1,720,994 research outputs found
The Laptop Tour; Redefining classical music performance spaces.
No full textThe greatest challenge facing performers today is that of reaching an audience - particularly given expectations of availability and access as digital natives come of age. The Laptop Tour consists of a continuing project focussing upon solo performances from non-traditional concert spaces, creating a flexible approach to touring that challenges the conventions of the classical music concert. A single performance can be experienced in up to three ways: physically in the space, live streaming and archive access. This approach makes it possible to build a diverse following, creating an approach that can bring this art form not only to the urban world, but physical and virtual venues in the rural context - traditionally an arena under-served in terms of live performance. The project has a large potential for real world and digital community address whilst bridging genres
Conclusion to Difficult Death, Dying, and the Dead in Media and Culture
No full textThis chapter concludes the book Difficult Death, Dying and the Dead in Media and Culture. We reflect upon the overall themes of the book, considering the ways in which the public and private converge when we begin to look at the difficulties of death and dying. The chapter looks towards the ways in which we interact with death, dying and the dead through varied media—exploring the concepts of celebrity, online interactions with mortality, the differences and divides between real and fictional death, and audiences’ connections to death as entertainment and distraction. We identify that the recording or capturing of death and reactions to it creates a stasis, with such stasis and ongoing access and potential to revisit images of death presenting a challenge to the concept of privacy when considering loss. We find that death in media and culture is a matter of context, with a personal relationship of navigation and negotiation for each member of the audience often at the centre of experience
Introduction to Difficult Death, Dying and the Dead in Media and Culture
No full textThis chapter introduces the book Difficult Death, Dying and the Dead in Media and Culture. We reflect on the terms ‘difficult death’, ‘dying’ and the ‘dead’ and their potential meanings and we explore some of the challenges of writing about death in mediated form. We consider the difference between media and culture in the context of death studies and draw on a range of scholarship to consider the mediation of death, dying and the dead in culture. We provide a summary of each of the chapters included within the collection, and some suggestions on how you might approach the reading of the book. We argue that the terms ‘difficult death’, ‘dying’ and ‘the dead’ are contingent ones, and, for example, that what constitutes a difficult death will be culturally and socially relative, as well as dependent on a series of individual factors including life experiences and expectations. We suggest that when death is constructed as difficult, it is often so because it occurs at the nexus of myriad forms of social inequality that function as mechanisms of systemic marginalisation in life and in death
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Introduction to Difficult Death, Dying and the Dead in Media and Culture
No full textThis chapter introduces the book Difficult Death, Dying and the Dead in Media and Culture. We reflect on the terms ‘difficult death’, ‘dying’ and the ‘dead’ and their potential meanings and we explore some of the challenges of writing about death in mediated form. We consider the difference between media and culture in the context of death studies and draw on a range of scholarship to consider the mediation of death, dying and the dead in culture. We provide a summary of each of the chapters included within the collection, and some suggestions on how you might approach the reading of the book. We argue that the terms ‘difficult death’, ‘dying’ and ‘the dead’ are contingent ones, and, for example, that what constitutes a difficult death will be culturally and socially relative, as well as dependent on a series of individual factors including life experiences and expectations. We suggest that when death is constructed as difficult, it is often so because it occurs at the nexus of myriad forms of social inequality that function as mechanisms of systemic marginalisation in life and in death
Game Changers Podcast - Marie-Claire Isaaman
No full textOn our first episode we meet Marie-Claire Isaaman - CEO Women in Games. We talk about 20 years of Women in Games, what the not for profit group focuses on and where aspects of equality, equity and representation in the game industry are going
Rausch und Lärm der Stadt
Full text linkThis article seeks to explore filmic representations of the turmoil potentially offered by modern city dwelling, using the concept of Rausch, in the sense of a sensory overload for both characters and spectators. Specifically, it considers the Rausch of the city on film through the example of Berlin and its impact upon characters found within. In considering such representations of Berlin we are able to explore the ways in which the city can be used within cinema as a mirror, and at times a stamp, to the expectations and experiences of the characters. To explore cinematic Berlin in this way we look specifically towards expressionistic interpretations and treatments of the city and its inhabitants, considering the interactions of space, place, and character. This convergence of Rausch and expressionism upon the specific example is appropriate since in many respects Berlin and expressionism are synonymous: in visual arts, but above all in film. In applying such considerations to more modern interpretations and presentations of the city we are able to see the deep connection between the use of a cityscape, the exploration of character within it, and, indeed, their reactions to it. In locating to a modern iteration of this longstanding stylistic and generic device we are able to widen our understanding of the use of expressionism and in doing so more strongly explore the concept of Rausch
Decolonisation of Film Lighting
No full textThe history of film lighting in relation to cast focusses upon the ways in which white actors may be lit on a film set. Tales from the early days of cinema suggest that the limited representation of BAME actors in cinema has been because they do not “read” as well on camera as their white counterparts, offering a technical reasoning for excluding of BAME actors from Western cinema for the majority of the following decades. The proliferation of white crew and indeed overall cast members can mean that learning to light BAME actors tends to be overlooked or side-lined to a task which can be easily addressed by “specialist” lighting techniques. These are crude adjustments which might appear to speak to specific changes but tend to encompass only nods to the potential consideration of lighting anyone other than a white actor.
As we seek to extend the involvement and representation of BAME students and then graduates in film and television we need to carefully consider the ways in which we as production orientated lectures can assist all our students in lighting and filming BAME actors and more fully address the fact that BAME students still aren’t fully represented in education, in turn enabling them to be seen literally and figuratively on-screen.
As BAME actors begin to be more fully represented in mainstream media we can see that there are still deficits in the way those cast members are lit and so offered to the audience on-screen. Where we have BAME directors and directors of photography we can see a real change in the way that BAME actors are lit and so visually/narratively presented, with consideration of the small but meaningful adaptations that can be made to really be able to “see” BAME actors. Such knowledge needs to filter into the teaching and training of the next generation of filmmakers, white and BAME, so that everyone can be represented and have a place in the ongoing narrative
So Many Ways to be an Outsider: ‘Nerdism’ and ethnicity as signifiers of otherness
Full text linkThe concept of the nerd and loneliness is an interesting one when we consider the idea of what ‘outsider’ status means and how it is communicated within popular culture. It is important to note that being identified as a nerd does not necessarily align with being lonely or holding outsider status as a negative quality. Indeed, within the mainstream Americanised evolution of the nerd we see the development of someone who although considered ‘strange’ or ‘odd’ and at times ‘other’ by their peers does have value and finds their place within the group, nerd becomes in these circumstances a shorthand for socially awkward rather than a true outsider
Beyond the Frame: Textural Realisation in Cinema Sounds
Full text linkWorldbuilding using audio is a key aspect of cinema, particularly in expanding the mise-en-scene and the narrative beyond the frame (Bresson, 1975; O’Brien, 2009; Skjerseth, 2020). At the same time, audio is still underrepresented as a key contextualising component in the transfer of production design to the conceptualised paracosm of the film’s world (Shone, 2022). This paper will discuss the textural qualities of cinema sound and the ways in which audio concerns can develop upon and extend the work to bring about a sonic mirroring of the visual design. These approaches are then extended to consider ways in which they can be communicated to those beginning careers in sound design and encourage them to think creatively as well as causally within the narrative. The paper closes by thinking about the possibilities for expansion of these ideas to the UK video games industry, especially through cinematics and playable areas
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