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Heterogeneous temporalities, algorithmic frames and subjective time in geomedia

maps, and one of the first regularly televised animated maps were weather maps (Cartwright, 2007: 14). But even before that, animation was widely used in so called cinematic maps and can be traced back to the first docudramas of the 1910s (Caquard, 2009). But strictly speaking, it is wrong to call the animated maps used in films cinematic, because, as Deleuze points out, ‘[a]ny other system which reproduces movement through an order of exposures [poses] projected in such a way that they pass into one another, or are “transformed”, is foreign to the cinema’ (Deleuze

in Time for mapping
The Pony Express at the Diamond Jubilee

Forman may have been brought on the project for his research skills, or his ability to build a compelling story around the historical familiar of a racing express rider, it is likely that his class position as well as his ‘white’ racial identity were most appealing to the studio. Further, Forman was no doubt willing to participate in the ‘cinema uplift policy’ championed by the MPPDA; he is probably best

in Memory and popular film
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An epilogue

accompanied by connected yet contending tendencies, socialism and communism, which could now form compelling friendships and now forge intimate enmities. These intellectual-political impulses had a profound impact on the arts – from painting to literature to theater to cinema – in the 1940s. The tumultuous times of famine and suffering, an antifascist war and subaltern struggles, the end of empire and

in Subjects of modernity
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activities for a hard-worked, overstrained and war-weary civilian population. Nothing is more indicative of this than the licence given to the BBC and the cinema industry to provide virtual escape routes from the war and to make the people laugh. At the BBC the main means of fulfilling this brief was the Forces Programme, set up initially to cater for the taste of the thousands of conscripted young men in barracks and training camps across the country and overseas, but quickly becoming the whole nation’s favourite listening. The FP broadcast mainly dance and popular music

in Half the battle
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From content warning to censorship

outline the history of content warnings. Much, if not most,  53 Trigger happy 53 of the material that we watch on TV and in cinemas in the United States has been prescreened and assigned a code to indicate the appropriate age of potential viewers. Thus a PG movie, to give an obvious example, warns parents that some of the material in the film might not be appropriate for young children. An R-​rated film restricts the screening to audiences over the age of seventeen unless accompanied by an adult. The Motion Picture Association of America produced these ratings in

in The power of vulnerability
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Culture, criticism, theory since 1990

of the centre. In the current moment, Ireland is in thrall to the dominant values, and the consumer 9780719075636_4_002.qxd 20 16/2/09 9:23 AM Page 20 Contexts technology, fashion, music and cinema that emanate from the metropolitan centre (even if inward investment means that many of these products are produced in and distributed from Ireland itself). Any Irish cultural production that registers on the world stage can be relatively easily assimilated, homogenised, branded. As such, there would be no sense that Ireland could invent, initiate or challenge

in Irish literature since 1990
Cinema, news media and perception management of the Gaza conflicts

Tales ( London : I. B. Tauris , 2010 ), p. 105 . 2 M. Curtis , Unpeople: Britain’s Secret Human Rights Abuses ( London : Vintage , 2004 ). 3 S. Chaudhuri , Cinema of the Dark Side: Atrocity and the Ethics of Film Spectatorship ( Edinburgh : Edinburgh University

in Global humanitarianism and media culture
From Vietnam to the war in the Persian Gulf

He also refers to ‘the central role that the cinema plays in the imaging of the nation’. 15 Similarly, Robert Brent Toplin claims, without offering much in the way of evidence, that ‘Historical films help shape the thinking of millions. Often the depictions seen on the screen influence the public’s view of historical subjects much more than books do.’ 16 In a discussion

in Memory and popular film
Open Access (free)

its social and cultural resonances. Even those who never bet, never went near a racecourse, or actively opposed the sport could hardly avoid meeting the racing world if they opened a paper, went to the cinema regularly, or even looked at newspaper advertisements and cigarette cards. The sheer variety, substance and character of racing’s visual, linguistic and oral images have much to say about the culturally-complex role of British racing and betting. It is perhaps not unsurprising that racing has given names to more public houses than any other sport: interwar

in Horseracing and the British 1919–39
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significant social as well as technical transformations: political activism around issues of class, labour and gender equality, social care and citizenship also shaped the arts. In her work on early cinema Christine Gledhill noted that ‘opposition between art and commerce tapped into unresolved class issues under pressure of democratisation’, and that these gave shape to debates on the relation of the cinema, and we would suggest the performing arts more generally, to the ‘social landscape’ (Gledhill, 2008: 20). It is this division between art and commerce, and sometimes

in Stage women, 1900–50