4,300 research outputs found
Welsh awakenings
No full textContributions by E. Wyn James to Dan Pugh and Jonathan Thomas, 'Welsh Awakenings' (Pugh Productions, 2023), a documentary on the history of religious revivals in Wales, together with contributions to the accompanying DVDs
Oral History Interview with Carrie Nicholls Pugh Ingram
No full textA recorded interview with Carrie Pugh Ingram and Sidney Pugh Ingram, in English. A document which lists the topics and their time stamps is also included in English.Memories of Terrebonne is an Oral History Project conducted and produced by the Terrebonne Parish Police Jury and Cote Blanche Productions. The interviews were conducted over the span of two years, 1983-1984, and cover subjects such as the folklore and cultural traditions of the Parish as remembered by its long-time residents
The vanishing author in computer-generated works: a critical analysis of recent Australian case law
No full textAbstract
The use of software is ubiquitous in the creation of many copyright works, yet the requirement in copyright law that every work have a human author who engages in independent intellectual effort means that its use may prevent copyright subsistence. Several recent Australian cases have refocused attention on authorship as an essential criterion of copyright subsistence, and these cases suggest that much computer-produced output may be authorless and thus lack copyright protection. This article, the first in a two-part series, analyses how each case deals with the question of authorship of computer-produced works and why the use of software diminishes copyright protection for a significant number of computer-generated works. The article critiques the application of conventional notions of human authorship developed in the pre-computer age to modern productions and suggests alternative approaches to authorship that satisfy both the major objectives of copyright policy and the need to adapt to the computer age. The article argues that, without a broader judicial approach to authorship of computer-generated works, Parliament must remedy the lacuna in protection for these ‘authorless’ works. Possible solutions for reform are suggested. In a forthcoming article, the author comprehensively examines those reform proposals
Representations of Voodoo : the history and influence of Haitian Vodou within the cultural productions of Britain and America since 1850
No full textThis thesis is the first major investigation into the representations of Vodou
within the cultural productions of Britain and America. It also opens up
opportunities for further research to be undertaken in the representations of
Vodou, Haiti and the culture and religions of other Caribbean countries.
This thesis explores the representations of 'Voodoo,' the widely accepted and
recognised term for the re-imagined religion, in Britain and America since 1850.
The history of the Caribbean and Haiti is examined before considering the
influence that the religion of Haitian Vodou has had on cultural production.
Through a historical perspective the thesis will consider the evolution of Vodou
during the horrors of slavery. The historiographic representations form the basis
of the productions and are explored to contextualise Vodou in the British and
American imagination. All genres of literature are examined, from the first
mention of Vodou in the eighteenth century through to the present day. This is
followed by an examination of the cultural reproductions of Vodou in film,
animation, theatre and television to explore the diversity of the representations.
The wider societal influences are considered throughout this work to
contextualise the productions of 'Voodoo'.
This thesis argues that the cultural reproductions of Vodou since 1850 have not
changed greatly, despite various efforts to redress the misrepresentations, they
remain rooted in colonialism. It will argue that many of the cultural productions
are reliant on previous representations. They do not in the majority introduce
authenticity, instead opting for the more sensational approach. Many of the
representations will be shown to be derogatory to the religion, culture and people
of Haiti and the diaspora. This is despite Vodou as a religion having survived,
gained strength and continuing to thrive in the twenty-first century
Replica productions – teatralne kopiuj-wklej?
No full textThe article discusses the phenomenon of replica productions of original productions in
musical theatre. The author describes the rules operative in licensing musical titles of non-replica
type, i.e., most of the productions in Polish musical theatre. The agreements between theatres and
agencies managing copyrights for musicals usually require preserving the original text and music,
but grant freedom in matters concerned with staging, though in certain cases the agencies also reserve
the right to control other aspects of the production and its promotional framework. Then, the
author describes the phenomenon of replica productions itself, i.e. their appearance in the world’s
greatest musical centers with staging resembling the original productions, most frequently prepared
by the same team as responsible for the latter. The final part of the text discusses cases of interference
of musical agencies in non-replica staging which reinterpret the message of the original works
No Friends But The Mountains [sound design]
No full textNo Friends But The Mountains: Will the Kurdish dream of independence and freedom ever become reality? To answer this pressing question, Kurdish author Kae Bahar travels from his London home to his rocky and mountainous homeland, finding a complex mix of Kurdish nationalism and internal division. ‘War or Peace?’ Bahar asks. The answer is not so simple
Netflix Original Productions: Big Data, Nonlinearity, and Unprecedented Creative Flexibility
No full textThrough a focused study of Netflix original dramas, this dissertation examines how developments in internet-distributed television, such as nonlinearity and an unprecedented access to big data, are altering the logics of television production. Despite constituting a significant shift in the television industry, there is a scholarly lag time which has resulted in a lack of theory around content
produced by and for internet distribution portals. To try and bridge this gap, I have investigated the impact of big data and nonlinearity on format, commissions, resources, production protocols, and marketing. Through an analysis of industry press primarily, combined with relevant television theory (e.g. quality TV and genre studies) and a detailed case study, I argue that the specificities of Netflix as a portal have directly impacted its production norms. I found that the technological advances in question promote author-driven creative productions which operate outside of the constraints of traditional television
Donald Ducks Bokklubb
No full textHere is a Norwegian reproduction of Country Mouse, City Mouse, published in 1978 by Walt Disney Productions. I found it in the only used book shop I could find in Bodø, and I found it only after long searching. All the art work is there, though the book manages to be thinner than the original American edition. Abner and Monty have become Petter and Fredrik. As I wrote then, this is a cute Disney version that strings the tale to some length. It dresses the mice, gives them names and even a mouse car that screeches around bigger cars. This version departs from the tradition in that the city mouse, Fredrik, likes the food in the country, but says that you have to work too hard to get it. The vacuum cleaner goes after the mice first in the city home, followed by a good cat. This book has a nostalgic air about it.This is a hardbound book (hard cover)Language note: Norwegian2. opplagWalt Disney Production
Tree productions of Capek's The Robber at The Vinohrady Theater
No full textThe aim of the bachelor thesis is to characterize three last stage productions of the Vinohrady theatre of the play Loupeznik by the well known playwright, author and a democrat Karel Čapek. Karel Čapek was one of the most remarkable authors of the 1920s and 1930s. The author of this thesis attempts to make a reconstruction of the last three stage productions of Loupeznik at the Vinohrady theatre based on available infomation found. The first and oldest one being stage production of 1972 by the director Frantisek Stepanek. The second one being the stage production by director Jan Novak of 1988. And the last and newest one is the stage production by director Thomas Topfer of 2015. The more detailed analysis will be provided to the first and third production respectively because of the more information available for these including the video recording of these two productions. On the other hand, for the second production very little material being available and thus to reconstruct this 1988 one based on the material was very difficult. In the order to reconstruct the productions the author bases his research upon archival theater reviews and studies in particular periodicals, photographical material from the productions and in some cases also audiovisual recordings. Other resources include also the..
How has the art education that I have received impacted on my practice as an art maker?
No full textThis thesis is a written account of my analysis of the art education that I received during my undergraduate Interdisciplinary Art and Design BA(hon)s degree and University Campus Barnsley. The investigation and written thesis were undertaken as part of a Practice led research degree at Huddersfield University. The aim of the research was twofold. First to develop an understanding of the History of Art Education in the area of South Yorkshire and secondly to return to analyse the art work I made as part of my undergraduate degree. This study then became the focus of the series of practical Paintings and drawings which were the main focal point of the Master degree.
The thesis is an account of my analysis of how my art practice developed in response to the practical type of education that I received. It identifies specific art makers and art movements that have had a direct impact on how my painting process matured and changed. The thesis goes on to identify the specific genre of literature that influenced my practical development and the use of metaphor in paintings and drawings . It then goes on to give a written account of the specific examples of visual metaphors in my practical Masters work and analyses their origins, continued development and what they represent.
The issue of class and social equality is identified and the metaphor clearly dissected and explained. The thesis then outlines the development of the class metaphor into an education metaphor which represents my belief that a university education can aid the act of social mobility. This theory is justified by my experience of having returned to full time higher education as a working class mature woman and having achieved a level of social mobility which was aided by my gaining a first class BA(hon)s degree which enabled me to apply for and complete a Masters Degree
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