bluuebunny/crossref_metadata_2025 huggingface dataset:
Seeing double: Shakespeare’s polysemy in film. The case of Lady Anne in Richard III
Authors: Zauderer Elizabeth
Published: October 2011

<![CDATA[Shakespeare’s histories often constitute sites of contextual conflation, merging historical narrative and the early modern discourses of the plays’ production. Similarly, cinematic appropriations of Shakespeare are largely perceived as reflecting and responding
to the postmodern discourses of their production. Various forms of polysemy (wordplay, puns and double entendre) in the plays facilitate this objective, thereby rendering the historical drama accessible to Elizabethan theatre audiences. This article explores the possibility of co-opting this
effect in visual terms as a means of appropriating Shakespeare for contemporary film audiences. The proposed model is applied in readings of the representation of Lady Anne in Shakespeare’s Richard III and in Richard Loncraine’s film Richard III (1995).]]>
Audience journeys through multiple stories: Adapting King Oedipus for performance
Authors: Allinson Jodie , Carklin Michael , Smith Rob
Published: October 2011

This article explores the adapting of King Oedipus for performance through processes of improvisation, collaborative devising and physical investigation. Performed across five spaces of the newly built ATRiuM building in Cardiff, and making use of multiple character casting (five
Jocastas, three Creons and three Tiresiases), this production offered participants an opportunity to experiment with voice, body, spoken text, music, song and movement as a process of adaptation and production in creating work for a contemporary audience. This article considers the place of
‘text’ within the devising process, the significance of a collective approach to theatre-making and the use of space and audience–performer relationships in the performing of this specific adaptation of King Oedipus.
Adaptation in contemporary Nigerian drama: The example of Ahmed Yerima
Authors: Adeoti Gbemisola
Published: October 2011

Apart from myths, legends, history and contemporary reality, adaptation is another long-standing source of African drama. The article examines the sources, motives, nature and form of textual transposition in contemporary Nigerian drama with a specific focus on the plays of Ahmed Yerima,
one of the major dramatists who emerged in the country in the 1990s. While paying attention to the general factors behind adaptation, the article examines Yerima’s An Inspector Calls and Otaelo. Intertextuality and transfiguring are crucial to our understanding of the manifestation of
adaptation in Nigerian drama. In both plays, political and historical considerations are very dominant in the choice of texts and modes of transposition. Yerima engages in a critical soul-searching to discuss Nigeria’s postcolonial predicament. While a kind of continuity is apparent
in the adapted texts through the retention of essential details of characterization, plot and theme, the indigenous cultural milieu accounts for differences. Thus, through adaptation, Nigerian dramatists bring new perspectives into the source texts and draw the audience’s attention to
them.
The Gate Theatre: A translation powerhouse on the inter-war British stage
Authors: Komporaly Jozefina
Published: October 2011

This article examines the members-only theatre club – the Gate Theatre Studio – that operated between 1925 and 1940 in Covent Garden. Led by only two successive artistic directors, this relatively small establishment has become one of the most daring institutions of the
inter-war British theatre scene, by taking risks in introducing new work from continental Europe and America to British audiences, and thus, going against the grain of dominant indigenous cultural policy. Focusing on the clearly defined agenda to broaden the parameters of performance practice
in Britain, the Gate made an effort to align its repertoire to those of European theatres and to nurture home-grown talent in terms of writing, translating and adapting for the stage. In this way, the Gate has irreversibly shaped the profile of stage translation in a culture where interlinguistic
communication has had a relatively low status and consolidated the practice of adaptation as an endeavour appealing to British theatre makers and dramatists. Not subject to the Lord Chamberlain’s Examiner of Plays, due to its private club status, the Gate was also instrumental in revealing
the obsolete nature of theatre censorship; successful Gate productions often led to the discovery of new plays by the theatre establishment and to the subsequent lifting of censorial bans for their staging in public theatres.
REVIEWS
Authors: Forsyth Alison , Geary Paul , Raw Laurence , Sherry Jamie , Thomas Sarah
Published: October 2011

CINEMATIC HAMLET: THE FILMS OF OLIVIER, ZEFFIRELLI, BRANAGH AND ALMEREYDA, PATRICK J. COOK (2011) Athens: Ohio University Press, 257 pp., ISBN 13-978-0-8214-1944-1, h/bk, $55.00 NABOKOV’S CINEMATIC AFTERLIFE, EWA MAZIERSKA (2011) Jefferson and London: McFarland & Company,
Inc, viii+235 pp., ISBN 978-0-7864-4543-1, p/bk, £33.95 SCREENING SHAKESPEARE IN THE TWENTY-FIRST CENTURY, MARK THORNTON BURNETT AND RAMONA WRAY (EDS) (2006) Edinburgh: Edinburgh University Press, 218 pp., ISBN 07486 23515, p/bk, £22.99 FROM FILM ADAPTATION TO POST-CELLULOID ADAPTATION,
COSTAS CONSTANDINIDES (2010) New York and London: Continuum, 176 pp., ISBN 978-1-4411-0380-2, h/bk, £55.00 ROYAL PORTRAITS IN HOLLYWOOD: FILMING THE LIVES OF QUEENS, ELIZABETH A. FORD AND DEBORAH C. MITCHELL (2009) Lexington: University Press of Kentucky, 327 pp., ISBN 9780813125435,
h/bk, £35.50
Reading the Israeli–Palestinian conflict through an Islamophobic prism: The Italian press and the Gaza war
Authors: Marzano Arturo
Published: October 2011

Since the beginning of the 1990s, Italy has progressively modified its previous pro-Arab foreign policy. In particular, Berlusconi’s government has radically changed the Italian position regarding the Israeli–Palestinian conflict, becoming a strong Israeli ally. Starting
from 9/11, this trend has intertwined with an increasingly widespread Islamophobia, which ranges from the idea that Muslim immigrants are challenging Italian political institutions to the perception of a Muslim attack on Italian culture and values. Through an analysis of newspapers and weeklies,
this article intends to demonstrate that the Gaza war of December 2008–January 2009 was presented by some of the Italian press through an Islamophobic prism. In fact, the conflict was read through the lens of an Islamic war against the ‘democratic’ western-oriented Israeli
society, similar to the one Muslim immigrants are conducting against Europe.
Palestinian women, the western press and the first intifada
Authors: Martin Justin D.
Published: October 2011

More than two decades have passed since the beginning of the first Palestinian intifada in 1987. The conflict was a defining conflict in the history of the modern Middle East as well as the Palestinian people, particularly Palestinian women. Palestinian women, previously less involved
in public life, were extremely active in the intifada. Through traditional, qualitative analysis, this article seeks to determine if western newspaper coverage of the conflict recognized the significant role played by women. Results suggest that many western newspaper reporters did, indeed,
report on female participation in the conflict, giving particular attention to female Palestinian activism, participation in physical combat and female casualties. Quite early in the intifada, western newspaper reporters seemed to recognize the historical involvement of Palestinian women in
the conflict and included it in their reportage.
Business of the Spirit: Ghanaian broadcast media and the commercial exploitation of Pentecostalism
Authors: Witte Marleen De
Published: October 2011

This article takes a critical look at Ghana's rapidly evolving broadcasting scene and in particular at the expansion and popularity of religious broadcasting. Sketching the developments of the Ghanaian media landscape, it analyses the changing politics of representing religion in this
field. The much-celebrated processes of media deregulation and democratization, and the new opportunities for ownership, production, and participation they entail, have led to a dominance of Pentecostalism in the public sphere. While this development has been analysed from the perspective
of churches and pastors, this article explores the intertwinement of commercial media and Pentecostalism from the perspective of a number of private media owners and producers in Accra. Whether these media entrepreneurs are themselves Pentecostal or not, they all have to deal with, and commercially
exploit, the power and attraction of Pentecostalism. Their experience that commercial success is hardly possible without Pentecostalism makes clear that the influence of Pentecostalism in the Ghanaian public sphere reaches way beyond media-active pastors and born-again
Young people, computers and the Internet in Niger
Authors: Alzouma Gado
Published: October 2011

This article explores how computers and the Internet are represented among young, educated people in niger and the social expectations that are attached to their use. it argues that pre-existing social and economic conditions play an important role in shaping the meanings associated
with these devices. thus, in a context of poverty and unemployment, the internet and computers are perceived as technologies that may help young people and their country integrate into a modern world of economic opportunities and well-being via the transnational and transcultural interactions
that take place in cyberspace. the internet is associated with the ideas of modernity and 'leapfrogging' development. however, because of the lack of computer equipment and adequate infrastructure, these expectations are largely exaggerated, and they divert attention from the actual possibilities
for change that reside in people and not in technological devices. the research is based on fieldwork conducted among young, educated computer and internet users during the summers of 2003 and 2004 in niamey, the capital city of niger and further complemented by data collected in 2008. semistructured
interviews were used to explore the reception of the internet and the representations associated with them. although the term 'educated' may sometimes refer to traditional or arabic/islamic education in niger, we restricted the use of the word to refer to modern western-style education (without
prejudice or pejorative label to those who are not in that category).
A continuous experiment and a continuous finding: A reflection on choreography, somatic practice and the aesthetics of change and conditions, Written from practice
Authors: Münker Katja
Published: October 2011

In this article, I share insights from my choreographic practice. Through creative and reflective texts and photographs, I intend to create a connective field of knowledge, which supports the discussion and development of choreographic strategies based on somatic practice and the associated
aesthetic implications. My main interests are the act of decision making in choreographic processes that operate neither with set movement material nor set aesthetics, and the strategies of navigation in creative processes based on somatic practice. I therefore reflect on the possibilities
of non-verbal thinking and the role of imagination. I am interested in the use of somatic practices throughout a creative process. I thus refer less to the first phases of research of movement material and more on the overall process and requirements of a creation that enables sensuous sense-making
and embodied communication, experience, knowledge and reflection. In the end, I am interested in the social relevance of this kind of art and aesthetics.
Somatic voyages: Exploring ego, self and possibilities through the Laban/Bartenieff framework
Authors: Dyer Becky , Allen Karryn , Ramsey Ashlee
Published: October 2011

This narrative reflects the experiences of two graduate dance students and their university professor on their own pathways of somatic discovery, each exploring their moving, embodied identities and self-possibilities as individuals, artists and teachers inside a learning construct
that is inspired by the psychophysical notions of the 'ego' and 'ego states'. The three descriptive accounts reflect processes of becoming, understanding and re-creating one's 'self' within the exploratory landscape of Laban Movement Analysis, the Bartenieff Fundamentals and related supportive
somatic frames for experience. Each voyage has its own inspirations, discoveries, pathway and applications. Yet, it is in their intersecting experiences with others that each explorer has come to know themselves within and as they dance with the world beyond themselves. Accounts reflecting
individual journeys of enquiry and practice are presented along with descriptions of pedagogical constructs, processes and theoretical foundations that inform and shape these related expeditions.
Corrective alignment and injury prevention strategies: Science, somatics or both?
Authors: Hutt Kimberley
Published: October 2011

This article explores the interface between scientific and somatic principles within dance practice. It focuses on the combined use of science and somatic practices to correct alignment, and questions their exclusivity. Maintaining the physical well-being of dancers should take a holistic
approach and extricating scientific from somatic principles may not be in the best interest of dancers. This article looks at the epidemiology of injury within dance and discusses the importance of injury prevention to promote dancers' health. It then considers how fundamental somatic principles
may be useful in encouraging self-awareness among dancers and further describes how these methods may assist in the prevention of injury. Divergent third-person and first-person experiences are discussed, with reference to how a self-aware, subjective approach to correcting alignment could
be a useful integration in to dance practice and enhance the objective approach of rehabilitation and injury prevention taken by injury specialists. With the use of examples of current practical applications of somatics within dance practice, the article concludes with recommendations for
further potential applications of somatic principles within the dance class, rehearsal and performance.
Re-mapping cinema for the twenty-first century: Globalism, borders, and bodies in the films of Lukas Moodysson
Authors: Vaughan Hunter
Published: October 2011

‘Re-mapping cinema for the twenty-first century’ looks at the four Swedish-language feature-length fiction films of Director Lukas Moodysson. The article argues for three major points: the assessment of Moodysson's work across thematic readings; the use of Moodysson's production
methods and textual messages to challenge questions of national and even regional culture (in this case Swedish, European/western) in an age of transnational digital media; and to analyse these films as an illustration of the role of post-Soviet economic and technological developments in reshaping
our understandings of identity, in particular those corresponding to gender and sexuality.
The nation of Irelantis : Ireland as elsewhere
Authors: Way Jennifer
Published: October 2011

Against the backdrop of a heritage turn in the humanities enquiring how we use history in response to the needs of the present day, in a collage series called Irelantis, 1994–1999, Dublin-based artist Sean Hillen reused popular tourist postcards to recount anxieties about emigration
linking the post-1949 years with the Celtic Tiger period of the mid- to late 1990s in the Republic of Ireland. This article explores the significance of the ways Hillen narrated the Ireland of Irelantis visually by positioning viewers to see it from without and providing evidence of its mobility.
The article correlates these features with intellectuals' and members of the Republic's governments' concerns about national sovereignty and agency. As an example, it looks in-depth at the ways a particular collage visually representing central Dublin restages discourses of modernity and tourism
in relation to Irish emigration during the post-1949 years. It then briefly considers how another scene outlines complexities of Irish emigration and immigration during the Celtic Tiger period.
Do avatars dream of electric steak? Video games and the gendered semiotics of food
Authors: Ensslin Astrid
Published: October 2011

The aim of this article is to investigate how food in the sense of organic and synthetic, domestic and political energy supply systems is represented in a selection of gendered (Desperate Housewives and Quake 4) and agendered (The Sims 2) video games. The games were chosen on the basis
of their representations of gendered space and, closely related to it, of food and other energy supply systems. I propose a spectrum between the feminized private sphere and the masculinized public sphere (cf. Habermas 1989). The society simulation Desperate Housewives is discussed as an extreme
example of the former and juxtaposed to first person shooter (FPS) Quake 4, a radical example of the latter. The Sims 2, which takes an agendered approach to both spheres, is examined as a compromise between both polar opposites. Unlike many other video game genres, such as adventures, role-playing
games and society and civilization simulations, FPSs tend to delete semiotically the basic human need for organic nutrition. Instead, they typically feature abstract, synthetic energy supply systems, which are integrated in the circular structure of physical rejuvenation and exhaustion. Quake
4 has been selected for this food-semiotic study as it displays the human body as processable, technologically modifiable matter for alien consumption and reincarnation – as a neo-Frankensteinian, infinitely recyclable repository of animate yet simultaneously disembodied substitutes,
accessories or supplements used to form cyborgian hybrids for the sustenance of Gothic war machines. My theoretical discussion centres around relevant aspects of food cultural and semiotic theory, as well as the ludological implications of the essentially anti- Cartesian discourse of transcendence
and the theory of the double-situatedness of the gaming body.
REVIEWS
Authors: Ruch Adam , Sierra Wendi A.
Published: October 2011

FUN AND INFAMY IN A COMIC BOOK WORLD inFamous, Sucker Punch Productions (2009), Foster City, CA: Sony Computer Entertainment America, $26.99 (USD) THE COLLISION OF MEDIA: SURVIVAL HORROR AND GENRE STUDIES Horror Video Games: Essays on the Fusion of Fear and Play, Bernard Perron
(ed.) (2009), Jefferson, North Carolina: McFarland & Company Inc., 310 pp., ISBN: 978-0-786-44197-6, Paperback, $35.00 (USD)
REVIEW
Authors: Mullen Mark
Published: October 2011

REALISM VERSUS REELISM: THE SCOURGING OF TOTAL WAR NAPOLEON: TOTAL WAR, THE CREATIVE ASSEMBLY (2010) Tokyo: Sega, Direct Download, $39.99 (USD) SCOURGE OF WAR: GETTYSBURG, NORB SOFTWARE DEVELOPMENT (2010) New Jersey: Norb Software Development, $54.99 (USD); ($22.99
(USD) Direct Download)
Exploring contexts for development: Secondary music students’ computermediated composing
Authors: Kirkman Phil R.
Published: October 2011

This article is from an ongoing doctoral study working towards an understanding of compositional development that attends not only to the processes and products of composing but also to the social and cultural contexts that shape classroom computer- mediated composing processes. The
case reported in this article is part of a multiple case study carried out with classroom music students aged between 14 and 16 over twelve months. Changes in students’ composing processes are explored over time through the systematic mapping of their composing strategies. Rich data
banks generated from participant observations, video observations, MIDI recordings, semistructured interviews, documents and computer files were constructed and videostimulated recall interviews are used to position the students as collaborators in the research process. The findings describe
a transition through three phases of development that are distinct both in the physical tools employed and the nature of the composing context. The findings suggest a need to increase the range of resources available to music students in schools.
Calibrating a bowing checker for violin students
Authors: Hall Cordelia V. , O’Donnell John T.
Published: October 2011

Playing a string instrument, such as the violin, requires solving many problems in controlling the bow. For example, the player may find that ‘saving bow’ is crucial to getting through a passage, yet not know why. Computer models may be able to help musicians to understand
such problems better and to find solutions. We have developed a simple bowing model that analyses a piece of music and calculates predicted bow speeds and positions. The model takes account of notes, slurs and ties, tempo, and dynamics. It has been implemented as a computer program that reads
a score, analyses it and outputs an annotated score that indicates detailed information about the predicted bow positions and speeds. To support practical applications, as well as further research, the model needs to be validated and calibrated. In this article, we compare the predictions
of the model with the performances of one of us, a violinist with a professional violin performance education. The results indicate that the model is accurate enough to predict places where practical difficulties, such as running out of bow, are likely to occur.
Cultural perceptions, ownership and interaction with re-purposed musical instruments
Authors: Applegate Matthew C.
Published: October 2011

This article addresses the perceptions, ownership and interactions between users of re-purposed devices that now form musical instruments, how they are used, perceived and whether this owes anything to their original context as a gaming devices. For the research, specially designed
software was created to mimic the performance of a musical instrument for use in a workshop setting. The software relies on groups of five or more players interacting together to perform music beyond that of simple experimentation, and in order to teach basic musicianship through the use of
a familiar device, A Nintendo DS. The initial workshop took place at The Box, FACT (Foundation for Art and Creative Technology) a multimedia arts facility based in Liverpool. The workshop on 1 February 2010 had participants answer multiple questionnaires, take part in audio and video recordings
as well as interviews to ascertain the effectiveness of the design and potential of the concept.
Problem-solving strategies and processes in musical composition: Observations in real time
Authors: Collins Dave , Dunn Michael
Published: October 2011

This article draws on previous empirical studies that have used methodological strategies such as think-alouds (verbal protocol analysis), computer-based digital data collection and video observations to explore the process of music composition in real-time. A paradigm of music composition
as a form of problem solving was assumed. Three higher education students composed short pieces and, using the above data collection methods, outputs were mapped against theoretical models of creative thinking and a hypothetical model deriving from a previous longitudinal, four-year single-case
study. The real-time tracking of the music composition process in the present study observed a linear cycle of problem-solving strategies and nonlinear, recursive musical structuring. The study indicates that the real-time data collection tools were useful in eliciting added understandings
of cognition in music composition and further insight into the act of musical structuring at a macro and micro level.
Rethinking the creative process: The systems model of creativity applied to popular songwriting
Authors: McIntyre Phillip
Published: October 2011

This article addresses innovation and creativity in compositional practice and music production by focusing on the creative processes exemplified in popular songwriting. It does so using a cross-disciplinary approach that encompasses the perspectives of psychological, sociological and
popular music studies. The research on which the article is based is an ethnographic study of contemporary western popular music songwriting using participant observation, artefact and document analysis, and an extensive set of interviews with local, national- and international-level songwriters.
It examines one confluence model of creativity developed within the discipline of psychology at Chicago University, that is, the systems model of creativity that the author considers to be similar in some significant and primary ways to the ideas on cultural production developed by the empirical
sociologist Pierre Bourdieu. The study concludes that the author/genius model of creativity is highly problematic and provides evidence to suggest that the creativity involved in songwriting comes about from the confluence of a domain of knowledge, a field or a social organization that understands
and uses the domain of knowledge and an individual person who makes novel variations to domain information.
Editorial
Authors: Nelmes Jill
Published: October 2011

The journal is now approaching its third year of existence and attracting an impressive mix of articles, yet there are still many aspects of this fascinating subject still to be explored. This issue, focused on the history of the screenplay, is especially timely because of the government
cutbacks in the United Kingdom, which give serious cause for concern regarding the effect they will have on the arts and humanities, higher education and the national libraries. These cutbacks are posing a particular problem at the British Film Institute (BFI), which houses the national library
for film and TV, where not only the library is under threat of removal to a smaller base, with restricted facilities, it is also proposed that the research archive and viewing facilities will move from Central London to Berkhamsted, with likely staff redundancies.
An uneven marketplace of ideas: Amateur screenwriting, the Library of Congress and the struggle for copyright
Authors: Liepa Torey
Published: October 2011

In 1912, with demand for story material increasing in a growing market, writing was becoming ever more essential to commercial film production in the United States. With several important legal developments that year, however, the marketplace for story material would begin to collapse
as amateur screenwriters failed to gain the same legal protections as those producing finished films, rendering their creative material entirely susceptible to piracy from above. Despite several initiatives by advocates for non-professional writers and a few members of Congress, screenwriters
would not receive legal protection for unpublished material until 1978. Throughout the Golden Age of Hollywood, then, but dating back to the origins of copyright protection for finished commercial films, US copyright law encouraged Hollywood to produce story material in a closed, intellectually
isolated and commercially protected shop, more closely resembling an enigmatic ‘culture industry’ than a ‘people’s art form’. This article examines a convergence of state institutions, private enterprise and commercial trade press that helped to radically re-define
the creative processes underwriting film production and the system of compensation for creative material that would delimit relations of production at the beginnings of the American film industry.
Greenaway’s books: Peter Greenaway’s published screenplays
Authors: Mota Miguel
Published: October 2011

Greenaway’s published screenplays – screenplays produced and consumed as discrete material objects – function both as fluid, hybrid texts and as material books that stand ambivalently and therefore suggestively and productively poised between print and film technologies.
Ranging from the early scripts published by Faber and Faber in the mid-to-late 1980s to the later and still-ongoing series of scripts produced by the French publisher Dis Voir, Greenaway’s published screenplays are fascinating examples of print film texts that produce and demand unique
ways of reading and looking. By addressing these books as visual and material objects, distinct from the films, we might evince and extract from the pages of these published screenplays entirely new texts with a plurality of narrative possibilities, in which juxtapositions and relationships
amongst different cultural discourses can give rise to innovative visual and verbal structures. Such an approach to Greenaway’s published film scripts as material events might contribute a curious but compelling chapter to the history of the ontology of the screenplay, affording the
published script a visibility it often otherwise lacks.
Britain’s First Suicide Bombers – The script and the screenwriter in dramatized documentary for television
Authors: Lyons Garry
Published: October 2011

This article centres on a drama-documentary developed by the author, an experienced screenwriter, producer and academic. The project in question was a major featurelength film for the BBC about the first suicide attack carried out by UK citizens. Aside from the significant difficulties
posed by the subject matter, the mixed-genre nature of the film made its development problematic, falling between two distinct and contrasting traditions of programme-making. This case study locates the project in the context of a rising fashion for dramadoc within the BBC post 2000, identifies
unforeseen difficulties with screenwriting that arose with the use of the form, and illustrates how those difficulties became amplified in this particular production. The analysis deals with the status of the screenwriter in a process where the script is no longer sovereign, raising questions
of authorship, division of labour and collaborative exchange. It contributes to the ongoing debate between documentary values of sobriety and objectivity as opposed to dramatic ones of inner truth and emotional understanding, and makes the case for an ‘accumulation of voices’ as
a justifiable representation of reality in contrast to a linear expository narrative. Finally, it commends further study of mixed genre drama/ documentary as a way of reappraising orthodox screenwriting theory, offering as it does production methodologies that frequently dispense with the
formal screenplay.
Some attitudes and trajectories in screenwriting research
Authors: Maras Steven
Published: October 2011

An edited extract from a keynote address at the third Screenwriting Research Network conference, ‘Screenwriting Research: History, Theory and Practice’, at the University of Copenhagen in 2010,1 this piece focuses on what I have termed the ‘object problem’ in
screenwriting research. I pay specific attention to how we might address the object problem by thinking about different attitudes and trajectories in screenwriting research.
Imitation and adaptation: A screenwriting pedagogy
Authors: Danielpour Debbie
Published: October 2011

Because originality is highly valued in all the arts, it initially appears counterproductive to teach screenwriting students the craft by encouraging them to imitate established genres or to adapt literature. This pedagogical method, however, teaches students genre-specific narrative
structure and conventions, avoids the paralysis that sometimes comes with ‘complete’ artistic freedom and ultimately allows students to discern the qualities of their unique ‘voice’. Countless contemporary American films are adaptations, sequels, parodies or mashups,
yet many fear that learning via imitation will cause students to write derivative or cliché scripts. By exploring the history of emulation in art and the fact that the value placed on originality is relatively new, the pedagogic push for originality starts to appear short-sighted. Further
analysis reveals how reaching for ‘highly original’ may produce innovation but few screenplays of critical value. Identifying an example of ‘original’ within the genre boundaries of the horror screenplay demonstrates how a screenwriter can break new ground while still
writing within the conventions of the genre. Fiction to Film Adaptations also prove to be highly innovative and original works, ultimately refining the definition of creativity, innovation and originality in screenplay writing.
Poetic dramaturgy in Andrey Tarkovsky’s Ivan’s Childhood (1962): Conflict and contrast, two types of narrative principles
Authors: Koivumäki M.-R.
Published: October 2011

This article aims to define certain characteristics of so-called poetic dramaturgy by analysing sequences from Andrey Tarkovsky’s first feature film Ivan’s Childhood (1962). The essential elements of classical dramaturgy as proposed by Aristotle are problem (conflict), cause
and effect, turning points and a closed ending, and writerscontinue to use such elements in their writing. I am interested in whether or not it is possible to define the features of poetic dramaturgy in a similar way so that they too are incorporated into the writer’s craft. In this
article, I will focus on one frequently occurring expressive cinematic element in Ivan’s Childhood – upward–downward movement. Through dramaturgical analysis, my aim is to reveal the dramaturgical system associated with this movement. The deviations from classical dramaturgy
are of interest to me, and I will consider them as evidence of poetic dramaturgy. My contention is that there is an immanent system in Tarkovsky’s film that clearly differs from classical dramaturgy and which we can define as poetic. In addition, this article aims to analyse the nexus
between word and image in the screenplay and film, with the intention of understanding whether the poetic dramaturgy has been defined in (written into) this particular screenplay or whether it is something that the director has introduced into the film.
Television and film screenwriters: How to reach a global audience
Authors: Perebinossoff Philippe
Published: October 2011

The focus of this article will be on an examination of American television and film projects and their inceptions and/or receptions in various marketplaces. In addition, the article will explore some of the specific cultural differences around the world that may be of importance to
screenwriters.
‘To see a script’: Jean-Luc Godard’s re-envisioning of screenwriting in Passion (1982) and Scénario du film Passion (1982)
Authors: Murphy Jill
Published: October 2011

In the film Passion (1982) and its video scenario, Scénario du film Passion (1982), Jean-Luc Godard attempts to re-envision the conventional script by placing an emphasis on visual rather than verbal forms. In this article, I examine Godard’s development of narrative through
image in Passion and his description of this process in Scénario du film Passion. In addition, I consider the concurrent emphasis he places on the visualization of narrative in the diegetic film around which the storyline of Passion is based. To contextualize the process of narrative
construction that Godard applies in the films considered in the article, I present some earlier examples of his screenwriting practice that illustrate how Godard’s screenwriting evolved towards an image-based approach.
Quality in the welfare state: some remarks on a document from the archive of Harry Schein
Authors: Vesterlund Per
Published: October 2011

This short article is a brief introduction to a document from the archive of Harry Schein (1924–2006), without question one of the most influential Swedish film and media politicians in the late twentieth century. In the reprinted document, Schein and a number of prominent filmmakers,
politicians and intellectuals make an appeal for a new quality-based film subsidy. The early date of the document (1951) suggests that the process that preceded the Swedish film reform of 1963 (where Schein’s role as head of the Swedish Film Institute (SFI) was pivotal) was longer and
more complex than previously noted.
The municipal cinema system in Norway and the digital turn
Authors: Solum Ove
Published: October 2011

A presentation of the development and history of the unique municipal cinema system in Norway, and a discussion of the process of digitalization of the theatres in Norway.
Vampire in the Stockholm suburbs: Let the Right One In and genre hybridity
Authors: Wright Rochelle
Published: October 2011

The article argues that one crucial factor in the success of the Swedish vampire film Låt den rätte komma in/Let the Right One In (Alfredson, 2008) is that it seamlessly merges several apparently disparate genres to create a hybrid form that appeals to widely divergent audiences.
A detailed analysis of the film demonstrates how it simultaneously draws on and departs from common themes and motifs of indigenous Swedish film as well as vampire film tradition, combining elements of the horror film, the coming-of-age story and the realistic socio-psychological drama to
create a unique mix of the innovative and the familiar. A comparison of critical responses in Sweden with those in the English-speaking world sheds further light on genre-specific expectations and ways the film transcends them.
Scandinavian auteur as chameleon: how Benjamin Christensen reinvented himself in Hollywood, 1925–29
Authors: Lunde Arne
Published: October 2011

As a visionary stylist and innovator, Danish film-maker Benjamin Christensen (1879–1959) is part of the European silent-era canon. Less fully explored has been Christensen’s émigré period in 1920s Hollywood. This article particularizes that history in deeper
scope than previous studies, while more fully contextualizing Christensen within immigrant labour in Hollywood of the period. Christensen’s greater personal and professional success at the First National studio following his problematic period at MGM is well established. But how much
the film-maker deliberately manipulated his image within the industry during this period has not been as fully investigated as it merits. Archival evidence reveals Christensen as a shrewd, chameleon-like reinventor of his own persona. In light of this image makeover, Christensen’s surviving
First National feature, Seven Footprints to Satan (1929), can be read as a brilliant satire of the late-1920s Hollywood studio system and remains a much richer film than has been previously acknowledged.
The Film Museum in Kristianstad: ‘The cradle of Swedish film’
Authors: Degerhammar Rune
Published: October 2011

The Film Museum in Kristianstad in southern Sweden is located on the top floor of the building that housed the headquarters of Svenska Biografteatern, the leading Swedish production company of its time, from 1909 to 1917. It includes the glass-roofed studio where the company’s
first films were shot.
Connected memories: Contextualizing creative research practice
Authors: Mencía María
Published: October 2011

One of my intentions in putting together the roundtable discussion From the Page to the Screen to Augmented Reality: New Modes of Language-Driven Technology-Mediated Research at Kingston University in July 2010 was to give the opportunity to research practitioners to perform their projects
or present their work, with the aim of stimulating discussion on practice-led research in this field and instigating possibilities for further collaborations. I performed Connected Memories, an interactive generative narrative, which I produced especially after the proposal had been selected
to be presented at the panel in Interactive Storytelling and Memory Building in Post-conflict Society for the International Symposium on Electronic Art (ISEA 2009). I invited José Carlos Silvestre to develop the technical side of the work. Silvestre is a New Media artist and writer,
interested in ‘how code can signify by means of its native strategies’. It was a very rewarding collaboration, and he needs to be acknowledged for his knowledgeable programming input. The project was performed later in the same year at Landmark, Kunsthall Bergen, Norway as part
of the event ‘Network as Space and Medium for collaborative Interdisciplinary Art Practice’ organized by the Linguistic Literary and Aesthetics Studies (LLE) Digital Culture group at the University of Bergen. I chose to present it again at the roundtable discussion to question,
through practice as research; notions of meaning production in digital textuality; the double view of linguistic signifiers and visual-language abstract landscapes; the use of technology as a device to collect and share stories; the programming of non-linear interactive narrative structures
and storytelling through the performance of the work; and the use of code to perform generative textualities. These themes will be reviewed in this article by presenting the motivations behind the work, concepts, context, research process and technological concerns. My overall research draws
from concrete, visual and experimental poetics, art, linguistics and new media art, as does this work.
Identity and politics in Hong Kong gambling films of the 1990s: God of Gamblers III and God of Gambler's Return
Authors: Chan Brenda
Published: October 2011

The gambling film in Hong Kong cinema is usually perceived as a highly commercialized genre and receives scant attention in film studies. This article analyses two of the most popular gambling films at the Hong Kong box office, namely Du Xia Zhi Shanghai Tan Du Sheng/God of Gamblers
III – Back to Shanghai (Jing Wong, 1991) and Du Shen 2/God of Gambler's Return (Jing Wong, 1994). It explores the political allegories in both films, which were produced at a time when there was collective anxiety over the return of Hong Kong to the People's Republic of China
in 1997 and the search for identity became all the more acute. God of Gamblers III articulates the difficulties faced by Hong Kong people in imagining a national past, prior to the territory's return to its 'motherland'. God of Gambler's Return articulates the liminality and
fluidity of Hong Kong identity through its highlighting of the cross-strait tension between mainland China and Taiwan.
The non-stop ‘capture’: the politics of looking in postmodernity
Authors: Ibrahim Yasmin
Published: October 2011

This article examines our ability to constantly capture life on the move with the convergence of technologies. The incorporation of recording facilities in mobile telephony and our ability to connect to the Internet via mobile devices enable us to share images on a global platform.
The mobile body becomes one that can capture images on the move. This ‘civilian gaze’ creates a ‘glass house’ society in which pervasive watching and recording can create spaces of accountability, surveillance, risk, politics of pity, and denigration of humanity. Mobile
communications create a politics of looking in postmodernity where both new sociabilities and risks are created with the embedding of these technologies in our everyday lives. This article examines the consequences of this non-stop capture and civilian gaze for humanity in the immediate and
distant future.
Between Ourselves and 1950s Ireland: The use of radio archives as an historical source
Authors: O'Donoghue Darragh
Published: October 2011

The written archives of a broadcast media organization are often the only surviving evidence that programmes once existed. Ireland's Radio Éireann (later Raidió Teilifís Éireann), like many state and other broadcasters up until the 1970s, regularly wiped
programmes after broadcast when they were deemed to have exhausted their value. An example of such a 'lost' programme is the women's 'magazine feature' Between Ourselves (BETOS), broadcast between 1953 and 1959. This article uses BETOS as a case study to indicate how written archives
can reconstruct these vanished artefacts, as well as suggesting the scripts' research value for students of 1950s Ireland, in particular students of women's history.
A rhetorical analysis of Village
Authors: Andersen Lars Pynt
Published: October 2011

The award-winning TV spot Village is a creative example of NGO advertising using condensed visual storytelling. The spot is analysed using rhetorical concepts and communication theory, and potential effects are discussed in relation to contexts, strategy and communication ethics.
Communicative and narrative sound in Village
Authors: Have Iben
Published: October 2011

The soundtrack of the TV spot Village tells a story of its own. Some of the sounds communicate meaning very close to the visuals, for example by creating an African soundscape. But the soundtrack also supplies narrative elements of its own, which is most remarkable when it adds
a happy ending to the sombre message of the spot. This article identifies the sonic, communicative elements of the spot and describes the main narrative functions of the soundtrack.
Counterpoint and commentary on war in The War Is Over
Authors: Bullaro Grace Russo
Published: October 2011

This article explores the juxtaposition of various stylistic and structural elements and suggests that their accretion creates a system of counterpoint showing that although this unidentified war may be over, war as part of the human experience will never end. This discussion will be
of significance to film, literature and interdisciplinary scholars.
Dressing the body in memories
Authors: Richter Nicole
Published: October 2011

Undressing My Mother is a moving portrait of one woman's love of her aging body. The film provides a visual poetics of aging by treating the body as a landscape that embodies the passage of time.
Moving towards the light
Authors: Shaw Nathan
Published: October 2011

A new (post-9/11) emphasis on physical suffering and its transcendence (as opposed to post-World War II psychological suffering and its confounding) is emerging in contemporary European cinema at all levels, from feature-length movies to short films as exemplified by Alumbramiento.
Contrasts in Alumbramiento
Authors: Michelotti Graciela
Published: October 2011

With contrasting lights and shadows reminiscent of Francisco Zurbarán's paintings, Alumbramiento offers a palette of differing acts: 'to give birth', becoming a parent of your own mother, 'to illuminate' the path to a good death. The initial fear subsides and new alliances are born, inviting the viewer to take a stand.
The Sunday religious revival and a horse named Desire
Authors: Holtmeier Matthew
Published: October 2011

Sunday juxtaposes curiosity, religion and desire amidst the clash of acute sounds vying for attention. These sounds - the banality of knives and forks scraping plates, the instruction of a sermon being delivered via the radio, and a horse's breath and steps - set and break the boundaries between the aforementioned thematics.
‘It Couldn’t Happen Here in Oz’: Wicked and the creation of a ‘critic-proof’ musical
Authors: Laird Paul R.
Published: October 2011

Wicked falls into the mold of shows like Cats and Phantom of the Opera, which had mixed reviews from critics but became enormously popular with the public. Such shows are sometimes called ‘critic-proof’, meaning that the opinions of reviewers have little influence on the
public. This article examines the status of Wicked as a ‘critic-proof’ show with a detailed survey of its critical reception by New York City reviewers and consideration of the reasons for its great popularity, including the continuing resonance of L. Frank Baum’s Wizard
of Oz stories, book writer Winnie Holzman’s successful portrayal of young female relationships in the friendship between Elphaba and Glinda and Stephen Schwartz’s popular score. Each of Schwartz’s major songs for Wicked is described in terms of its musical models and effectiveness,
demonstrating how important the score of Wicked was in securing the show’s unofficial designation as ‘critic-proof’.