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office’ 6 due to low staffing levels. Articles comprising memories sent in by readers are ideal in this context for they are less labour-intensive than stories and features requiring active or investigative research. Stacey’s study of female fans in the 1940s and 1950s makes reference to ‘the negotiation of “public” discourses and “private” narratives’. 7 This sense of negotiation between the public
-honoured fashion, one of the Lord Chamberlain’s readers, Charles Heriot, began his report of 16 March with a synopsis of the play’s essential plot and story line. 2 Howard Phillips is a 30-year-old vicar in a village. He is unmarried, lives with his mother, has a flair for interior decoration and rather too obviously repulses the advances of a spinster, Hester Byfield, who is thereafter
Alison Landsberg, ‘Prosthetic Memory: Blade Runner and Total Recall’, Body and Society 1: 3–4 (November 1995). Also collected in Mike Featherstone and Roger Burrows (eds), Cyberspace/Cyberbodies/Cyberpunk: Cultures of Technological Embodiment (London: Sage Publications, 1995), pp. 175–89, and most recently in David Bell and Barbara M. Kennedy (eds), The Cyber-cultures Reader
Major’s offence. Now the Major was in court for indecent behaviour in a cinema. He ‘persistently nudged’ one woman in the arm and later ‘attempted to take other liberties. She subsequently vacated her seat, and complained to an usherette.’ The censor had no difficulty with this and the reader’s report for ‘Table Number Seven’ termed it ‘a little masterpiece’. Separate Tables duly opened on 22
inform readers of the titles of the ‘two short films from Harold Lloyd’ (102) which accompany their revival of an already more-than-famous main attraction. There is, then, a slight instability in the title of the 1995 restoration and revival season – ‘Saved! Restorations From the Archives’. 11 Sure, by being preserved and screened at the London festival, such movies are being
style by telling Bogarde and his companions, ‘I could be a very useful comrade.’ The tragic love entanglements of the plot are played out against a very cursorily sketched French Revolution which in this film appears to have been ignited by little more than a couple of broken barrels of wine and some careless driving on the part of a single aristocrat. Just as Dickens’s readers
between academia and the archives which I think will be relevant to readers of this book. Films physically survive for a variety of reasons, mainly economic, but sometimes technical. Film is, as Penelope Houston put it in her examination of British film archives, ‘fragile, expensive and dangerous’. (See her excellent guide Keepers of the Frame published by the British Film Institute in 1997.) Film
-born, prevailed.’ 8 The producers’ rhetoric was quite explicit about the series’ ideological agenda. Nathaniel Stephenson, one of the three editors-in-chief of the Chronicles, reported that Yale University engaged in ‘long deliberation’ before granting the go-ahead for the project, persuaded by three arguments the series’ proponents advanced: ‘the fact that the general reader was
Repeating the strategies of their promotional campaign for The Covered Wagon , Paramount’s publicity narratives about the preparation of The Pony Express focused on the accuracy of the story. One such narrative, published in Sunset , a magazine about California history, offered readers a detailed account of the production circumstances. This piece is an artefact of studio-generated public relations
consumption. This will take us beyond a focus on the meaning of a text, to a focus on the meanings that can be made in the encounter between the discourses of the text and the discourses of the ‘reader’. That is, it is not a question of verifying (with an ‘audience’) the real meaning of, say, Platoon . The focus on consumption (understood as ‘production in use’) is to explore the political effectivity