Continguity editing…Movement from space to space -e.g., Rescued by Rover (1905) 5. Specific techniques 1. Cut on action 2, Match cut (vs. orientation cut?) 3. 180-degree system (violated in Cabinet of Dr. Caligari (1920)) 4. Point of view (POV) 5. Eyeline match (depending on Kuleshov Effect, actually) 6. Shot/reverse shot II. Soviet Montage Editing (“In-Your-Face Editing”) 1. Many shots 2. Rapid cutting—like Abel Gance 3. Thematic montage 4. Creative geography -Later example—Alfred Hitchcock’s The Birds 5. Kuleshov Effect -Established (??) by Lev Kuleshov in a series of experiments (poorly documented, however) -Nature of the “Kuleshov Effect”—Even without establishing shot, the viewer may infer spatial or temporal continuity from shots of separate elements; his supposed early “test” used essentially an eyeline match: -e.g., man + bowl of soup = hunger man + woman in coffin = sorrow man + little girl with teddy bear = love 6. Intercutting—expanded use from Griffith 7. Contradictory space -Shots of same event contradict one another (e.g., plate smashing in Potemkin) 8. Graphic contrasts -Distinct change in composition or action (e.g., Odessa step sequence in Potemkin) 9.
  • Hiperencuadre/Hiperrelato: Apuntes Para Una Narratologia Del Film Postclásico1

    Hiperencuadre/Hiperrelato: Apuntes Para Una Narratologia Del Film Postclásico1

    Hiperencuadre/Hiperrelato: Apuntes para una narratologia del film postclásico1 Jose Antonio Palao Errando Universitat Jaume I de Castelló [email protected] Resumen: El discurso cinematográfico no ha dejado de luchar por adaptarse y competir con las pantallas rivales que le han surgido con la revolución digital, lo cual ha transformado su propia textura. Podemos clasificar estas transformaciones en dos grandes órdenes. Por un lado, la puesta en escena y la propia concepción del raccord han dado lugar a lo que denominaremos hiperencuadre, en el que la pantalla fílmica se ofrece como receptáculo de todas las pantallas con las que rivaliza (ordenador, vídeos de vigilancia, imágines de satélite, etc.). Por otro lado, el cine posclásico opta por la deconstrucción de la linealidad narrativa y el despliegue de distintas tramas y niveles de acción y representación que nos llevan a la noción de hiperrelato. Palabras clave: Hiperencuadre, Hiperrelato, Pantalla, Hipernúcleo, Narratología. Abstract: The film discourse has constantly fought to adapt and struggle with the competitor screens that have arisen with the digital revolution, which has transformed its own texture. We can sort these transformations in two large kinds. On the one hand, the staging and conception of the raccord have given rise to what we'll denominate hyperframe, in which the cinematic screen is being offered as enclosure of all the screens that contends with (computer, video surveillance, satellite images, etc. ). On the other hand, the cinema postclassic chooses the deconstruction of the narrative linearity and the deployment of different plots and levels of action and representation that lead us to the notion of hipernarration.
  • The General Idea Behind Editing in Narrative Film Is the Coordination of One Shot with Another in Order to Create a Coherent, Artistically Pleasing, Meaningful Whole

    The General Idea Behind Editing in Narrative Film Is the Coordination of One Shot with Another in Order to Create a Coherent, Artistically Pleasing, Meaningful Whole

    Chapter 4: Editing Film 125: The Textbook © Lynne Lerych The general idea behind editing in narrative film is the coordination of one shot with another in order to create a coherent, artistically pleasing, meaningful whole. The system of editing employed in narrative film is called continuity editing – its purpose is to create and provide efficient, functional transitions. Sounds simple enough, right?1 Yeah, no. It’s not really that simple. These three desired qualities of narrative film editing – coherence, artistry, and meaning – are not easy to achieve, especially when you consider what the film editor begins with. The typical shooting phase of a typical two-hour narrative feature film lasts about eight weeks. During that time, the cinematography team may record anywhere from 20 or 30 hours of film on the relatively low end – up to the 240 hours of film that James Cameron and his cinematographer, Russell Carpenter, shot for Titanic – which eventually weighed in at 3 hours and 14 minutes by the time it reached theatres. Most filmmakers will shoot somewhere in between these extremes. No matter how you look at it, though, the editor knows from the outset that in all likelihood less than ten percent of the film shot will make its way into the final product. As if the sheer weight of the available footage weren’t enough, there is the reality that most scenes in feature films are shot out of sequence – in other words, they are typically shot in neither the chronological order of the story nor the temporal order of the film.
  • Paratracks in the Digital Age: Bonus Material As Bogus Material in Blood Simple (Joel and Ethan

    Paratracks in the Digital Age: Bonus Material As Bogus Material in Blood Simple (Joel and Ethan

    Warning Concerning Copyright Restrictions The Copyright Law of the United States (Title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted materials. Under certain conditions specified in the law, libraries and archives are authorized to furnish a photocopy or other reproduction. One of these specified conditions is that the photocopy or reproduction is not to be used for any purpose other than private study, scholarship, or research. If electronic transmission of reserve material is used for purposes in excess of what constitutes "fair use," that user may be liable for copyright infringement. Werner Huber, Evelyne Keitel, Gunter SO~ (eds.) - I lntermedialities ~ Wissenschaftlicher Verlag Trier Aeier Feb. Paratracks in the Digital Age: Bonus Material as Bogus Material in Blood Simple (Joel and Ethan 919. Coen, 1984/2001) Eckart Voigts-Virchow Introducing the Paratrack: The DVD Audio Commentary ' In the past few years, the DVD has wreaked havoc in the cinema. Just like the video cassette and the laser disc, it serves the movie industry as an ancillary market for theatrical releases - but worries about illegal copying abound. Consumers are as likely to encounter movies in the cinema and on television as in the comfort of their home on Digital Versatile Disk (DVD), which has virtually replaced the VCR tape. The ris zu appearance of the DVD has re-structured the apparatus of film/video and has gene­ 160- rated an increasing number of varied paratextual traces that bring film closer to Gerard Genette's model of the paratext - the printed codex or book. The practice of attaching audio commentaries to movies had already begun with the laser disc.
  • Editing and Montage in International Film and Video Theory and Technique 1St Edition Pdf

    Editing and Montage in International Film and Video Theory and Technique 1St Edition Pdf

    FREE EDITING AND MONTAGE IN INTERNATIONAL FILM AND VIDEO THEORY AND TECHNIQUE 1ST EDITION PDF LuГѓВ​s Fernando Morales Morante | 9781138244078 | | | | | Editing and Montage in International Film and Video [Book] Montagein motion pictures, the editing technique of assembling separate pieces of thematically related film and putting them together into a sequence. With montage, portions of motion pictures can be carefully built up piece by piece by the director, film editor, and visual and sound technicians, who cut and fit each part with the others. Visual montage may combine shots to tell a story chronologically or may juxtapose images to produce an impression or to illustrate an association of ideas. An example of the latter occurs in Strikeby the Russian director Sergey Eisensteinwhen the scene of workers being cut down by cavalry is followed by a shot of cattle being slaughtered. Montage may also be applied to the combination of sounds for artistic expression. Montage technique developed early in cinema, primarily through the work of the American directors Edwin S. Porter — and D. Griffith — It is, however, most commonly associated with the Russian editing techniques, particularly as introduced to American audiences through the montage sequences of Slavko Verkapich in films in the s. See also photomontage. Montage Article Additional Info. Print Cite. Facebook Twitter. Give Feedback External Websites. Let us know if you have suggestions to improve this article requires login. External Websites. Articles from Britannica Encyclopedias for elementary and high school students. The Editors of Encyclopaedia Britannica Encyclopaedia Britannica's editors oversee subject areas in which they have extensive knowledge, whether from years of experience gained by working Editing and Montage in International Film and Video Theory and Technique 1st edition that content or via study for an advanced degree Editing and Montage in International Film and Video Theory and Technique 1st edition Article History.
  • How Superman Developed Into a Jesus Figure

    How Superman Developed Into a Jesus Figure

    HOW SUPERMAN DEVELOPED INTO A JESUS FIGURE CRISIS ON INFINITE TEXTS: HOW SUPERMAN DEVELOPED INTO A JESUS FIGURE By ROBERT REVINGTON, B.A., M.A. A Thesis Submitted to the School of Graduate Studies in Partial Fulfillment of the Requirements for the Degree of Master of Arts McMaster University © Copyright by Robert Revington, September 2018 MA Thesis—Robert Revington; McMaster University, Religious Studies McMaster University MASTER OF ARTS (2018) Hamilton, Ontario, Religious Studies TITLE: Crisis on Infinite Texts: How Superman Developed into a Jesus Figure AUTHOR: Robert Revington, B.A., M.A (McMaster University) SUPERVISOR: Professor Travis Kroeker NUMBER OF PAGES: vi, 143 ii MA Thesis—Robert Revington; McMaster University, Religious Studies LAY ABSTRACT This thesis examines the historical trajectory of how the comic book character of Superman came to be identified as a Christ figure in popular consciousness. It argues that this connection was not integral to the character as he was originally created, but was imposed by later writers over time and mainly for cinematic adaptations. This thesis also tracks the history of how Christians and churches viewed Superman, as the film studios began to exploit marketing opportunities by comparing Superman and Jesus. This thesis uses the methodological framework of intertextuality to ground its treatment of the sources, but does not follow all of the assumptions of intertextual theorists. iii MA Thesis—Robert Revington; McMaster University, Religious Studies ABSTRACT This thesis examines the historical trajectory of how the comic book character of Superman came to be identified as a Christ figure in popular consciousness. Superman was created in 1938, but the character developed significantly from his earliest incarnations.
  • Smart Cinema, DVD Add-Ons and the Re-Educated Viewer

    Smart Cinema, DVD Add-Ons and the Re-Educated Viewer

    MIT Conference May 13-15th 2011. Unstable Platforms: The Promise and Peril of Transition ‘Teaching Smart Cinema: DVD Add-ons and New Audience Pleasures’ Pat Brereton © [Extracts from ‘Cinema in Transformation: Smart Cinema, DVD Add-ons and New Audience Pleasures’ Palgrave Press 2011/2] Many scholars categorize new digital films, using concepts ranging from database narratives (Manovich), forking path narratives (Bordwell), multiple draft narratives (Branigan and Bordwell), twist films (Wilson 2006), complex narratives (Staiger, 2006), modular narratives (Cameron, 2006), puzzle films (Buckland, 2009) including Elsaesser‟s mind-games taxonomy. All of these terms help to flesh out this study‟s exploration of smart cinema, alongside new forms of digital film making and contemporary audience consumption. The term „Smart cinema‟ acquired popular currency in academic circles in the late 1990s. The most coherent explanation has been put forward by Jeffrey Sconce‟s essay (Screen 2002), who argues that smart films reflect the presence of a growing „culture of irony‟ and parody. Its intended audience is apparently the disillusioned yet highly educated new generation who display a form of ironic contempt and emotional distancing from their surroundings and socio-cultural existence. Smart movies like Donnie Darko broadly encapsulate what have been described as reflexive and playful postmodern texts, which in turn are augmented by the specific attributes of new digital media. These new attributes draw upon technological innovations facilitated by the computer and the internet, alongside the proliferation of video games and music videos, together with other new generational e-pleasures and e-cultural tastes. This paper will use films like Be Kind Rewind to demonstrate the importance of smart cinema for new generations, while drawing on the special issue on DVD add-ons for Convergence (2007) which I edited, that focused on how add-ons can strengthen the overall appeal of this consumer fan-driven medium and at the same time incorporate significant educational applications.
  • The Narrative Functions of Television Dreams by Cynthia A. Burkhead A

    The Narrative Functions of Television Dreams by Cynthia A. Burkhead A

    Dancing Dwarfs and Talking Fish: The Narrative Functions of Television Dreams By Cynthia A. Burkhead A Dissertation Submitted in Partial Fulfillment of the Requirements for the Ph.D. Department of English Middle Tennessee State University December, 2010 UMI Number: 3459290 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 complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. UMT Dissertation Publishing UMI 3459290 Copyright 2011 by ProQuest LLC. All rights reserved. This edition of the work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 DANCING DWARFS AND TALKING FISH: THE NARRATIVE FUNCTIONS OF TELEVISION DREAMS CYNTHIA BURKHEAD Approved: jr^QL^^lAo Qjrg/XA ^ Dr. David Lavery, Committee Chair c^&^^Ce~y Dr. Linda Badley, Reader A>& l-Lr 7i Dr./ Jill Hague, Rea J <7VM Dr. Tom Strawman, Chair, English Department Dr. Michael D. Allen, Dean, College of Graduate Studies DEDICATION First and foremost, I dedicate this work to my husband, John Burkhead, who lovingly carved for me the space and time that made this dissertation possible and then protected that space and time as fiercely as if it were his own. I dedicate this project also to my children, Joshua Scanlan, Daniel Scanlan, Stephen Burkhead, and Juliette Van Hoff, my son-in-law and daughter-in-law, and my grandchildren, Johnathan Burkhead and Olivia Van Hoff, who have all been so impressively patient during this process.
  • News Competitions Diary Dates and More… Free Phone Card with the ‘BANGLA CALLING’ 660Ml Bottle Top Promotion

    News Competitions Diary Dates and More… Free Phone Card with the ‘BANGLA CALLING’ 660Ml Bottle Top Promotion

    thestarISSUE 9 2009 FREE Don’t miss our interview with David Roper, the ‘piano’ in 4 Poofs and a Piano ✚ News Competitions Diary dates and more… Free Phone Card with the ‘BANGLA CALLING’ 660ml bottle top promotion “When your customer orders a beer go to the fridge and open a bottle of 660ml Bangla Premium Beer. Check the bottle top, if it reads Bangla on both sides you’re a winner” 1 in every 20 bottles is a winner... Good Luck! 1000’s of free Bangla Beer phone cards have been won, determined by ‘Bangla’ printed inside the bottle cap. Check to see if you’re a winner! To enter is Free of charge, for full terms and conditions please visit www.banglabeer.co.uk BOTTLED BANGLA 2007 INTERNATIONAL MONDE GOLD AWARD BANGLA BOTTLES Shapla Paani is a natural spring water. Being drawn deep through great british granite gives Shapla Paani its exceptional thirst quenching taste. A spring situated on the edge of Bodmin Moor in the picturesque and dramatic setting of Rough Tor. The bottling plant stands on an underground lake where pure Cornish moorland kissed rainfall naturally filters through the rock to produce a pure natural spring water. Why Stock Shapla Paani? • Shapla Paani spring water is specifically designed to fit into the Asian restaurant market. • Shapla Paani is exclusive to the on-trade, so it won’t be de-valued in your local supermarket. • Premium product, the quality and purity of this spring water is exceptional. • Available in 24x330ml and 12x750ml NRB cases. • Available in both Sparkling and Still variants.
  • Elizabethirvinephdthesis.Pdf (8.438Mb)

    Elizabethirvinephdthesis.Pdf (8.438Mb)

    CONTINUITY IN INTERMITTENT ORGANISATIONS: THE ORGANISING PRACTICES OF FESTIVAL AND COMMUNITY OF A UK FILM FESTIVAL Elizabeth Jean Irvine A Thesis Submitted for the Degree of PhD at the University of St Andrews 2015 Full metadata for this item is available in St Andrews Research Repository at: http://research-repository.st-andrews.ac.uk/ Please use this identifier to cite or link to this item: http://hdl.handle.net/10023/6901 This item is protected by original copyright Continuity in Intermittent Organisations: The Organising Practices of Festival and Community of a UK Film Festival Elizabeth Jean Irvine Thesis submitted for the degree of PhD at the University of St Andrews June 2014 ABSTRACT This thesis considers the relationship between practices, communities and continuity in intermittent organisational arrangements. Cultural festivals are argued to offer one such particularly rich and nuanced research context; within this study their potential to transcend intermittent enactment emerged as a significant avenue of enquiry. The engagement of organisation studies with theories of practice has produced a rich practice-based corpus, diverse in both theoretical concerns and empirical approaches to the study of practice. Nevertheless, continuity presents an, as yet, under- theorised aspect of this field. Thus, the central questions of this thesis concern: the practices that underpin the enactment of festivals; the themes emerging from these practices for further consideration; and relationships between festivals and the wider context within which they are enacted. These issues were explored empirically through a qualitative study of the enactment of a community-centred film festival. Following from the adoption of a ‘practice-lens approach’, this study yielded forty-eight practices, through which to explore five themes emerging from analysis: Safeguarding, Legitimising, Gatekeeping, Connecting and Negotiating Boundaries.