in the same series as this one, and this provides a much more informed analysis of the film than anything that I could offer here.
I therefore turn instead to a more recent film, which was released in 2015 when the maker was still a doctoral student at the University of Manchester. Whereas the praxis of Suhr's film is based on relatively conventional observational realism, the ethnographer-film-maker in this case took advantage of recent developments in digitaltechnology
reporting was reduced. Since then, the
audience’s influence over both reporting in general and scandal
reporting in particular has only increased, especially because of the
opportunities provided by digitaltechnology for interaction and
dialogue with the newsrooms.
In addition, the journalist tends to become the main figure of
the scoop, where balanced information is pushed into the background
in favour of the heroic deed. Håkan Juholt touched on this during
our conversation. He repeatedly claimed that it is not the affected
individual who is the main character in the
surrounds us. Here
I find phenomenologist and media scholar Amanda Lagerkvist’s
studies inspiring. Her simple and beautiful phrase ‘questions concerning digitaltechnologies are … questions about human existence’
(Lagerkvist 2017:97) forms a kind of point of departure for my
research as well. On the basis of Martin Heidegger’s concept of
thrownness, Lagerkvist poses the initial question: ‘What does it
mean to be a human being in the digital age?’ (Lagerkvist 2017:97;
original emphasis). She believes that a new form of idiosyncratic,
existential vulnerability has taken
The beast that no-one could – or should – control?
, and clarification of the notions of academic freedom and
responsibility. The journey since the 1990s suggests that no-one is in
overall control of these processes. This is perhaps inevitable, and may
even be desirable in a democratic society that aspires to be more
What is open access and how has it been implemented
as a policy?
Open access is very much an academic initiative, largely conceived
as a tool for researchers. Its origins lie at the messy confluence of
digitaltechnology and open licensing for software (Eve, 2014; Suber,
of Oryx and Crake is that by engineering the Crakers
and placing them alongside all the other transgenic novelties that now
fill the landscape, and by wiping out most of the human population at
the same time, Crake does not reprogramme the course of humanoid
evolution as he had planned to do, hacking it like the computer games
and other digitaltechnologies he tinkered with as a teenager. He merely
reboots it. However altered individual genomes may be in the MaddAddam
trilogy, evolutionary processes continue to run just as they always have
done. The result of Crake
attention paid primarily to describing the phenomenon, why it was emerging in
the context of heightened competition and the enabling features of digitaltechnologies, and whether it led to superior firm performance. Few scholars paid
Making work more equal
attention to the implications of these structural changes for work and employment relations. At the forefront of new scholarship investigating these issues,
Rubery and her colleagues published a series of qualitative case studies and a coedited book in the early to mid-2000s (Marchington et al., 2005
education, to the protection of competition
and its primary private sector exemption, intellectual property.
Authorising the creation of the science base is critical to the
development of digitaltechnologies. 60 Moglen explained that the
extend in many cases back to the period
immediately after [World
Senses of country living in a Basque-speaking village
Kepa Fernández De Larrinoa
during the 1970s and
1980s, people acquired second homes or flats on the Basque coast or nearby.
Acquiring a chalet or vacation flat was for many their initiation into conspicuous
leisure consumption. The development of villas in rural towns and mountain villages in the Tolosa area is thus due to various elements, including pressure in the
real estate market; excellent land communications infrastructure; an urban imaginary which connects rural living to quality of life and social distinction; and the
development of digitaltechnology, which permits tele-cottaging.4 A
The films of David and Judith MacDougall in Africa and
for granted that it is difficult to appreciate just how transformative this innovation was for documentary film-making. But in my view, the step-change that portable synchronous sound enabled in ethnographic film-making was considerably greater than the much-vaunted advent of digitaltechnology a generation later. Certainly it is difficult to imagine the more collaborative approaches of the 1970s and 1980s taking place without it.
Reflexivity and participation
In the course of the 1970s, two new terms became commonplace in the
Indigenous media and the Video nas Aldeias project
image camera is not the obstacle that it once was.
However, operating an edit suite is not only technically more complex than operating a camera, but conceptually more complex too. With the arrival of digitaltechnology, editing systems may have become cheaper, easier to operate and portable, but this has done nothing to diminish the conceptual complexities associated with the transformation of the copy of the world produced by a camera into a film with some sort of narrative structure or argument. It is on account of these complexities that