Chapter

Introduction: A Changing Master-Narrative of Cultural Production

January 2014

DOI:10.1057/9780230306677_1

In book: Patrons, Curators, Inventors and Thieves (pp.1-19)

Authors:

Written today, this maxim might also include the novels, soap operas and movies of a nation, but the point would still be well made. The cultural industries attract more sociological and political attention than their financially measured size would otherwise justify. This is because their primary concern is the production of social meaning. They can simultaneously reinforce and disrupt our perceptions of reality: of what is good and bad; right and wrong; relevant and irrelevant; fair and unfair. Compared with the clearer functional aims of most other industries, they have a greater influence on the interpretations of our complex and contested world, and on how we should engage with it. In this way, their impact on behaviour can be deeper and more subtle than that achieved through laws and regulations.

ResearchGate has not been able to resolve any citations for this publication.

ResearchGate has not been able to resolve any references for this publication.

Conference Paper

Full-text available

Reducing dose to the patient through PA techniques for the clavicle

March 2011

Any information contained in this pdf file is automatically generated from digital material submitted to EPOS by third parties in the form of scientific presentations. References to any names, marks, products, or services of third parties or hypertext links to third-party sites or information are provided solely as a convenience to you and do not in any way constitute or imply ECR's endorsement, ... [Show full abstract] sponsorship or recommendation of the third party, information, product or service. ECR is not responsible for the content of these pages and does not make any representations regarding the content or accuracy of material in this file. As per copyright regulations, any unauthorised use of the material or parts thereof as well as commercial reproduction or multiple distribution by any traditional or electronically based reproduction/publication method ist strictly prohibited. You agree to defend, indemnify, and hold ECR harmless from and against any and all claims, damages, costs, and expenses, including attorneys' fees, arising from or related to your use of these pages. Please note: Links to movies, ppt slideshows and any other multimedia files are not available in the pdf version of presentations. www.myESR.org

Article

Why Banning Ethical Criticism is a Serious Mistake

October 1998 · Philosophy and Literature

Wayne C. Booth

Philosophy and Literature 22.2 (1998) 366-393 Robert Frost Since most of this essay will be a critique of what I think of as the Posner Paradox, or even the Posner Folly, I begin with what I hope will be seen as absolutely unhypocritical praise. I find most of Richard Posner's book interesting; even the parts that commit the Folly are challenging. In fact I can remember few books making so many ... [Show full abstract] good points while revealing so much confusion at the center. Posner deserves our attention, even if we reject his separation of literature from law and his attack on ethical criticism. The chief problem, in those parts of the book that explicitly reject moral or ethical criticism, is its deep inconsistency. His thesis is not just "difficult to pin down," as Martha Nussbaum puts it in her paper. It is impossible to pin down, because of an inherent self-contradiction. On the one hand, we have a theorist -- I'll call him Posner One -- who rules out all ethical questions from aesthetic judgment; on the other, we encounter throughout an aggressively ethical critic -- Posner Two: not a federal judge but a literary judge practicing ethical criticism, sometimes brilliantly, often under various disguises, and sometimes downright incoherently. As Robin West puts it in her criticism of the book, much of it is a "spirited celebration of legalist virtues," often finding those virtues in great novels and plays. Posner One never acknowledges that his twin thus violates his own dogma. He does occasionally draw back from his extreme case by acknowledging the validity of the "meta-ethical" criticism that Posner Two exercises. But his final repeated claim remains intact: to deal with any great story we should rule out political and ethical views, and simply enter into the imaginative world that the story offers us. (From here on I will use the word "story" to cover all narrative, in any medium: sit-coms, operas, narrative ballet, movies.) My forlorn hope is that by the end of our discussion Posner One will bow to Posner Two and confess defeat: "It was indeed a folly on my part to condemn all of your ethical judgments as irrelevant to literary value, and all ethical criticism of stories as pointless. I surrender, brother, and we can now join each other -- and all the other edifying critics. Indeed I think we should resign our Federal Judgeship and join a philosophy department somewhere, or a good English department, if we can find one, probing the ethical center of great narrative -- as you so often do throughout our book." Posner could avoid some of his incoherence if he were more careful about distinguishing six different questions that his attack addresses, our differences springing in part from different definitions of "moral," "ethical," and "aesthetic." The questions to some degree overlap with Martha Nussbaum's listing of the five arguments she finds in his work. The six questions are often muddled both by some "aestheticians" in Posner's camp and some "edifying" critics he is attacking. The more careful critics on both sides, however, agree about how to answer the first four. Question One: Does engaged reading or listening to stories actually produce moral changes in readers, for good or ill? Posner joins us edifiers in answering decisively yes; he includes many examples like the claim that Goethe's The Sorrows of Werther raised the European suicide rate. Even the most ardent aestheticians have mostly agreed, while claiming with Posner that the changes are irrelevant to judging any work's literary value. I could write endlessly about Posner's acknowledgments that literature does change people. Here are his effects, for example, of serious reading of the Odyssey. "We learn [from it]," he says, "that revenge works . . . But we are also made aware of the high costs of this method of maintaining law, and perhaps invited to wonder whether there might not be a cheaper method of dealing with the likes of Paris. We are also made to understand that revenge ought to have some limits -- that Achilles goes too far in mutilating...

Article

A Henry James Filmography

September 1998 · The Henry James Review

J. Sarah Koch

The Henry James Review 19.3 (1998) 296-306 It was as a graduate student studying literature at Oregon's Portland State University that I became enamored of the works of Henry James. Along the way, I took a class entitled "Henry James on Film," but when I went looking for a full James filmography, I discovered that there didn't seem to be one. There are a number of sources which provide partial ... [Show full abstract] lists of James-based films and TV fare (including the Internet Movie Database), but none of them was complete. Certain of the foreign adaptations (e.g., Otra vuelta de tuerca and Georginas Gründe) which have never been distributed in this country are, not surprisingly, left out of many American video guides, though they may be referred to on the Internet or in books on foreign-made films. Other adaptations, such as the earliest film Berkeley Square (1933), are listed in certain guides, even though they are apparently unavailable for viewing. (More about the issue of availability later.) As evidenced by the number of James-based feature-films both recently produced and in production, Henry James is enjoying something of a revival. Merchant Ivory Productions is often given credit for beginning this trend with their 1979 version of The Europeans. Since then, we've seen their The Bostonians (1984), several versions of The Turn of the Screw, as well as Jane Campion's 1996 The Portrait of a Lady, and the two newest films, Agnieszka Holland's Washington Square and Iain Softley's The Wings of the Dove. There is an upcoming BBC production of The American and a third, as yet unspecified, James-inspired production from Merchant Ivory. According to Casey Hulsher of the L.A.-based Development Source, Columbia Pictures is also planning another remake of The Turn produced by and starring Michelle Pfeiffer, while Paramount Studios is said to be interested in producing another film based on Washington Square. James, a theater devotee from his youth, had, of course, little success adapting his own works to the stage. However, since his day, other playwrights, including Ruth and Augustus Goetz, Michael Redgrave, John L. Balderston, and William Archibald, have been able to manage the adaptation process, achieving the acclaim and financial remuneration that eluded James. James has also been drawn on as inspiration for operas and radio plays, though one could argue that James's work is especially well suited for the camera, as the late Leon Edel suggests in his preface to The Collected Plays of Henry James: My eventual goal is to create an international catalogue of all the attempts to bring James to the screen, big or small. The results so far, though in themselves incomplete, include a substantial number of works from the United States, Great Britain, Canada, France, Germany, Spain, Portugal, and one joint Czechoslovakia-Great Britain effort (a taping of Benjamin Britten's opera, The Turn of the Screw). At present this filmography represents one hundred screen works generated by forty-four of James's tales, nouvelles, and novels, including those films or TV episodes which, though listed in certain reference books, are currently out of print or are simply unobtainable. Whereas some of the foreign films or television shows have never been released in this country, there were also many episodes made for early television, whether in the States or abroad, that were broadcast live and never taped or if taped were later destroyed to make room for yet newer products. (In the United States, especially in the first two and a half decades of television, there were dozens of drama anthologies, including those that featured adaptations of the classics. Much of this...

Article

The White Cinematic Lens: Decoding the Racial Messages in The Blind Side

March 2014 · The Urban Review

This article examines the racial discourses in the film, The Blind Side—a “rags-to-riches” story of black NFL player Michael Oher and his white, adopted family. The Blind Side was a large financial success amongst film viewers while also earning prestigious recognition at the 2010 Academy Awards. Despite its broad appeal and praise, this article argues that the film serves an ideological ... [Show full abstract] purpose—to reinforce the bonds of white supremacy. The concept of the White Cinematic Lens is introduced; a process in which the physical aspects of the film conform to ideologies of white supremacy and colorblindness. Through a critical racial analysis, we maintain that the white cinematic lens shapes nearly every physical aspect of the film, including the voiceovers, timeline, storyline, character development, settings, camera angles, and alignment of the camera. Studies of discourse and “film talk” are significant as they reveal how societal participants view their racial world. The white cinematic lens centers white experiences and sensibilities while shielding whites from the harsh realities of the racialized society in which we all live. Problematic stories like The Blind Side legitimize and reproduce several notions of white supremacy, including whiteness, blackness and the “danger” of the urban.

Article

The Fourth Wall is Fallen: Tragedy and Reality in Richard Rodriguez's "Late Victorians

January 1970

MORGAN WALKER

Whenever there is a wake in a soap opera or an American movie from the 1950s, the same woman—the angel of death, perhaps—appears in the front row of the funeral parlor. Her basic embodiment is Caucasian, old, and plump; her costume, a black pillbox hat and black driving gloves; her prop, effusive tears that erode the fortifications of mascara around her eyes. As she grieves loudly and sloppily, ... [Show full abstract] she will occasionally exclaim: "Oh, how terrible! How cruel and inconceivable! What a tragedy!" Though her protestations are otherwise curtailed by sighs and sobs, the word "tragedy" lingers on her tongue for an extra, uncomfortable instant. It is as if time itself slows to allow her to utter the word with its full force. Such a woman would never be tolerated at a service for a person who had once been genuinely alive. Family and friends in attendance would begin sus- piciously asking one another: "Who is she? How did she know the deceased?" In the melodrama, however, the other characters take little notice of her, not that it matters. She is not speaking either for them or to them. She is not, in fact, even a mourner at all. She is a funhouse-mirror reflection of the viewer's own feelings about the dead, a melo-dramatized embodiment of a removed sense of grief. Aristotle explained that tragedy "is an imitation of a serious and com- plete action of some magnitude" (Bambrough 471). In other words, some- thing that is tragic is always theatric and never real; it is often affecting, but never permanent. Thus, despite popular usage of the word, tragedy suggests not closeness and empathy, but distance and sympathy. When someone we love dies, we rarely have the presence of mind to declare the event anything, much less something as weighty as "tragic." Such an assessment requires time and space to process, to replay the events in the theater of our minds, to hard- en emotion into logic like water into ice.

Article

Full-text available

Lukthung: Authenticity and Modernity in Thai Country Music

December 2006 · Asian Music

Amporn Jirattikorn

Lukthung, often referred to in English as ‘‘Thai country music,’’ has long been associated with the Thai village environment and the lives of its inhabitants, whose concerns have comprised the subject matter of lukthung songs since the music’s inception during the 1960s. This rural subject matter includes attention to the social, cultural, and economic disjunctures that result when the rural ... [Show full abstract] confronts the urban, especially under conditions of migration to the city. In addition, a number of musical features of lukthung have served to reinforce its status as a uniquely Thai, as opposed to Western, form of music, a music that evokes nostalgia for a simple and pure, rural Thai way of life. Contemporary lukthung, however, also incorporates many Western and global musical trends, such as salsa, funk, rap, and techno, into its music, as well as incorporating many English loan words into its lyrics. Lukthung singers adopt the modern look of Thai pop singers. In recent years, soap opera actresses, pop singers, and movie stars have started to sing lukthung. Urban audiences, youths or adults, who once looked down uponlukthung as music fitting only for country bumpkins and laborers, have now begun to listen to lukthung songs. This is not to suggest that changes never occurred in the past. Lukthung has been shaped and reshaped by larger socio-economic conditions since its earliest period. My interest in lukthung’s development of the 1990s, however, lies in two fronts: firstly, its association with the notion of authenticity, which is closely linked with the notion of Thai-ness. Secondly, I am interested in the change in taste distinction regarding lukthung from ‘‘lowbrow’’ to ‘‘middlebrow.’’ In my following analysis, I will trace the history of taste stratification of Thai popular music in order to understand the shift in taste distinction of lukthung. It is, however, crucial to define here what I mean by ‘‘authenticity.’’ Peterson suggests that the definitions of authenticity in country music are relational and variable, and partly derived from institutional arbitration (Peterson 1997). To understand the notion of authenticity, I suggest, we have to understand the

Article

การสื่อสารอารมณ์ขันของนักแสดงตลก"รายการโทรทัศน์ก่อนบ่ายคลายเครียด"

January 1970

ชนัญญา ใยลออ

วิทยานิพนธ์ (นศ.ม.)--จุฬาลงกรณ์มหาวิทยาลัย, 2544 การวิจัยครั้งนี้มีวัตถุประสงค์ เพื่อศึกษารูปแบบวิธีการนำเสนอรายการ และวิธีดำเนินการผลิตรายการโทรทัศน์ก่อนบ่ายคลายเครียด ตลอดจนศึกษาการแสดงตลก และการสื่อสารอารมณ์ขันนักแสดงตลกในรายการดังกล่าว โดยใช้การวิเคราะห์เนื้อหารายการ การสังเกตการณ์ และการสัมภาษณ์แบบเจาะลึกในการวิจัย ผลการวิจัยพบว่า รายการโทรทัศน์ก่อนบ่ายคลายเครียดใช้รูปแบบละครตลก ... [Show full abstract] นำเสนอโดยใช้ละคร ลิเก โขน ล้อเลียนละคร, ภาพยนตร์, เกมโชว์ที่กำลังอยู่ในกระแสความนิยม ล้อเลียนประเด็นทางสังคม และทางการเมือง รวมไปถึงการล้อเลียนวรรณคดี ละครพื้นบ้านทั้งของไทยและต่างประเทศ สำหรับวิธีการผลิตรายการมี 3 ขั้นตอน คือ ก่อนการผลิต ดำเนินการผลิต และหลังการผลิตมีวิธีดำเนินการที่สำคัญ คือ การแสวงหาความคิด จะทำเป็นประจำทุกสัปดาห์ การเขียนบทเป็นแบบมีโครงเรื่องในลักษณะบทเปิดเพื่อให้นักแสดงตลกคิดบทสนทนาขึ้นเอง ส่วนการกำหนดตัวนักแสดงจะให้ความสำคัญกับบทบาทการแสดงตลก แม้เป็นการบันทึกเทปรายการแต่ดำเนินการบันทึกแบบรายการสด ดังนั้นในขั้นหลังผลิตรายการ เป็นการแก้ไขความผิดพลาดในการแสดงเพียงเล็กน้อย ส่วนวิธีการแสดงตลก เป็นการนำเสนอแบบละครอาศัยโครงสร้างแบบกลุ่ม ซึ่งประยุกต์มาจากการสวดคฤหัสถ์ในอดีต และโครงสร้างของเนื้อหาเป็นโครงเรื่องที่ยืดหยุ่นเพื่อให้เกิดความหลากหลาย โดยการสื่อสารอารมณ์ขันมีองค์ประกอบคือ การเล่าเรื่อง การแสดงและบทสนทนาของนักแสดงตลกในการแสดง นอกจากนี้ยังมีการประยุกต์องค์ประกอบของการทำรายการโทรทัศน์ เช่น เครื่องแต่งกาย ฉาก และอุปกรณ์การแสดง ดนตรีและเสียงประกอบเพื่อสร้างอารมณ์ขันให้แก่ผู้ชม The objective of this research are to study the pattern and methodology is conducing "Korn Buy Klaay Kried Television Program" and comedy show including study how the humourous message of program is conveyed to the audience. This research is conducted by program analysis-both content and presentation-, observation and in-depth interview. The objectives of this research are to analyze the program format and producing approach of "Korn Buy Klaay Kried Television Program" and to study the comedy performance of the program's comedians including their humourous communication. This research is conducted by program analysis-both content and presentation-, observation and in-depth interview. The research found that the "Korn Buy Klaay Kried Television Program" is presented into 3 formats: comedy drama, Li-Kae (Thai folk performance), Khoan (Thai classical performance). The sources of story ideas are initiated by mocking contemporary soap operas, movies, game shows, social issues, political issues, literatures, Thaiand International folk plays. The process of program production can be divided into 3 steps that are pre production, production and post production. The important procedure being different from others TV drama program are searching ideas, writing scripts, defining acting roles. For searching ideas the program creatives find the ideas weekly. In addition, the script writer drafts only theme and plot of which leave the dialogue being improvised by the comedians. Lastly, the role of the actors are defined to perfom not only the role of drama characters but also comedy. The structure of the program comedy performing basically apply the performing art of Thai traditional group praying. The structure of content is flexible with the theme of story to create variety. The humorous message of the program is conveyed to the audience by story telling, comedian acting and dialogue. Besides, the program apply other TV elements such as costume, scenery and property, music's and sound effects to create the humor.

Chapter

Full-text available

Film Induced Tourism: Hunting of Potential Tourist Spots by Frame Mosaicing

February 2015

Many film locations around the world have become the pull factors for tourists to visit. The American soap opera ‘Sex and the City’ is a prime example of that. Hundreds of restaurants, bars, and shops featured in the films and TV series turn out to be must-see destinations for tourists visiting different places. The Indian film named ‘Roza’ has attracted a lot of tourist to visit a beautiful ... [Show full abstract] place in North India, named Kashmir. Recently, the tourists prefer to visit those destinations which are featured in films or movies and television series. This phenomenon is known as film induced tourism. In this paper, we propose a film induce tourism technique which can be evaluated by the mosaiced image obtained from a movie. The proposed system firstly read all the image sequences from a movie, and stitched them together such a way so that it becomes very much easier for a tourist to choose the best holiday destination from a movie or television series.

Conference Paper

Full-text available

Type: Scientific Exhibit "A comparison between Left Ventricular Non-Compaction Disease and Hypertrab...

March 2014

Any information contained in this pdf file is automatically generated from digital material submitted to EPOS by third parties in the form of scientific presentations. References to any names, marks, products, or services of third parties or hypertext links to third-party sites or information are provided solely as a convenience to you and do not in any way constitute or imply ECR's endorsement, ... [Show full abstract] sponsorship or recommendation of the third party, information, product or service. ECR is not responsible for the content of these pages and does not make any representations regarding the content or accuracy of material in this file. As per copyright regulations, any unauthorised use of the material or parts thereof as well as commercial reproduction or multiple distribution by any traditional or electronically based reproduction/publication method ist strictly prohibited. You agree to defend, indemnify, and hold ECR harmless from and against any and all claims, damages, costs, and expenses, including attorneys' fees, arising from or related to your use of these pages. Please note: Links to movies, ppt slideshows and any other multimedia files are not available in the pdf version of presentations.

Conference Paper

Full-text available

Children

March 2015

Vittorio Miele

Any information contained in this pdf file is automatically generated from digital material submitted to EPOS by third parties in the form of scientific presentations. References to any names, marks, products, or services of third parties or hypertext links to third-party sites or information are provided solely as a convenience to you and do not in any way constitute or imply ECR's endorsement, ... [Show full abstract] sponsorship or recommendation of the third party, information, product or service. ECR is not responsible for the content of these pages and does not make any representations regarding the content or accuracy of material in this file. As per copyright regulations, any unauthorised use of the material or parts thereof as well as commercial reproduction or multiple distribution by any traditional or electronically based reproduction/publication method ist strictly prohibited. You agree to defend, indemnify, and hold ECR harmless from and against any and all claims, damages, costs, and expenses, including attorneys' fees, arising from or related to your use of these pages. Please note: Links to movies, ppt slideshows and any other multimedia files are not available in the pdf version of presentations. www.myESR.org

Data

Movie S3. S3 Arf6 Activity Regulates FA Dynamics, Related to Figure 7

March 2013

Dynamics of GFP-vinculin-containing FAs in Arf6WT-, Arf6T27N-, and Arf6T157A-expressing cells (time = 2 hr).

Presentation

Full-text available

O papel da extensão universitária na formação de gestores e pesquisadores culturais

May 2016

This paper discusses how the extension project “Artistic Events Production” dialogically engages with society in it’s actions building on the national and institutional regulations. The relational perspective (Social Network Analysis) will serve as a theory basis to comprehend the process. It will also be presented some results of the research conducted as part of the project. We analyze the ... [Show full abstract] cultura consumption from the attendance to concerts, theater, museums and movie theaters investigating how it relates to the other variables mapped.