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Gumboot dance in South Africa

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

in Dance and politics

newsroom 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

in Exposed
Open Access (free)

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

in Exposed

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 completed can

in The British monarchy on screen
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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 244 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

in The cinema of Oliver Stone