As a technology able to picture and embody the temporality of the past, cinema has become central to the mediation of memory in modern cultural life. The memory of film scenes and movies screens, cinema and cinema-going, has become integral to the placement and location of film within the cultural imagination of this century and the last. This book is a sustained, interdisciplinary perspective on memory and film from early cinema to the present. The first section examines the relationship between official and popular history and the constitution of memory narratives in and around the production and consumption of American cinema. The second section examines the politics of memory in a series of chapters that take as their focus three pivotal sites of national conflict in postwar America. This includes the war in Vietnam, American race relations and the Civil Rights Movement, and the history of marginality in the geographic and cultural borderlands of the US. The book explores the articulation of Vietnam. The final section concentrates on the issue of mediation; it explores how technological and semiotic shifts in the cultural terrain have influenced the coding and experience of memory in contemporary cinema. It considers both the presence of music and colour in nostalgia films of the 1990s and the impact of digital and video technologies on the representational determinants of mediated memory. The book also examines the stakes of cultural remembering in the United States and the means by which memory has been figured through Hollywood cinema.
and videotechnologies on the
representational determinants of mediated memory.
Focusing on the place and function of music in contemporary retro
movies, Philip Drake considers how the past has been dealt with
stylistically in films such as Jackie Brown (1997) and Sleepless
in Seattle (1993). In ‘“Mortgaged to music”: new retro
movies in 1990s Hollywood cinema’, Drake makes a distinction between
This book is about science in theatre and performance. It explores how theatre and performance engage with emerging scientific themes from artificial intelligence to genetics and climate change. The book covers a wide range of performance forms from the spectacle of the Paralympics Opening Ceremony to Broadway musicals, from experimental contemporary performance and opera to educational theatre, Somali poetic drama and grime videos. It features work by pioneering companies including Gob Squad, Headlong Theatre and Theatre of Debate as well as offering fresh analysis of global blockbusters such as Wicked and Urinetown. The book offers detailed description and analysis of theatre and performance practices as well as broader commentary on the politics of theatre as public engagement with science. It documents important examples of collaborative practice with extended discussion of the Theatre of Debate process developed by Y Touring theatre company, exploration of bilingual theatre-making in East London and an account of how grime MCs and dermatologists ended up making a film together in Birmingham. The interdisciplinary approach draws on contemporary research in theatre and performance studies in combination with key ideas from science studies. It shows how theatre can offer important perspectives on what the philosopher of science Isabelle Stengers has called ‘cosmopolitics’. The book argues that theatre can flatten knowledge hierarchies and hold together different ways of knowing.
/procreative meaning) does not quite metonymically extend to
explicitly referencing the male sex organ, it certainly raises
that bit of anatomy to the surface of most people’s
consciousness. Admittedly, the image of the organ as a brief flash frame
can almost seem a hallucination, a hallucination we might not want to
admit we have had. Therefore, to borrow from Freud—the reader
will soon see that this is a psychoanalytic study of Bergman’s
film—we may well ask if sex is sometimes simply a six? Videotechnology coupled with a
Indigenous media and the Video nas Aldeias project
't they simply watch their videos?’
Film-making and culture
When projects to introduce videotechnology to culturally distinctive minority communities, such as indigenous groups in Amazonia or Aboriginal communities in Australia, were first developed in the 1980s, certain authors argued that given that the whole apparatus of film-making is so burdened with hegemonic Western cultural values, far from empowering these communities, as the initiators of these
they have been awarded prizes and commendations. Another indirect indicator of their ethnographic status is that almost all Longinotto's major films are now distributed by the Royal Anthropological Institute.
Towards the end of the 1990s, a rather different form of para-ethnographic film-making became prominent on British television. This was enabled by developments in lightweight digital videotechnology which allowed a single person to shoot and at the same time to record
appear unattainable, in contrast, Lisa
emerges at the end of Speaking Parts with her desired
relationship with Lance, a relationship significantly enabled by her
failed attempt to learn to use videotechnology.
Up to a certain point, Egoyan’s films depict a
familiar scenario in which technology has simultaneously obliterated
textuality, memory, and agency. Like techno-paranoia films or
of an ‘app’.
David MacDougall's films with Indian children: The Doon School Quintet
These technological changes were also impacting directly on the MacDougalls’ own work as film-makers. For another major rupture between their early film-making praxis in Africa and Australia and their later work in India was the abandonment of 16 mm film in favour of digital videotechnology.
Tempus de Baristas
would prove to be the last film that they
performance, a screen
above the performers’ heads displayed sometimes a ‘live’ feed from the
camera in Myon’s head, so Myon’s ‘point-of-view’, and sometimes a
recording made using Myon’s camera but played back on cue via a different
videotechnology, presumably operated by a stage technician, although
this is not made clear, so is deceptive in some sense. For example, in one
sequence of the final performance, a recording gave a clip from a series
of rehearsals involving Arno Waschk the conductor trying to teach
Myon to conduct. An image on the screen also showed Myon