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Journal articles on the topic 'BBC Documentary'
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Hughes, Virginia. "BBC apologizes for airing AIDS 'denialist' documentary." Nature Medicine 13, no. 12 (2007): 1391. http://dx.doi.org/10.1038/nm1207-1391.
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Longhurst, Brian, and Roger Silverstone. "Framing Science: The Making of a BBC Documentary." Man 21, no. 4 (1986): 786. http://dx.doi.org/10.2307/2802956.
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Williams, Samantha. "Can you help a medical documentary for the BBC." Journal of Neonatal Nursing 14, no. 5 (2008): 176. http://dx.doi.org/10.1016/j.jnn.2008.08.002.
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Boon, Tim. "British Science Documentaries: Transitions from Film to Television." Journal of British Cinema and Television 10, no. 3 (2013): 475–97. http://dx.doi.org/10.3366/jbctv.2013.0151.
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The relationship between documentary films made for projection and television documentaries has not been studied in any sustained way. This is partially a product of the weakness of the literature on both postwar documentary and of the development of the form within the new medium. This article uses a combination of biography and formal analysis to begin to address this lacuna in the literature as it relates in particular to films and programmes with scientific themes. It examines four individuals who worked in documentary film before spending varying amounts of time in television: Duncan Ross, Paul Rotha, Michael Orrom and Ramsay Short, who joined the BBC respectively in 1947, 1953, 1954 and 1963. The analysis shows that those who stayed long term at the BBC (Ross and Short) adapted their technique to the new medium, while Rotha and Orrom – who both left after a comparatively short time – mainly sought to use TV as a medium for broadcasting existing documentary styles. It concludes that the approach of taking biographical details and formal qualities is useful, but that larger samples of programme-makers would be required to reach firm conclusions about the relationship between documentary films made for projection and television documentaries
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Klepac, Petra, Stephen Kissler, and Julia Gog. "Contagion! The BBC Four Pandemic – The model behind the documentary." Epidemics 24 (September 2018): 49–59. http://dx.doi.org/10.1016/j.epidem.2018.03.003.
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Hill, John. "‘Blurring the lines between fact and fiction’: Ken Russell, the BBC and ‘Television Biography’." Journal of British Cinema and Television 12, no. 4 (2015): 452–78. http://dx.doi.org/10.3366/jbctv.2015.0280.
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Working for the BBC arts programmes Monitor and Omnibus during the 1960s, Ken Russell was responsible for a series of biographical films based on the lives of painters and composers. Tracing the development of Russell's work from Prokofiev (1961) and Elgar (1962) through to Bela Bartok (1964) and The Debussy Film (1965), the article examines how Russell's incorporation of elements of drama into the arts documentary generated arguments, both within the BBC and beyond, about the legitimacy of mixing ‘fact’ and ‘fiction’ in such works. These debates focused, in particular, on the use of ‘dramatic reconstruction’ and subjective ‘interpretation’ and the ‘fairness’ of the films’ treatment of the artists and composers with which they dealt. As a result of its unusually explicit representations of sex and violence, Russell's film about the composer Richard Strauss, Dance of the Seven Veils (1970), took these arguments to a new level. Through an examination of the responses that the film generated, the article concludes that, due to the degree to which the programme departed from BBC norms of documentary practice and the related values of ‘impartiality’ and ‘good taste’, it became a work that tested the very limits of what the BBC then considered it possible to transmit.
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Worrall, Matt. "College to feature in flagship science documentary." Bulletin of the Royal College of Surgeons of England 90, no. 2 (2008): 59. http://dx.doi.org/10.1308/147363508x276468.
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The College is to feature in a documentary being produced for the latest series of BBC science programme, Horizon, focusing on the medical use of cadavers. The programme looks at the growth in the use of human tissue in training and surgery, and explores the practicalities involved in the supply of bodies. The film will feature footage of a course in our new Wolfson surgical skills centre and an interview with Dick Rainsbury, director of education, explaining why bodies are so important for surgical training.
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Andrews, Hannah. "BBC4 Biopics: Lessons in Trashy Respectability." Journal of British Cinema and Television 13, no. 3 (2016): 409–29. http://dx.doi.org/10.3366/jbctv.2016.0327.
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Between its launch in March 2002 and 2013, BBC4, the BBC's niche arts and culture digital channel, broadcast a cycle of biographical dramas, largely about the unhappy personal lives of British cultural and political icons of the twentieth century. Alongside stylish continental European drama imports, world cinema and documentary programmes, biopics became a key marker of the BBC4 brand and its dominant home-grown dramatic output. In scholarly work on television biopics to date, the genre has been seen as akin to tabloid newspapers, conceived as a trashy cultural form that reduces the importance and seriousness of biographical narrative. However, in recent years biographical drama has been used by upmarket television brands like HBO, Showtime or, indeed, the BBC as a mark of distinction and respectability. This article analyses this dynamic in relation to BBC biopics, exploring how a specific dramatic genre is used to reinforce the brand image of a niche digital channel. It focuses not only on the benefits of such material for attracting both within and beyond the channel's intended demographic, but also on certain of the ethical and legal challenges intrinsic to a genre that exploits the personal stories of real people.
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Holmes, Su. "‘I'm certainly not one of these women's libbers’: Revisiting Gender inThe Family." Journal of British Cinema and Television 12, no. 3 (2015): 300–320. http://dx.doi.org/10.3366/jbctv.2015.0267.
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In 1974 the BBC screened the twelve-part documentary serial The Family. Yet despite the title of the programme, and its promise to open up the gendered terrain of the domestic sphere, The Family has largely been conceptualised with regard to discourses of class rather than gender. Given the famous slogan of second-wave feminism that the ‘personal is political’, The Family provides a fertile terrain upon which to consider how discourses relating to the women's movement at the time were negotiated within a particularly (tele)visible domestic sphere. It was often at the level of the micro-political – the everyday oppressions in women's daily lives – that the second wave often sought to politicise the nature of female subjectivity (Tyler 1997). In 1974, many critics and viewers lamented the fact that the wider social insight promised by The Family's publicity failed to transpire, suggesting that it was ultimately about ‘nothing much’. In challenging this view, this article seeks to contribute to the project of writing women, at the level of representation and critical reception, back into the history of canonical documentary texts, a process which can involve revisiting documentaries that have been untouched by feminist scholarship ( Waldman and Walker 1999 ). In doing so, it draws upon archival research undertaken at the BBC Written Archive Centre as based upon press cuttings, internal production memos and BBC Audience Research reports.
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Rosenbaum, Jonathan. "Negotiating the Pleasure Principle: The Recent Work of Adam Curtis." Film Quarterly 62, no. 1 (2008): 70–75. http://dx.doi.org/10.1525/fq.2008.62.1.70.
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Abstract This essay discusses the most recent BBC documentary series by Adam Curtis: The Century of the Self, The Power of Nightmares, and The Trap. It is argued that the theses of the films are to a degree undermined by Curtis's reliance on the same persuasive, advertising-style techniques that are being critiqued.
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Richards, Morgan. "Global Nature, Global Brand: Bbc Earth and David Attenborough's Landmark Wildlife Series." Media International Australia 146, no. 1 (2013): 143–54. http://dx.doi.org/10.1177/1329878x1314600118.
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Landmark wildlife series like Life on Earth (1979), Planet Earth (2006) and Frozen Planet (2011) are synonymous with the BBC, and are largely seen as unquestioned embodiments of its public service values. Yet the landmark format for wildlife programming was designed from its outset to appeal to international television markets, particularly the US market. This article examines the history and evolution of David Attenborough's landmark series, tracing the development of the landmark format from its roots in the BBC's programming policy of the early 1960s through broader changes in national and international television markets to the development of the global brand BBC Earth. Combining close analysis of landmark wildlife series with ethnographic interviews with BBC Natural History Unit staff and detailed archival research, the article focuses on the role of BBC wildlife documentary in debates about how public service media should be defined and understood. It is concluded that landmark wildlife series have always evinced the tensions between the BBC's public service values and the need for these series to appeal to global television markets.
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Madsen, Virginia. "Innovation, women’s work and the documentary impulse: pioneering moments and stalled opportunities in public service broadcasting in Australia and Britain." Media International Australia 162, no. 1 (2016): 19–32. http://dx.doi.org/10.1177/1329878x16678933.
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This article explores the roles of some of the key women producers, broadcasters and writers who were able to work within the British Broadcasting Corporation (BBC) and Australian Broadcasting Corporation (ABC) from their foundational periods to the 1950s. Despite the predominantly male culture of radio broadcasting from the 1920s to the 1970s, this article considers the significance and long-term impacts of some of these overlooked female pioneers at the forefront of developing a range of new reality and ‘talk’ forms and techniques. While the article draws on primary BBC research, it also aims to address these openings, cultures and roles as they existed historically for women in the ABC. How did the ABC compare in its foundational period? Significantly, this paper contrasts the two organisations in the light of their approaches to modernity, arguing that BBC features, the department it engendered, and the traditions it influenced, had far reaching impacts; one of these relating to those opportunities opened for women to develop entirely new forms of media communication: the unrehearsed interview and actuality documentary programmes.
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Cooke, Lez. "Six and ‘Five More’: Experiments in Filmed Drama for BBC2." Journal of British Cinema and Television 14, no. 3 (2017): 298–323. http://dx.doi.org/10.3366/jbctv.2017.0375.
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In 1964–6 John McGrath produced two series of filmed dramas for BBC2, the first under the series title Six, while the second series, provisionally titled ‘Five More’, was transmitted without a series title. At a time when most drama was being produced from the television studio, some of it still being transmitted live, this was a new departure, with the first six films pre-dating Up the Junction (1965) and the second series predating Cathy Come Home (1966), the two Wednesday Plays which have been celebrated for making the breakthrough to filmed drama at the BBC. Unlike the Loach/Garnett films, which were made by the Drama Department, McGrath's series were commissioned by Huw Wheldon's Documentary and Music Programmes department, which also produced Peter Watkins’ Culloden (1964), and were described as a hybrid of ‘documentary fiction’. In fact, they were an eclectic mix of different forms and styles, from Ken Russell's silent cinema pastiche, The Diary of a Nobody (1964) to Philip Saville's experimental The Logic Game (1965) and John Irvin's lyrical Strangers (1966). This article seeks to reconsider these films as examples of forgotten television drama from the mid-1960s and to examine the claim that they represent a new form of ‘documentary fiction’.
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Cao, Qing. "China Through Western Eyes. A Case Study of the BBC Television Documentary Roads to Xanadu." European Journal of East Asian Studies 6, no. 2 (2007): 275–97. http://dx.doi.org/10.1163/156805807x256890.
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AbstractDespite a growing body of literature on the study of the Western media's portrayal of China, little attention has been paid to the structures underlying the representation of China. This essay aims to address this issue through an in-depth analysis of a British television documentary series, Roads to Xanadu (1990). It focuses on dominant perspectives constructed in the series by analysing documentary narrative as a mode of realising discourse. The essay argues that underlying the representation is a technological view of society. Shifting between realpolitik industrialism and liberal democratic humanism, the series attempts to arrive at a unified and unifying version of 'progress' through a modernist discourse.
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Holden, Janice Miner, Kathy Oden, Kelly Kozlowski, and Bert Hayslip. "Teaching about Near-Death Experiences: The Effectiveness of Using the Day I Died." OMEGA - Journal of Death and Dying 63, no. 4 (2011): 373–88. http://dx.doi.org/10.2190/om.63.4.e.
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In this article, we reviewed results of research on near-death experiences (NDEs) over the past 3 decades and examined the effect of viewing the hour-long 2002 BBC documentary The Day I Died: The Mind, the Brain, and Near-Death Experiences on accurate knowledge about near-death experiences among advanced undergraduates at a southwestern university. In a quasi-experimental research design, the experimental group completed a 20-item questionnaire before and after viewing the documentary ( n = 66; 45 females, 21 males), and the waitlist control group completed the questionnaire as pre- and posttest before viewing the documentary ( n = 39; 36 female, 3 male). The two groups' scores at pretest were not significantly different ( p > .05). Group by occasion repeated measures ANOVA revealed the experimental group's posttest scores moved significantly in the direction of correctness with a large effect size ( p < .001; η2= .56), whereas waitlist control group posttest scores remained similar to pretest scores. We discuss two exceptions to the effectiveness of the documentary and recommendations for educators using it as well as for future research.
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Murphy, Kate. "‘New and important careers’: how women excelled at the BBC, 1923–1939." Media International Australia 161, no. 1 (2016): 18–27. http://dx.doi.org/10.1177/1329878x16664998.
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From its beginnings in 1923, the BBC employed a sizeable female workforce. The majority were in support roles as typists, secretaries and clerks but, during the 1920s and 1930s, a significant number held important posts. As a modern industry, the BBC took a largely progressive approach towards the ‘career women’ on its staff, many of whom were in jobs that were developed specifically for the new medium of broadcasting. Women worked as drama producers, advertising representatives and Children’s Hour Organisers. They were talent spotters, press officers and documentary makers. Three women attained Director status while others held significant administrative positions. This article considers in what ways it was the modernity and novelty of broadcasting, combined with changing employment possibilities and attitudes towards women evident after the First World War, that combined to create the conditions in which they could excel.
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Usherwood, Bob, and Margaret Usherwood. "Culture wars, libraries and the BBC." Library Management 42, no. 4/5 (2021): 291–301. http://dx.doi.org/10.1108/lm-12-2020-0175.
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PurposePublic libraries and public service broadcasters are threatened by political developments in the UK and USA. They are targets in a divisive culture war waged by ideological organisations that disseminate misleading and false information about social and political matters on line, on screen and in print. The purpose of this paper is to alert information professionals to this issue and suggests that, although they should not engage in this war, they must be prepared to use their professional expertise to identify and correct unreliable material. Further, they should cooperate with other true information organisations to expose the fallacious sources that endanger democracy.Design/methodology/approachThe authors analysed material from academic texts and papers, professional journals, serious contemporary journalism, political manifestoes, Internet blogs and items from the BBC sound archive to illustrate the history, size and nature of the problem and to suggest how it might be dealt with. This documentary analysis was based on the belief that information professionals are not the only people examining and concerned about this issue. It therefore included material from a wide range of other disciplines, including psychology, medicine and politics.FindingsThere is evidence that populist movements from the political right dislike information organisations and have historically, through misinformation and misrepresentation, persuaded working class citizens that they are being exploited by an elite. Public libraries and the BBC are highly trusted organisations, but much of the British public goes to sources it trusts least, such as tabloid newspapers, for information on politics and society. Librarians and BBC broadcasters demonstrated their value during the COVID-19 pandemic, but they need to engage with other professional groups to fully understand what is happening and counteract the threats it presents to our democracy.Originality/valueThe paper deals with a significant current issue that needs to be considered urgently by practitioners, academics and policy makers. It includes practical examples and suggestions demonstrating how information workers have and can help their users identify and use trusted and accurate information sources and perhaps be made aware of editorial bias.
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Stezhko, N. G. "The history of television documentary drama genesis, its ontological characteristics." Proceedings of the National Academy of Sciences of Belarus, Humanitarian Series 63, no. 4 (2018): 482–89. http://dx.doi.org/10.29235/2524-2369-2018-63-4-482-489.
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The article analyses the genesis of television documentary drama and its dual nature that causes much controversy among film theorists. The ontological characteristics of docudrama are considered, in particular its intrinsic connection with documentary theatre. Docudrama originated at the junction of feature films and documentary films at the time when directors raised important social and historical issues that occurred in the state. The docudrama prototype emerged long before the invention of television and is associated with the first newsreels and films of E. Curtis and R. Flaherty. This experiment had developed greatly with the advent of television, which is characterized by a combination of intimacy, focus on close-ups and the ability to tell stories based on real events. The article highlights the formation of documentary drama on BBC that explored all spheres of life with great interest - from British culture and history to social and political topics. The article traces the popularity and relevance of docudrama at the present stage and its settlement into a stable form. This allows to establish docudrama as an independent form of screen arts. The article studies also the formation and development of docudrama in Belarus that is first of all connected with the director Vladimir Bokun.
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Collins, Karen. "Calls of the wild? ‘Fake’ sound effects and cinematic realism in BBC David Attenborough nature documentaries." Soundtrack 10, no. 1 (2017): 59–77. http://dx.doi.org/10.1386/ts.10.1.59_1.
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The BBC’s Planet Earth II represented a landmark in natural history documentary television, using the latest technologies to capture nature in ways never before seen or heard. But the series was mired in accusations of ‘fakery’ and ‘trickery’ when it came to the sound, due to its entirely post-production soundtrack. This article explores these accusations in the context of the history of Attenborough documentaries and contemporary practice.
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Richards, Morgan. "Digitising Dinosaurs." Media International Australia 100, no. 1 (2001): 65–79. http://dx.doi.org/10.1177/1329878x0110000108.
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This article reflects on the intersection of science, art and technology in the construction of the televisual dinosaur. In particular, it is concerned with the class of digital dinosaurs hatched in Jurassic Park (1993) and The Lost World (1997), powered by the latest digital technologies for the reinscription of the filmic and televisual image, and recently grafted to that most domestic of media genres, the animal documentary. Focusing on the BBC television series Walking with Dinosaurs (1999), the digital dinosaur is proposed as an object of mimetic desire in which narratives of intimacy and otherness, resurrection and loss, anthropomorphism and monstrosity are played out. In analysing exactly how the mimetic is achieved, an alternative balance between science and art is proposed, one that foregrounds the complexities and paradoxes of a television program that offers realistic depictions of things we know don't exist in the familiar guise of an animal documentary.
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Jones, Charlotte, Ingrid Young, and Nicola Boydell. "The People vs the NHS: Biosexual Citizenship and Hope in Stories of PrEP Activism." Somatechnics 10, no. 2 (2020): 172–94. http://dx.doi.org/10.3366/soma.2020.0312.
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Discourses of pre-exposure prophylaxis (PrEP) revel in its radical potential as a global HIV prevention technology, offering a promise of change for the broader landscape of HIV prevention. In 2018, the British Broadcasting Corporation (BBC) aired The People vs The NHS: Who Gets the Drugs?, a documentary focused on the ‘battle’ to make PrEP available in England. In this article we explore how the BBC documentary positions PrEP, PrEP biosexual citizen-activists, as well as the wider role of the NHS in HIV prevention and the wellbeing of communities affected by HIV in the UK. We consider how biosexual citizenship ( Epstein 2018 ) is configured through future imaginaries of hope, and the spectral histories of AIDS activism. We describe how The People crafts a story of PrEP activism in the context of an imagined gay community whose past, present, and hopeful future is entangled within the complexities and contractions of a state-funded health system. Here, PrEP functions as a ‘happiness pointer’ ( Ahmed 2011 ), to orient imagined gay communities towards a hopeful future by demanding and accessing essential medicines and ensuring the absence of needless HIV transmissions. This biomedical success emerges from a shared traumatic past and firmly establishes the salvatory trajectory of PrEP and an imagined gay community who have continued to be affected by HIV. However, campaigns about the individual's right to access PrEP construct the availability and consumption of PrEP as an end goal to their activism, where access to PrEP is understood as an individual's right as a pharmaceutical consumer.
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Cook, John R. "Who Banned The War Game? A Fifty-Year Controversy Reassessed." Journal of British Cinema and Television 14, no. 1 (2017): 39–63. http://dx.doi.org/10.3366/jbctv.2017.0351.
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The War Game (BBC TV, 1965), directed by Peter Watkins, is one of the most famous films from the 1960s. Banned from TV for twenty years, it gained a limited cinema release which saw it go on to win an Oscar in 1967. Suspicions have long circulated that the BBC's decision to ban the film from TV arose as a result of pressure from government amid fears of the effect that Watkins' documentary dramatisation of a nuclear attack on the UK might have on mass TV audiences. On the fiftieth anniversary of the censorship of the film, this article takes a fresh look at the controversy, examining previously classified Cabinet Office papers and tracing in greater detail than ever before how ministers and civil servants working for Harold Wilson's 1964–70 Labour government reacted to and dealt with the issue. From this evidence, the article argues that the TV censorship of The War Game involved a complex interaction between civil servants in Whitehall, government ministers, including Prime Minister Harold Wilson himself, the Director-General of the BBC and the Chairman of the BBC Board of Governors. The article traces the close relationship between Whitehall and the upper echelons of the BBC during this Cold War period, and argues that The War Game offers a very interesting historical case study which raises disturbing questions both about the limits of the BBC's professed liberalism of the 1960s and about the true extent of its much-vaunted independence from government. The latter is particularly important in the light of more recent and current threats to that independence.
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Rek-Woźniak, Magdalena, and Wojciech Woźniak. "BBC’s Documentary “Stadiums of Hate” and Manufacturing of the News: Case Study in Moral Panics and Media Manipulation." Journal of Sport and Social Issues 44, no. 6 (2020): 515–33. http://dx.doi.org/10.1177/0193723519899244.
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The article is based on a critical case study of the BBC’s investigative documentary titled Stadiums of Hate and the public’s response to it. The documentary was broadcasted 11 days before the kickoff of Euro 2012 (UEFA [Union of European Football Associations] European Championships in Football), the first sport mega event hosted in Poland and Ukraine. The main theme was football-related racism and violence allegedly threatening the safety of the fans coming to the tournament. The article follows Amanda Rohloff’s proposal combining the Eliasian conceptual framework of civilizing processes with the moral panics approach to describe the effort to amplify the spiral of public outcry toward the hosts of Euro 2012 in an attempt to modernize and civilize the Eastern European world of football. The moral panics spiral was brought to an end by the tournament which did not justify grim predictions. The article combines analysis of media content and the public statements with interviews conducted with some of the informants of the BBC journalists.
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Berkson, Sam. "Hip Hop World News: reporting back." Race & Class 59, no. 2 (2017): 102–14. http://dx.doi.org/10.1177/0306396817716053.
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Responding to the BBC 4 documentary, The Hip Hop World News, the author examines a number of debates that the programme, narrated by Rodney P, a pioneer of British rap music, and a believer in the revolutionary potential of hip hop culture, throws up. For hip hop also has many reactionary elements and has become big business for the corporations and rap ‘stars’ involved in its production. Beyond just pointing to individual rappers who have been ‘conscious’ political voices, such as Public Enemy’s Chuck D, we are shown structures embedded in the origins and ‘elements’ of hip hop that continue to make it a ‘voice of the voiceless’. Some people, like Lord Jamar, who is interviewed on the documentary, have argued that hip hop as a black art form can only be performed by black artists, yet, as Rodney P points out, hip hop has been adopted everywhere to express and transmit the situations and struggles of marginalised and oppressed groups all over the globe.
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Cass, Philip. "REVIEW: Scottish workers’ act of solidarity in Chile struggle." Pacific Journalism Review : Te Koakoa 25, no. 1&2 (2019): 301–2. http://dx.doi.org/10.24135/pjr.v25i1and2.500.
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Nae Pasaran. Documentary directed by Felipe Bustos Sierra. BBC Scotland/Conejo Nacional de la Cultura y las Artes/Creative Scotland. 2018. 96 minutes.IN 1973, the Chilean military, with the encouragement of US President Richard Nixon and Secretary of State Henry Kissinger and the collusion of the CIA, overthrew the democratically elected socialist government of Salvador Allende.In the years that followed, tens of thousands of people were murdered, detained and tortured by the regime, which became increasingly brutal in its repression of opposition. Hundreds of Chileans fled broad, aided and abetted by foreign governments, trades union and church organisations.
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Wyver, John. "The Filmic Fugue of Ken Russell's Pop Goes the Easel." Journal of British Cinema and Television 12, no. 4 (2015): 438–51. http://dx.doi.org/10.3366/jbctv.2015.0279.
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First broadcast as an episode of BBC Television's Monitor in 1962, Ken Russell's documentary film Pop Goes the Easel profiles four young artists: Pauline Boty, Peter Phillips, Derek Boshier and Peter Blake. With an exuberant and varied approach to filming, Pop Goes the Easel is a rich and revealing document of early Pop Art in London. This article situates the film within the context of television's engagement with the visual arts in the medium's first 25 years. It is argued that part of its significance within the tradition of the visual arts on television is its resistance to the determinations of an explanatory voice and that its achievement combines and develops approaches of photojournalism, documentary and art cinema from the mid and late 1950s. It is further proposed that Pop Goes the Easel is especially noteworthy for its finely tuned balancing of tensions between discourses traditionally understood as oppositional: the stasis of artworks versus the linear narrative of film; the indexical qualities of documentary versus the inventions of fiction; the mass-produced elements and images of popular culture versus the individual authorship and authority of high art; the abstracted rationality of critical discourse versus explosions of embodied sensuality; and the determinations and closure of a singular meaning versus polysemic openness.
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Akpome, Aghogho. "Late Capitalism, Urbanisation, and Cultures of Economic “Survivalism” in the BBC's Welcome to Lagos." Africa Spectrum 52, no. 1 (2017): 101–13. http://dx.doi.org/10.1177/000203971705200105.
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This article examines the depiction of three impoverished Lagosian slums in the controversial British Broadcasting Corporation (BBC) documentary, Welcome to Lagos, which highlights the negative impacts of globalised capitalism on urban culture in Nigeria's commercial centre and biggest city. In recent times scholarship on postcolonial urbanisation has been marked by an important shift in focus from economic concerns to interest in the peculiar cultural dimensions of life in postcolonial cities. As this article argues, however, dominant depictions of postcolonial cities continue to highlight ways in which cultural responses to the harsh effects of late capitalism in such cities reflect economic strategies of what Mike Davis calls “informal survivalism.”
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Munro, Kenny. "Explorer and Teller of Celluloid Tales: James Wilson – Veteran International Filmmaker and Producer for BBC Scotland." Scottish Affairs 23, no. 4 (2014): 522–39. http://dx.doi.org/10.3366/scot.2014.0049.
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The importance of documentary filmmaking as a living medium and its historic contribution to recording and preserving Scotland's culture and international viewpoint cannot be overstated. But before the digital age, where was all this film material stored and what has survived? The current debate on film restoration and public access is ongoing and is illustrated through this article with my personal introduction to veteran BBC film producer James (Jim) Wilson whose enterprising career has documented so much of the twentieth century. Reflecting on this unique creative achievement, the historical context and value of his films, and those of others to society, deserve closer scrutiny. Questions need to be raised regarding government policy on film preservation and how Lottery funding can further support film restoration. Clarification is required, in this case, of possible relaxation to certain BBC licensing agreements to stimulate cooperation. Discussions are in progress which highlight the growing demand for more democratisation and further public access to these celluloid assets which can be quickly forgotten or destroyed. It is therefore encouraging that new partnerships are being forged to identify and restore the vast film collections. Building on the very significant activities of Scottish Screen Archive/National Library of Scotland. They deliver services on several levels including online film archive research/restoration facilities and exhibitions. But there is still a great deal of work to be done in this field. The Wilson film legacy is one such area and a meeting with BBC has been arranged to discuss the future potential of celebrating this special film collection.
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Synieokyi, O. "The study of sessional recordings of 1962-1972 from the BBC radioarchive (The Beatles, Pink Floyd, Deep Purple)." Visnyk of Kharkiv State Academy of Culture, no. 59 (July 16, 2021): 19–32. http://dx.doi.org/10.31516/2410-5333.059.02.
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Due to the recent increase in research interest in phono documents, which were created specifically for radio, a documentary analysis of the creation of music programs of the British Broadcasting Corporation is provided. Particular attention is paid to an overview of the chronology of recording sessions for a number of selected bands from the BBC’s archival collection (1962–1972). The role of John Peel in the creation of creative music programs within the framework of “Radio 1” was noted. The study showed that the digitalization of archival space has brought new opportunities for finding lost rarities that were at the origins of rock music. Both positive and negative trends in the restoration and use of archived musical phonograms from radio storages are noted.
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Köhne, Julia Barbara. "Britische Kriegsspiele 1916/2002. Repräsentationen soldatischer und nationaler Traumata des Ersten Weltkriegs. Ein wissenschaftlicher Film und eine BBC-Documentary." Die Philosophin 15, no. 30 (2004): 95–108. http://dx.doi.org/10.5840/philosophin2004153012.
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Rogers, Kathryn E. "Story First, Technology Second." Advances in Archaeological Practice 8, no. 4 (2020): 428–33. http://dx.doi.org/10.1017/aap.2020.37.
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OVERVIEWCombining the strengths of “traditional” documentary filmmaking (as “creative treatments of actualité”) with the immersive power of interactive digital technologies (from 360° video to VR to data mining to algorithms), i-Docs can transform audiences into participants, co-creators, and collaborators in nonfiction storytelling, allowing them to not only explore and experience a story on their own terms but to remix, share, and contribute their own content to a collective story. i-Docs are cross- and multiplatform, screening across cinema, computers, smartphones, and gallery installations. Showcased at leading film festivals, increasingly adopted by broadcasters—including PBS, Al Jazeera, and BBC—and critically acclaimed from the Webbys and the Pulitzers to Cannes, the i-Doc sector is set to boom. After a close reading of two i-Docs, Hunt for the Inca Ruins (2017) and Saydnaya (2016), I consider the potential of i-Docs to resolve archaeologists’ concerns about misrepresentation, accuracy, information quality, (co)authorship, and crediting original research in documentary storytelling. I also examine the sector's shortcomings of unstable production pathways, funding sources, technologies, and difficulties assessing impact. I propose that archaeologists should engage proactively with the i-Doc sector if we wish to avoid the pitfalls previously encountered in film and factual TV and make the most of this new format.
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Adjei, Paul Banahene. "Mazrui and His Critics." American Journal of Islam and Society 22, no. 2 (2005): 87–89. http://dx.doi.org/10.35632/ajis.v22i2.1724.
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This work is a review essay of two books: Africanity Redefined: CollectedEssays of Ali A. Mazrui, edited by Ali Alamin Mazrui, Ricardo ReneLaremont, Tracia Leacock Seghatolislami, Michael A. Toler, and FouadKalouche (Africa World Press: 2002) and Governace and Leadership:Debating the African Condition: Ali Mazrui and His Critics, edited byAlamin M. Mazrui and Willy Mutunga (Africa World Press: 2003) Theseare the first two volumes in a three-volume work dealing with the correspondenceamong Ali Mazrui and his opponents, as well as his supporters,on issues relating to Africa.Mazrui, a Kenyan scholar, is currently Albert Schweitzer professor inhumanities and director of the Institute of Global Cultural Studies, BinghamtonUniversity, State University of New York. An Oxford scholar, he isalso Albert Luthuli professor-at-large in humanities and development studiesat the University of Jos, Nigeria, as well as Andrew D. White professorat-large emeritus and senior scholar in Africana studies at CornellUniversity (www.islamonline.net). In addition, he has authored many publicationsand television and radio documentaries. Perhaps his best-knownwork in the West is his BBC radio and television documentary series “TheAfricans,” which was co-produced by the BBC and the public televisionstation WETA.Writing on Mazrui, Sulayman Nyang of Howard University states:Ali Mazrui is a controversial but independent and original thinker. He isa master word-monger and certainly does not belong to that class of menwho lament that words fail them. …It is because of his conjurer’s abilityto negotiate between the realm of serious issues and the province of ...
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Wilson, Helen F. "Contact zones: Multispecies scholarship throughImperial Eyes." Environment and Planning E: Nature and Space 2, no. 4 (2019): 712–31. http://dx.doi.org/10.1177/2514848619862191.
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The contact zone is described as the space of imperial encounter. Against a backdrop of work that has used Mary Louise Pratt's concept of the contact zone to examine culture-making, and destabilize normative understandings of division, distinction, and bordering, the paper interrogates the value of utilizing the concept in multispecies contexts. To do so, the paper considers the relationship between the contact zone and the concept of encounter, noting how they overlap and depart as approaches to questioning embodied difference, colonial histories, and immanent potential. Turning to the BBC documentary series Blue Planet II, the paper uses the concept of the contact zone and discourse analysis to examine its dominant ideas, frontiers of difference, and the means through which alternative geographies are both foreclosed and enabled. It demonstrates how the concept of the contact zone can draw attention to the ocean as the documentary's site of production, where different forms of knowledge, technology, people, elements, and non-human life grapple with each other in conditions of uneven power. In moving between narrative and oceanic contact zones, the paper raises questions about practices of knowledge-making, uneven structures of power, and decipherability, to demonstrate what can be gained from staying with the postcolonial framing of the contact zone as a critical tool of analysis in multispecies scholarship.
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Watt, David. "The Maker and the Tool: Charles Parker, Documentary Performance, and the Search for a Popular Culture." New Theatre Quarterly 19, no. 1 (2003): 41–66. http://dx.doi.org/10.1017/s0266464x02000052.
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Charles Parker's BBC Radio Ballads of the late 1950s and early 1960s, acknowledged by Derek Paget in NTQ 12 (November 1987) as a formative influence on the emergence of what he called ‘Verbatim Theatre’, have been given a new lease of life following their recent release by Topic Records; but his theatrical experiments in multi-media documentary, which he envisaged as a model for ‘engendering direct creativity in the common people’, remain largely unknown. The most ambitious of these – The Maker and the Tool, staged as part of the Centre 42 festivals of 1961–62 – is exemplary of the impulse to recreate a popular culture which preoccupied many of those involved in the Centre 42 venture. David Watt, who teaches Drama at the University of Newcastle, New South Wales, began researching these experiments with work on a case study of Banner Theatre of Actuality, the company Parker co-founded in 1973, for Workers' Playtime: Theatre and the Labour Movement since 1970, co-authored with Alan Filewod. This led to further research in the Charles Parker Archive at Birmingham Central Library, and the author is grateful to the Charles Parker Archive Trust and the staff of the Birmingham City Archives (particularly Fiona Tait) for the opportunity to explore its holdings and draw on them for this article.
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Cordle, Daniel. "‘That's going to happen to us. It is’: Threads and the Imagination of Nuclear Disaster on 1980s Television." Journal of British Cinema and Television 10, no. 1 (2013): 71–92. http://dx.doi.org/10.3366/jbctv.2013.0122.
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The broadcast of Threads (BBC) on 23 September 1984 was a key moment in the Cold War imagination of nuclear catastrophe. Directed by Mick Jackson, and scripted by Barry Hines, the docudrama was widely trailed, attracted a large audience and was influential in defining a vision of what nuclear war would mean. The early 1980s had seen a resurgence in Cold War tensions with both superpowers adopting more bellicose rhetoric and actions; with nuclear war felt by many to be a distinct possibility, nuclear protest had also re-emerged as a shaping influence on the political landscape. Yet Threads is now, if not quite forgotten, certainly little known: with some notable exceptions, few critics have written about it and it has rarely been screened since its first broadcast. This article seeks to recover Threads and argue for its significance in providing 1980s Britain with a vision of what nuclear war would mean. It shows how it works within and against established television genres, exploiting the tensions between dramatic and documentary aesthetics, and how scheduling framed it as significant by placing it within the context of other documentary and discussion programmes. Finally, the article assesses the long-term impact of Threads. Although it swiftly faded from popular memory, it had a lasting impact on a specific demographic within its original audience: those who were adolescents or young adults when it was first broadcast. Not coincidentally, it was this generation who provided many of the new recruits for CND and other protest groups during the 1980s.
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Howard, Tony, and Tomasz Łubienski. "The Theatres of Józef Szajna." New Theatre Quarterly 5, no. 19 (1989): 240–63. http://dx.doi.org/10.1017/s0266464x00003328.
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In the summer of 1988 two events focused British attention on the great Polish scenographer Józef Szajna: he participated in an ambitious seminar at the Young Vic on the legacy of the absurd, and in a BBC documentary on the art produced by holocaust victims and survivors. After the war, Szajna emerged as a central figure for Polish theatre and then for the international avant-garde. He became a stage designer, sculptor, director, environmental artist, manager, scenarist and teacher. In the 1970s, Szajna created his famous series of dramatic ‘open theatre’ spectacles inspired by the lives and art of Witkiewicz, Dante, Cervantes, Mayakovsky - and Szajna. For Józef Szajna's biography has been extraordinary, harrowing, and iconic. His work has questioned the functions of theatre after Auschwitz and Hiroshima. In his Warsaw flat-cum-studio and at the Studio Theatre, he surveyed forty years of work for New Theatre Quarterly, in conversation with the playwright Tomasz Lubienski - from a more literary theatrical tradition - and with Tony Howard, who here compiles a collage portrait of his career. The translations are by Barbara Plebanek.
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Lubin, P., and S. Glockner. "Numerical simulations of three-dimensional plunging breaking waves: generation and evolution of aerated vortex filaments." Journal of Fluid Mechanics 767 (February 16, 2015): 364–93. http://dx.doi.org/10.1017/jfm.2015.62.
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AbstractThe scope of this work is to present and discuss the results obtained from simulating three-dimensional plunging breaking waves by solving the Navier–Stokes equations, in air and water. Recent progress in computational capabilities has allowed us to run fine three-dimensional simulations, giving us the opportunity to study for the first time fine vortex filaments generated during the early stage of the wave breaking phenomenon. To date, no experimental observations have been made in laboratories, and these structures have only been visualised in rare documentary footage (e.g. BBC 2009 South Pacific. Available on YouTube, 7BOhDaJH0m4). These fine coherent structures are three-dimensional streamwise vortical tubes, like vortex filaments, connecting the splash-up and the main tube of air, elongated in the main flow direction. The first part of the paper is devoted to the presentation of the model and numerical methods. The air entrainment occurring when waves break is then carefully described. Thanks to the high resolution of the grid, these fine elongated structures are simulated and explained.
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Ismail, Lizah. "Films on Demand Master Academic Video Collection." Charleston Advisor 21, no. 4 (2020): 27–30. http://dx.doi.org/10.5260/chara.21.4.27.
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Streaming media has reached a ubiquitous threshold, easily accessible in a variety of platforms for the general consumer in pursuit of entertainment. Streaming media in the educational context is not far behind. Films on Demand Master Academic Collection (FODMAC), an Infobase product (<<ext-link ext-link-type="uri" xlink:href="https://www.infobase.com/">https://www.infobase.com/</ext-link>>), is a popular option for many academic institutions. FODMAC’s content partners include many highly acclaimed and award- winning content producers such as PBS, BBC, TED, Bill Moyers, ABC, NBC, the Canadian Broadcasting Corporation, National Geographic, HBO Documentary Films, and Films for the Humanities and Sciences and features over 1,000 subject categories from 25 core academic subject areas that range from Anthropology to Engineering, Health and Medicine to Music and Dance, and Business and Economics to World Languages. Ease of access and convenient features such as sharing, customizable playlists and embedment in course management systems and other digital platforms make FODMAC a competitive resource as demand in educational streaming media grows.
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De Ornellas, Kevin. "From Tory Boy to #sadmanonatrain: Great British Railway Journeys and the hard and soft masculinities of Michael Portillo." Journal of Popular Television 9, no. 2 (2021): 251–63. http://dx.doi.org/10.1386/jptv_00053_1.
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Before 2005, Michael Portillo was a reviled populist, right-wing British Conservative politician. Seemingly, he is a now a mellowed national treasure due largely to his approachable, friendly, prolific series of travelogues, Great British Railway Journeys (2010‐present). This multi-series documentary has been a remarkable BBC success: delivering upbeat music, dynamic camera work, a repetitive format, rosy-tinted Victoriana and celebratory subject matter, the programme makers ensure that the programme is feel-good, cosy, nostalgic and soothing. But Portillo’s political inclinations are apparent: Portillo, sometimes quite subtly, expresses consistently his passion for free enterprise, for the supposed benefits of historical colonialism, for the monarchy, for the military and for social liberalism. A believer in an enterprise-encouraging small state and in personal liberty and social mobility, Portillo’s politics chime in directly with the current thinking of the Conservative Party leadership. In short, the apparently benign travelogue series promotes Portillo’s mainstream post-Thatcherite British Conservatism: an analysis of the ubiquitous programme’s understated but clear Conservatism counters right-wing accusations about the BBC’s alleged leftist bias.
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Davidson, Emma. "Between Edges and Margins: Exploring ‘Ordinary’ Young People's Experiences of the Everyday Antisocial." Sociological Research Online 18, no. 1 (2013): 222–32. http://dx.doi.org/10.5153/sro.2834.
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In an attempt to understand youth-related antisocial behaviour, UK social policy has typically sought answers from the edge; investigating the motivations of young people perpetrating deviant behaviour or exploring the experiences of victims. Equally polarised and sensationalist narratives are present in journalistic accounts, with Knight's Hood Rat and BBC documentary The Scheme both depicting the lives of young people in ‘disadvantaged’ neighbourhoods as on the margins of society. Drawing on ethnographic research conducted in a Scottish housing estate, this paper calls for a localised and situated approach to understanding ‘the antisocial’. The empirical data shows that young people do not fit easily into the dualist categories of ‘perpetrator’ or ‘victim’. Despite living in what could be classed an ‘antisocial’ place the majority of young people's everyday experiences were not spent on the margins but rather somewhere in-between, while their own identities were described as normal and unspectacular. The paper concludes by emphasising the value of research that situates understandings of ‘the antisocial’ within its everyday social context. This offers us the opportunity to take a broader analysis of young lives and crucially re-establish the connection between lives on the margins and the ‘missing middle’.
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Willink, Philip Wesley, Eustace Alexander, and Christopher Campbell Jones. "Using fish assemblages in different habitats to develop a management plan for the Upper Essequibo Conservation Concession, Guyana." Biota Neotropica 13, no. 4 (2013): 260–68. http://dx.doi.org/10.1590/s1676-06032013000400023.
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The Upper Essequibo Conservation Concession is a reserve in central-eastern Guyana managed by Conservation International. The site is uninhabited by people and poorly studied. The first scientific fish survey was in 2007 in conjunction with the filming of the BBC nature documentary Lost Land of the Jaguar. Aquatic habitats were primarily flowing water, ranging from the main channel of the Essequibo River to small forest creeks. Ponds and seasonally flooded forests were uncommon. Large predatory fishes were abundant in the Essequibo River. Fishes tolerant of low oxygen levels were common in flooded forests and small forest creeks. There was zero similarity between the fish assemblages of the Essequibo River and flooded forests / small forest creeks. The rest of the habitats and fish assemblages formed a continuum between these extremes. Imminent threats to the Upper Essequibo Conservation Concession include logging, mining, and over-fishing. Because of the heterogeneous distribution of fish assemblages, and because each threat will differentially affect different habitats, a two-pronged approach focusing on the ends of the habitat / fish assemblage continuum should be implemented in order to conserve the entire fish biodiversity of the Upper Essequibo Conservation Concession.
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Glover, Gyles, Ian Brown, and Chris Hatton. "How psychiatric in-patient care for people with learning disabilities is transforming after Winterbourne View." Tizard Learning Disability Review 19, no. 3 (2014): 146–49. http://dx.doi.org/10.1108/tldr-04-2014-0009.
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Purpose – Two censuses, from 2010 and 2013, respectively, shed light on the trend in use of in-patient psychiatric care for people with learning disability or autism following the BBC documentary exposing abuse of patients at Winterbourne View. The purpose of this paper is to consider the implications of the detailed trends for future care for this group. Design/methodology/approach – Published data from a recent (September 2013) census are compared with the re-analysis of a census undertaken by the Care Quality Commission in March 2010. Findings – An overall 35 per cent reduction in numbers of in-patients is made up of larger falls in groups generally easier to discharge (older, female, in general as opposed to secure units). There is also substantial variation around the country. Research limitations/implications – There are some uncertainties about the comparability of the two censuses and the question of how complete enumeration was of people with learning disabilities in general mental illness beds. Originality/value – The paper raise the question of whether the beds that are reducing fastest may be those most likely to be of value to a high quality and sustainable service in the long term.
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肖, 文. "The Shaping of China’s Image by Western Mainstream Media from the Perspective of Critical Discourse Analysis—Taking the BBC Documentary “Designed in China” as an Example." Modern Linguistics 09, no. 03 (2021): 711–18. http://dx.doi.org/10.12677/ml.2021.93096.
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Stanback, Brianne M. "SUITABLE? THE RHETORICAL AND LIFE COURSE IMPLICATIONS OF SERENA WILLIAMS AND THE CATSUIT." Innovation in Aging 3, Supplement_1 (2019): S537. http://dx.doi.org/10.1093/geroni/igz038.1972.
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Abstract Rhetorical inquires have shown connections between representation and power, workplace fashion and development of ethos, and the rhetoric of glamour through women’s fashion and dress. One element absent from that conversation is how the life course, which typically differs for women because of existing power structures advantaging men, may impact the experience of women as they age, their choice of dress, and the rhetorical implications of those decisions. To explore dress and rhetoric from a life course perspective, this project traces the evolution of Serena Williams’ work apparel across her professional tennis career to the catsuit worn at the 2018 French Open, which is the focus of the project. Press reports on the 2018 catsuit by Nike, New York Times, Sports Illustrated, Business Insider, BBC Sport, Washington Post, and Los Angeles Times, interviews given by Williams, and the television documentary, Becoming Serena, will be analyzed for their treatment of Williams’ work attire and the life course. Responses to the catsuit emphasize attitudes about gender, race, and class, either discounting or ignoring the life course implications such as motherhood and changes in health status. Despite professional success, responses about the catsuit may reflect that Williams faces the same jeopardies, and invisibility, common to many women as they age, and the rhetorical perspective provides new methodological and pedagogical possibilities for instruction in aging.
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Oldham, Joseph. "‘The trouble with treachery nowadays’: Revisiting the Age of Treason in Philby, Burgess and Maclean and Blunt." Journal of British Cinema and Television 15, no. 3 (2018): 396–417. http://dx.doi.org/10.3366/jbctv.2018.0429.
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The Cambridge spy ring has been the subject of many dramatic representations on British television. While prior scholarship has largely focused on plays by Dennis Potter and Alan Bennett depicting the later lives of such figures, this article examines an alternative tradition: representations which re-enact events at the height of their careers in the early Cold War. I focus on two productions which centre specifically on events surrounding the 1951 defection of Guy Burgess and Donald Maclean, but from hugely contrasting perspectives. Firstly, Philby, Burgess and Maclean (ITV, 1977) by Ian Curteis covers a ten-year period from the 1945 ‘Volkov Incident’ to Kim Philby's exoneration in 1955. This production closely adheres to broadly accepted accounts of the case as known in the late 1970s, and I examine this is as a product of the public service-oriented drama-documentary culture of Granada Television. I then contrast this with the revised narrative presented in Robin Chapman's Blunt (BBC, 1987). Not only does this incorporate the newly revealed ‘fourth man’, Anthony Blunt, but it also offers a more humanised portrayal of Burgess and centres much of its drama on the marginal but implicated figure of Goronwy Rees. I explore how, in contrast to Curteis, Chapman takes greater artistic licence in examining the spies' personal lives, which resulted in a wave of controversy. I argue that this portrayal can be situated within a broader revisionist school of 1980s representation which mobilised these icons of an earlier generation's ideals in order to critique new political developments.
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Alberro, Heather. "Ecoutopia from Fiction to Fact: An Interview with Heather Alberro." Journal of Critical Studies in Language and Literature 1, no. 2 (2020): 44–47. http://dx.doi.org/10.46809/jcsll.v1i2.10.
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Human is at the heart of the story of climate change in the Anthropocene where, according to Dipesh Chakrabarty (2012), human behaviors have influenced the environment and created a distinct geological epoch. Current climate change issues are largely human induced. This implies that the human species is now part of the natural history of the planet. In November 2016, Stephen Hawking warned that humanity has 1000 years to leave the earth due to climate change, but in his most recent BBC documentary aired on June 15, 2017 called Expedition New Earth, he suggested humans have just 100 years left before doomsday. In spite of such warnings and writings, Donald Trump withdrew America from the Paris Climate Agreement on June 2017, on the same day, satellite images showed that a huge mass of ice in an area of five thousand square kilometres was breaking away from the Antarctic continent under the impact of rising temperature. It seems that Trump’s act is beyond ecological consideration as he believes the agreement could “cost America as much as 2.7 million lost jobs by 2025”. Projections of climate change, however, have shown horrible scenarios involving a central economic metropolis such as New York losing much of its lands because of rising sea levels. The inhabitants of such areas will have to uproot their communities and cultures to move to less vulnerable lands. Thus, it is important to examine how ecoutopian literature is responding to the conditions of the human being in this epoch. In the following interview, Heather Alberro has answered to some questions on climate change, the conditions of human being in the Anthropocene, and the role of literature and culture in relation to environmental issues.
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Morgan, Frances, and James Mooney. "‘The Same Trade as Mozart’: Convincing the sceptics of electronic music’s value." Journal of Popular Television 9, no. 1 (2021): 55–77. http://dx.doi.org/10.1386/jptv_00041_1.
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In August 1969, the music documentary series Workshop (1964–78) focused on electronic music in a 55-minute-long film titled ‘The Same Trade as Mozart’. Produced and directed by David Buckton, the film included interviews with composers Karlheinz Stockhausen, Tristram Cary and Justin Connolly; BBC Radiophonic Workshop staff Desmond Briscoe, David Cain and John Baker, and the Workshop’s founder, Daphne Oram; and Peter Zinovieff, director of EMS (Electronic Music Studios). It presented electronic music in a number of contexts, such as education, pop production and live performance. Technological change in music has often provoked hostility among the public and critics, and the rapid advancement of electronic music post-Second World War was no exception. Adopting a mode of analysis more commonly encountered in studies of the public communication of science, this article considers ‘The Same Trade as Mozart’ as an attempt by electronic music’s advocates, such as those listed above, to convince sceptics of its value. While sceptical responses to the presence of new technologies in music have been widely noted and theorized by scholars in science and technology studies, we call attention to the strategies employed by the advocates of such technologies to defend themselves against such criticisms, including humour, heuristic explanations and a focus on electronic music’s educational and thus social value. The use of computers in electronic music was a new and contentious development in the field, requiring a greater degree of advocacy from its proponents. We examine how the computer’s role in composition is presented in ‘The Same Trade as Mozart’, compared with other media portrayals of computing in the 1960s. Drawing on theories of filmed musical performance, we discuss how visual tropes of ‘classical’ music are used in ‘The Same Trade as Mozart’ to challenge preconceptions about the relationships between composers, musicians and new technologies.
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Woodson, Mary Beth. "Two Trips across One Globe: Earth and Planet Earth Fothergill, A., & Linfield, M. (Directors). (2007). Earth [Documentary]. United States: Disneynature. Fothergill, A. (Director). (2006). Planet Earth. [Television series]. United Kingdom: BBC/Greenlight Media/Discovery Channel." Society & Animals 18, no. 4 (2010): 428–32. http://dx.doi.org/10.1163/156853010x524398.
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AbstractThis review explores the twin documentaries Earth and Planet Earth. Both are structured with the same goal of exploring our planet and its nonhuman animal inhabitants, but they diverge in approach. Using Disney’s “True-Life Adventure” series as an ideal, the view of human-nonhuman animal relations presented in Earth differs from the one presented in Planet Earth. While the former relies strongly on a purified image that mirrors traditional (Western, human) ideals, the latter presents an image that is both less “neat” and less reliant on attributing humanlike qualities to nonhuman animals. There are some similarities, however, especially regarding the human role in the future survival of the planet’s nonhuman animals.
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Ndiaye, S., C. Moreira, and S. M. Ndiaye. "The Externalities of Advocacy: The High Cost of Standing Up for Patients' Dignity in Senegal." Journal of Global Oncology 4, Supplement 2 (2018): 246s. http://dx.doi.org/10.1200/jgo.18.98600.
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Background and context: In Senegal, pediatric oncology patients arrive at the hospital at advanced stages of disease. Their large tumors, as well as the side effects of chemotherapy make children experience intense pain. In this low-resource setting, morphine supply was quite irregular. Doctors don´t prescribe morphine due to shortages; but few prescriptions also lead to limited orders. A vicious circle with only 1 victim: the patient. Hearing children in pain was agonizing for everyone: patients, caregivers and healthcare practitioners. Aim: This advocacy narrative illustrates how the fight for access to morphine in pediatric oncology has led to both positive and negative externalities. We will highlight ways in which this fight for morphine has provoked political tensions moving the issue forward, but has also affected the careers of health workers involved. Strategy/Tactics: Morphine is a cheap drug, yet it is extremely regulated by international laws. It takes political will to influence national morphine orders. This advocacy strategy was built on raising awareness and setting morphine shortage on the political agenda. Not providing morphine in oncology goes against international standards of care. But most importantly, letting patients suffer without “existing” relief is a breach of basic human right to live - and also die - in dignity. Program/Policy process: Conversations began within the pediatric oncology department. Focus groups highlighted caregivers' feelings of powerlessness before their suffering child. Interviews with key informants (doctor and nurses) were instrumental to a widely diffused Human Rights Watch report exploring the medical and political causes to morphine supply shortages, as well as its psychological repercussions on patient care. A BBC documentary was broadcasted soon after. Subsequently, meetings were held between the Ministry of Health, the National Supply Pharmacy and leading local oncologists. Outcomes: Morphine orders were multiplied by 10, leading to much improved pain management for patients. However, Senegal was portrayed negatively on the international scenes, much to the Health Minister´s dismay. The consequences were incurred by the health workers who contributed to the international publications/reports. What was learned: Health practices can inform policy just like policy can inform health practices. It is a cyclical process. Creating advocacy coalitions and rallying the help of the international community are effective strategies. However, in the political arena, health workers need more than commitment to human rights and quality care. Even in democratic republics, systems can penalise outspoken activists. We have learned that health care practitioners (especially working in public settings) who wish improvement for their patients must learn to be tactical and diplomatic. International partners will return to their home countries, but local actors will pay the high cost of advocacy.
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Donstrup, Mayte. "Tensiones televisivas: el falso-documental como herramienta ideológica." ZER - Revista de Estudios de Comunicación 25, no. 49 (2020): 171–87. http://dx.doi.org/10.1387/zer.21660.
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Este trabajo examina las potencialidades del falso-documental como herramienta persuasiva. Enmarcado en la teoría del imperialismo cultural se analiza Inside the War Room (BBC, 2016), programa que generó una multitud de reacciones polarizadas entre actores políticos y periodísticos. La herramienta empleada ha sido el Análisis Crítico del Discurso, que ha permitido relacionar texto y contexto. El estudio deja como principal conclusión que el falso-documental es un género articulado alrededor de formas narrativas, expresivas y argumentativas particulares que tensiona la relación verdadero-falso para provocar en el espectador una sensación de inseguridad.