performances. I release the intervention illuminated in
the choreography of Martha Graham into conditions in which speech was
rendered impossible by economic, legal and political frameworks.
Gumboot dance developed as a method of communication within
systems of racial segregation in which speech was prohibited. Verbal
communication was not allowed in the gold mines, nor were black
South Africans allowed to enter the public sphere, hence their opinions and voices were silenced. I argue that the development of gumboot
dance allowed for two parallel processes: firstly, the
can control scandal reporting once it has gathered momentum.
Perhaps the mechanisms of the hounding – which are, after all,
acknowledged – are not good, but unfortunately the course of events
cannot be halted. The process is beyond the control of individual
actors. When I later listened to the interviews, the lines of argumentation made me think of the political term TINA, the acronym for
the expression ‘There Is No Alternative’. The following pages will
investigate the significance of this fatalistic conviction in detail.
Undignified behaviour and a lack of
1980 to 2010 (Allern et al. 2012; see also Thompson
2008:106–18 for a discussion of the general increase in the West).
Scholarly descriptions of the reasons for the increase in frequency
are part of a picture of the industry with which we are nowadays
quite familiar, where an increased number of actors and intensified
competition – as well as convergence – among different media in
an increasingly digitalised and competitive media market lead to a
type of journalism that to an ever greater extent rests on a commercial
rather than an ideological basis, sales figures
photographic images are counterposed to the paintings in the
royal residences and Downing Street. Their thematic purposes are
multifold, but they mark a dramatic progress in which Diana –
effectively portrayed as pretender to the throne – is supplanted in the
televisual frame by the Queen, who is initially identified with the
milieu and iconography of fine art. Only when this process has been
scenes while we were shooting. That’s to say,
we would cover up some of the words where possible to save time
and money later in the process. Probably wouldn’t do this now.
Th e ci nem a of Ol iver S to ne
In relation to cable television
Stone: The television sales market has changed. I’m not up-to-date
on it, but cable is now in any case the main purchaser of shows.
Network television is much less subversive in terms of sex and language than cable. However, there are still pressures even with cable
that can be applied to material. In the case of Comandante