5,221 research outputs found
Memories of Kerrisdale - Interview with Joy Stuart:
No full textJoy remembers family life in the Dunbar/Kerrisdale area and the pleasure she found in needlework
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Charles Stuart Case Bibliography
Full text linkAfrican and African Diaspora Studie
Group at coconuts
No full textA group standing under some coconut trees at Fred Drysdale's "Coconut Grove", from left to right, ?, ?, ?, Bruno Grandilos, Stuart Drysdale and Bessie Drysdale, Fred's house is in the background, Nightcliff, NT, c.1948.Davis, Joy
"The National Anthem", terrorism and digital media
No full textin Terence McSweeney and Stuart Joy (eds.) Through the Black Mirror: Reflections on the Side Effects of the Digital Age, London: Palgrav
Time Travel, Trauma and The Futility of Revenge in Looper (2012)
Full text linkThis chapter begins by observing that the increased production and popularity of a particular subset of time travel narratives, referred to here as ‘time travel rescue narratives’, can be interpreted as a distinctly conservative response to the immediate preoccupations of the twenty-first century, specifically the events of September 11, 2001. The subsequent focus on Looper – a time travel narrative written and directed by Rian Johnson – considers the film in relation to broader cultural and political changes associated with processing the events of 9/11. Through a focus on Looper’s plot, casting, and characters, I argue that the film offers a critical commentary on responses to cultural trauma by splitting our identification between two ostensibly ideologically opposed protagonists
Shame, Stigma and Identification in “Shut Up and Dance”
No full textCrime and justice have long been enduring subjects of Black Mirror. From the opening episode, the series has never shied away from tackling taboo subjects. However, “Shut Up and Dance” draws viewers into a deeper engagement with the moral issues of criminality by encouraging audiences to empathise with a character who, in the episodes denouement, is revealed to be a paedophile. Given that, in western culture, the term paedophilia carries with it immense ideological freight (Kohm and Greenhill, 2011: 195), this revelation forces the viewer to revaluate their own affective and intellectual responses to, and judgments of, the central character. By aligning the viewer with Kenny (Alex Lawther), this episode ridicules the very possibility of passing moral judgement and the viewers own sympathy for him may itself serve a larger purpose. In this chapter, I will consider how connecting audiences to such characters at an emotional level may critique deeply held and widely circulated popular ideas about the crime and justice
Change Your Past, Your Present, Your Future:Interactive Narratives and Trauma in Bandersnatch
No full textFor a television show that has often seemed to delight in shocking viewers since its very first episode in 2011, which, in case we needed reminding, featured the Prime Minister of Great Britain having carnal relations with a sus scrofa domesticus, Black Mirror saved one of its greatest surprises for 28th December 2018 with the release of the twentieth instalment in the series, Bandersnatch, directed by David Slade. While two of its previous episodes had centred around video games: the highly regarded dystopian vision of gamification en masse, “Fifteen Million Merits” (01.02), and the horror-inflected augmented reality tale of “Playtest” (03.02), in an unexpected turn of events for both Netflix and the creator of Black Mirror, Charlie Brooker, Bandersnatch was not just about video games, it was one. This chapter explores the significance of Bandersnatch as an intriguing combination of video game and film, an example of what many referred to as an ‘interactive movie’ or what Nitzan Ben Shaul called ‘hyper-narrative interactive cinema’ in his Hyper-narrative Interactive Cinema: Problems and Solutions (2008). The authors interrogate how far Bandersnatch emerges as a text immersed in some of the defining thematic elements of what we might call ‘the Black Mirror experience’, but also uses the interactive nature of the project in original and compelling ways connected to the protagonist’s experience of trauma which the audience or ‘interactors’ are forced to share
Introduction: The Fears and Fantasies of Science Fiction Film:Genre as Cultural Artefact
No full textThe introduction provides a range of political, social, historical and industrial contexts that the collection is built on. It asks and attempts to answer, "What is the social significance of the science fiction film?" by connecting the genre to the social and political climate in which these films were produced, whether that might be America in the 1950s Cold War, the turbulent post-9/11 era or the divisive Trump presidency. It establishes a range of thematic motifs that the edited collection returns to on a number of occasions, designed to provide a compelling and theoretically informed platform which ties together the diverse range of contributions to the collection together into a logical, coherent and evolving narrative
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