218 research outputs found
Performance Anxiety: An exploration of spectacle, spectatorship and moral panic in the twenty-first century
No full textIn the last decade there has been an explosion of new technologies that enable discourse, power and truth formations to be produced, contested and dispersed. As communication and information technologies continue to evolve, so too do the ways in which individuals construct identities and form communities. The notion of a moral panic is utilised to describe those critical moments in time and space when social norms are perceived to be under threat. I suggest that the complex interplay of spectacle, spectatorship and moral panic involved in such instances can be both conceptualised and interrogated as performance. This dissertation draws upon two distinct performance paradigms – one theoretical and the other practical – to inform a critical reading of three significant ‘social events’ of the last decade: the drug-trafficking trial of Australian woman Schapelle Corby in Indonesia in 2005, the end-of-life legal case focused on American woman Terri Schiavo, which culminated in 2005, and the race relations associated with the ‘Redfern riots’ which occurred in Sydney in 2004. Informed by a range of theoretical positions from Michel Foucault, Zygmunt Bauman, Giorgio Agamben, Judith Butler, Baz Kershaw, and Michael Hardt and Antonio Negri, this dissertation fleshes out contemporary understandings of mediatised spectacle and spectatorship, with the aim of revealing the ways in which they contribute to creating and sustaining moral panic. A critical finding of the dissertation is that through both subjectification and objectification processes the central players and the spectators become indivisible from the spectacle itself, thus maintaining the interweaving cycle of spectator, spectacle and moral panic. By exploring the ways in which people interpret and respond to social phenomena, the possibilities for performance and social theory can be extended
Defining British Cinema: Transnational and Territorial Film Policy in the United Kingdom
No full textThe article explores the relationship between the transnational and the territorial in British film policy since the middle of the 1990s. The author argues that British film policy makers have sought to construct a British national cinema through encouraging productions to come to Great Britain. British policymakers also sought to develop a stable national film industry through a combination of a series of protectionist measures imposed on distributors and exhibitors from 1927 to 1984
The Folly
No full textCatalogue of an exhibition held at Gallery 1, Grantpirrie, Redfern, N.S.W., 5-28 February 2009."The Folly is a three-screen digital work in which Arlo Mountford has animated three paintings by the sixteenth century Flemish artist, Pieter Bruegel the Elder. Using the computer, Mountford redrew the genre paintings The Corn Harvest (1565), The Hunters in the Snow (1565) and Landscape with the Fall of Icarus (c1558)"--Website.Catalogue essay by Zara Stanhope
Push and Pull Redfern
No full text“Push and Pull: A Furniture Comedy for Hans Hofmann ” (1963) is a participatory installation in which visitors arrange and re-arrange domestic objects and junk. The work was originally conceived as a parody of Allan Kaprow’s painting teacher, Hans Hoffman, who often used the phrase “push and pull” to describe the dynamics involved in two dimensional composition. Kaprow expanded Hoffman’s concept of compositional strategy, moving it beyond the canvas and into social space. Participants in “Push and Pull” plan and implement alterations to the gallery space, co-operating or competing with each other in an ever-evolving furniture dance. “Push and Pull” is a microcosm of the tensions involved in all spatial negotiations in urban environments. We are excited to present this piece, for the first time ever in Australia, thanks to Allan Kaprow’s Estate. Who are we? We are a bunch of Allan Kaprow fans and enthusiasts in Sydney. This enactment of Push and Pull is coordinated by Nick Keys, Astrid Lorange, and Lucas Ihlein, with many guest artists participating
Redfern kids connect : technology and empowerment
No full textRedfern Kids Connect is a community technology project that has run in inner-city Sydney since 2002. Redfern is known to many as the heart of urban Aboriginal Australia and as a diverse community facing challenges around poverty, crime and race relations. For three years, children (8-12 years old), and volunteers (university students and young professionals) have met each Saturday to play on computers and socialise. The project’s experiences with relationships, technology, and empowerment have been as confusing as they have been exciting. In the spirit of action research, this thesis explores the impacts the project has had. Uniquely embedded in the process of reflection occurring away from its on-the-ground activities, it tells the project’s story through the eyes of its volunteers. The research concludes that the project's main contributions to empowerment have been through building social capital (Cox, Putnam) and improving new forms of literacy (Warschauer). Vital to supporting and extending these outcomes have been taking a social approach to supporting technology use, shaping a safe and open environment (Marvin et. al), supporting critical thinking and expression (Freire) and examining the project 'behind the scenes'. The author takes the dual role of researcher and participant in the research
The impact of sound technology on the distribution of shot lengths in Hollywood cinema, 1920 to 1933
No full textThe impact of sound technology on Hollywood is analysed through looking at the median shot lengths of silent films from the 1920s (n = 54) and early sound films (n = 106). The results show a large increase in the median shot lengths with the introduction of sound (Mann Whitney U = 554.0, Z = -8.33, p = <0.01, PS = 0.0968), estimated to be 2.0s (95% CI: 1.6, 2.4). The dispersion of shot lengths measured using the robust estimator Qn shows a similarly large increase in the dispersion of shot lengths with the transition to sound (Mann Whitney U = 319.0, Z = -9.18, p = <0.01, PS = 0.0557), estimated to be 2.0s (95% CI: 1.7, 2.4)
Palettes dei colori nei trailer dei film statunitensi: un'analisi comparativa del codice a barre dei film
No full textThis article analyses the smoothed movie barcodes of 173 trailers nominated for a Golden Trailer award between 2016 and 2019 across nine genres: action, animation/family, comedy, documentary, drama, fantasy/adventure, horror, romance, and thriller. The results show that colours in the nine genres are similar, dominated by dark, unsaturated colours in the orange (hue = 30° ± 30°) and azure (hue = 210° ± 30°) regions of the HSL colour wheel. Colour palettes for each genre have similar colours but show some differences in the diversity and evenness of the distributions of these colours.Questo articolo analizza i codici a barre di 173 trailer nominati per un Golden Traileraward tra il 2016 e il 2019 in nove generi: azione, animazione/famiglia, commedia,documentario, dramma, fantasy/avventura, horror, romantico e thriller. I risultatimostrano che i colori nei nove generi sono simili, dominati da colori scuri e insaturinelle regioni arancione (tonalità = 30° ± 30°) e azzurro (tonalità = 210° ± 30°) dellaruota dei colori HSL. Le tavolozze dei colori per ogni genere hanno colori simili mamostrano alcune differenze nella diversità e nell'uniformità delle distribuzioni diquesti colori
Genre trends at the US box office - 1991 to 2010
No full textThis article examines genre trends in the top 50 grossing films at the US box office each year from 1991 to 2010, focusing on the frequency and rank of different genres, the box office gross and release patterns of films in different genres, and the release profile of Hollywood studios. The results show a narrowing of the range of genres at the highest rankings, with fantasy/science fiction movies coming to dominate at the expense of comedy, crime/thriller and drama films. There are also marginal increases in action/adventure and family films. Analysis of the opening and total gross for each film reveals that different genres are characterized by different release patterns, and noted the importance of awards in contributing to the box office gross of drama films. With one notable exception, there is no evidence of genre specialization among film studios in contemporary Hollywood cinema
Connecting the regional and the global in the UK film industry
No full textFilm policy in the United Kingdom is comprised of two complementary strands: the development of regional production clusters and the positioning of the United Kingdom as a film hub in the global film industry. This article examines the relationship between the regional, national and global scales in feature film production in three UK regions—Northern Ireland, Scotland and the South West of England—from 2004 to 2006. The results indicate that connections between the regions of the United Kingdom and the global film industry are limited, and that where they do exist these connections are either directly to or mediated through London, which functions as the dominant centre of distribution and finance—and therefore decision-making—in the UK film industry. Northern Ireland, by virtue of its cultural and economic relationship to the Republic of Ireland, stands out as a region in which its connections to other major decision-making centres are as important as its connections to London. The results suggest that while UK film policy has sought to redistribute the productive capacity of the industry, the autonomy of regional production centres remains limited
Age, Gender, and Television in the United Kingdom
No full textI apply correspondence analysis (CA) to data produced for the British Film Institute’s (BFI) ‘Opening our eyes’ report published in 2011 to discover how age and gender shape the experience of television for audiences in the United Kingdom. Age is an important factor in shaping how audience perceive television, with older viewers describing the medium as ‘informative’, ‘thought provoking’, ‘artistic’, ‘good for people’s self-development’ and ‘escapist’, while younger viewers are more likely to describe television as ‘exciting’, ‘fashionable, and ‘sociable’. Younger respondents are also more likely to describe the effect of television on people/society as negative. Variation in programme choice is highly structured in terms of age and gender, though the extent to which of these factors determine audience choice varies greatly. Gender is the dominant factor in explaining preferences for some programme types with age a secondary factor in several cases, while age is the explanatory factor for other genres for which gender seemingly has little influence. Male audiences prefer sports, factual entertainment, and culture programmes and female audiences reality TV/talent shows, game/quiz/panel shows, chat shows and soap operas. Older audiences prefer news, documentaries, and wildlife/nature programmes, while music shows/concerts and comedy/sitcoms are more popular with younger viewers
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