1,720,962 research outputs found
Kick, bollocks and scramble: an examination of power and creative decision making in the production process during the golden era of British music videos 1995-2001
Full text linkIn the golden era of British music video production 1995 – 2001 the responsibilities of a feature film producer were shared by the producer, executive producer, director and video commissioner. The author examines the roles of each, and argues that Pardo’s framework (2010 for evaluating the creative contribution of producers obscures the direct budgetary power of producers in this particular sector. She argues that more empirical research should be conducted on the role of the producer in sectors of the British screen industry other than feature films and television
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Full text linkWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
Dispelling the Myths Behind First-author Citation Counts
Full text linkWe conducted a full-scale evaluative citation analysis study of scholars in the XML research field to explore just how different from each other author rankings resulting from different citation counting methods actually are, and to demonstrate the capability of emerging data and tools on the Web in supporting more realistic citation counting methods. Our results contest some common arguments for the continued
use of first-author citation counts in the evaluation of scholars, such as high correlations between author rankings by first-author citation counts and other citation
counting methods, and high costs of using more realistic citation counting methods that are not well-supported by the ISI databases. It is argued that increasingly available digital full text research papers make it possible for citation analysis studies to go beyond what the ISI databases have directly supported and to employ more
sophisticated methods
Not Another Article on the Author! God and Auteurs in Moving Image Analysis; Last Call for a Long Overdue Paradigm Shift
No full textMany scholars in popular music and film studies accept the limitations of current film theories of authorship in relation to music video. This article moves the debate forward through a case study of the work of acclaimed music video director, Jamie Thraves. It focuses on three examples of his work: Jake Bugg’s ‘Two Fingers’ (2012), Coldplay’s ‘The Scientist’ (2002), and Radiohead’s ‘Just’ (1995). Evidence of Thraves’s close collaboration with the musicians in the scripting, shooting, and editing of each of these videos is used to investigate authorship in both domains of music and film production. The central argument of the analysis is about the conflicting expectations of power and control participants hold in the production process. These are based on a collision between historically distinct production cultures and intellectual property regimes. The article contributes to ongoing debates in the UK about moral rights, value, labour, and intellectual property in moving image production and argues that a paradigm shift for analysing creative production in music video is long overdue
The Projectionist
No full textDrawing on the style and techniques found specifically in Hitchcock’s magnificent silent films – which took centre stage in the BFI’s celebration – The Projectionist, written by Thraves, imagines the fate of the only missing or ‘lost’ feature among Hitchcock’s 57 films, The Mountain Eagle (1926).
Produced by Emily Caston and directed by Jamie Thraves.
[Description fromt the BFI website
The dancing eyes of the director: choreographers, dance cultures, and film genres in British music video 1979–2016
No full textThis article looks at the work of choreographers in British music video from Arlene Phillips (founder of Hot Gossip), to FKA Twigs and Wayne McGregor. The first section presents an overview of the development of genres of dance and choreography in music videos from the late 1970s to the present day, covering genres such as the loosely-choreographed pop act video, to the formal, tightly-choreographed routines of videos drawing on the Hollywood musical tradition, to the street dance video ushered in following Malcolm McLaren's breakthrough 'Buffalo Gals' video (1983). The article argues that British music videos should not be negatively compared to their bigger budget US counterparts but should instead be appreciated on their own merits – and those merits include the greater creative exchange with ballet and contemporary dance, and the use of techniques from experimental film and narrative film; and it argues that these features make dance in British music videos an exciting and critically acclaimed cultural form today. The author draws attention to the importance of 'social realism' within British choreographed music videos, and points out that the recent work of Matthew Bourne and FKA Twigs overrides the traditional distinction between 'dance film' and commercial music dance film
- …
