bluuebunny/crossref_metadata_2025 huggingface dataset:
Writing the ephemeral […] and re-enchanting the remnants: The lability of the digital device in literary practice
Authors: Saemmer Alexandra
Published: October 2011

Whenever the program of a work is run by a computer, the digital device necessarily plays a role in its updating process: because of the operating systems, the software and the ever changing speed of computers, it may sometimes affect the author’s artistic project, or even make
it unreadable on screen. Thus, authors lose control over the evolution of their work and the many updates it undergoes. Thus, the artist is given four options when dealing with the lability of the electronic device: (1) she demands the ‘right’context of reception for his work –
a requirement which, over time, will be confronted with the impossibility to preserve obsolete machines, software and operating systems; (2) she ‘re-enchants’ the lability of the electronic device and ascribes a ‘technological sublime’ to it; (3) she simply ignores
the lability of the digital device and creates at once, as if the digital framework was immutable; (4) she is fully aware of the instable environment in which his digital creation will be updated; he even considers the ephemeral and uncontrollable nature of his work as its fundamental aesthetic
principle. This most radical approach would then consist in letting the work slowly decompose, as well as in accepting his changing forms and updates and in taking up the possibility of incidents and unexpected events. In Tramway, one of my experimental poetic works that I present and analyse
in this article, the instability of the device is metaphorized on the surface of the screen; it is thematized in the relationship between the figures of ‘manipulation’ and the manipulable textual context; it is also theorized in a critical paratext which is based, for example,
on the actual presentation of the work in this journal issue. A second work, Pond, is located on the border between the aesthetics of the ephemeral, in which the author accepts the slow decay of his/her work, and the aesthetics of re-enchantment, in which the author ascribes the digital device
with a hope of survival, with a spectral characteristic linked to the materiality of the programmed matter and which remains despite the changes it undergoes on the electronic device.
Codework: Phenomenology of an anti-genre
Authors: Memmott Talan
Published: October 2011

‘Codework: Phenomenology of an anti-genre’ is concerned with the disciplinary, historical and genre positioning of the writing practice called codework. Looking at the work of Australian network artist Mez, and the obfuscated code practice of Carl Banks, this article asks:
What are the critical conditions that allow codework to be defined as a literary genre? In many cases the term codework seems less a specific genre than a taxonomic convenience that allows for a literary historicization, or mythologization, of the form. Thinking outside of the literary, codework
is presented here as a phenomenology of computer-based inscription rather than a genre of electronic literature or a specific writing practice.
Finding a third space for electronic literature: Creative community, authorship, publishing, and institutional environments
Authors: Rettberg Scott
Published: October 2011

The article addresses topics including creativity as a social ontology, reformulations of the idea of authorship in digital environments, the economics of electronic literature publishing, and the institutional challenges involved in developing academic environments for the teaching
of digital writing.
Gendered risks and opportunities? Exploring teen girls' digitized sexual identities in postfeminist media contexts
Authors: Ringrose Jessica , Barajas Katarina Eriksson
Published: October 2011

In debates on young people's engagements with new media, social networking sites (SNSs) have been explored as potentially democratizing spaces allowing a wider spectrum of young users to engage with digital technology than ever before. In relation to gender difference, SNSs are viewed
as places that have opened up girls' and women's use of new media, building on earlier claims about how online practices like personal websites and blogging have revolutionized girls' access to and uses of digital technology. On the other hand, there are prominent public debates over children
and sexualization, for example, that position young people and particularly girls as at risk of exposure to online content or SNSs that are not age appropriate, and which may contain adult sexually explicit content or pornography, or even put young people at risk from online paedophiles. In
this article we try to think through and beyond SNSs as sites of both gendered risk and opportunity, drawing on qualitative data from a UK study of teens' uses of the SNS Bebo. We discuss and trouble what gendered and sexualized risk and opportunity might mean in relation to user-generated
content and peer-to-peer networks. We situate peer networks as operating within wider postfeminist, pornified media contexts which may intensify dynamics like sexual objectification of girls' bodies. But we also illustrate how girls navigate such trends in complex ways exploring instances
of porno-chic performance and sexualized cyberbullying.
Cultural citizenship and the communicative space of mediated sexual expressivity
Authors: Christensen Miyase , Jansson André
Published: October 2011

The role of pornography in contemporary media societies constitutes one of the under-researched areas in media and communication studies. The purpose of this article is to explore the potentiality latent in the user-porn-related Internet domains, blogs and forums – as extensions
of offline agency and sociality – for motivating communicative action and engagement with civic practice in various forms. In this study, we utilize an interdisciplinary approach that feeds from social, political and cultural theory and we take 'self-pornographic pursuit as cultural
citizenship' as a paradigmatic intersection. The discussion is based on our analysis of a variety of expressive venues (some purely online, some amalgamated with the offline) over the course of our preliminary research. Of these, we refer to two Swedish examples: Bodycontact, a sexual dating
site, and Dirty Diaries, a feminist film project and the adjacent website, as illustrative of the theoretical arguments presented throughout our discussion.
Dangerous practices: 'Determinism of technique' in alternative media and their literature
Authors: Uzelman Scott
Published: October 2011

This article critiques largely unexamined assumptions within activist and academic theory and practice of alternative media. It is argued that there is a tendency within this field to practice what might be called 'determinism of technique' where certain strategies and tactics are assumed
to result in emancipatory outcomes. The essay first examines the 'politics of truth', the assumption that wider access to marginalized or excluded content, or innovative styles and formats, will activate alternative media audiences for democratic political struggle. Next the article discusses
the 'politics of participation'. The assumption here is that participatory forms of alternative media production and organization are necessarily tied to democratic politics. Finally, the later work of Foucault is adapted to suggest that, because particular strategies and tactics are always
contingently articulated to specific relations of power, more caution should be exercised regarding the power effects these modes of political struggle will have.
Discourses of environmental citizenship: How television teaches us to be green
Authors: Inthorn Sanna , Reder Michael
Published: October 2011

This article explores the discursive construction of environmental citizenship in German and British public service television. We ask whether television discourse describes environmental protection as a matter of citizen duties or a question of individual rights, and we explore the
extent to which the role of a global civil society is highlighted. While the themes of responsibility and civil society have a clear presence in our sample, they often appear in conjunction with the dominant themes of the free market and the autonomy of consumers. Placing television discourse
in its sociopolitical context, the main argument of this article is that television discourse sustains a liberal approach to environmental politics, currently favoured by governments in Germany and Britain.
Media, Popular Culture and Contestatory Politics in the Contemporary Middle East
Authors: Zayani Mohamed
Published: October 2011

REALITY TELEVISION AND ARAB POLITICS: CONTENTION IN PUBLIC
LIFE, MARWAN KRAIDY (2009)
Cambridge: Cambridge University Press, 270 pp., ISBN: 9780521769198,
$85.00 (hbk), ISBN: 9780521749046, $24.99 (pbk)

THE ETHICAL SOUNDSCAPE: CASSETTE SERMONS AND ISLAMIC
COUNTERPUBLICS, CHARLES HIRSCHKIND (2006)
New York: Columbia University Press, 288 pp., ISBN: 9780231138185,
$80.00 (hbk), ISBN: 9780231138192, $26.00 (pbk)

DRAMAS OF NATIONHOOD: THE POLITICS OF TELEVISION IN EGYPT,
LILA ABU LUGHOD (2004)
Chicago: University of Chicago Press, 324 pp., ISBN 9780226001968,
$59.00 (hbk), ISBN 9780226001975, $25.00 (pbk)
Technologies of culture: Digital feature film-making in New Zealand
Authors: Pitts Virginia
Published: October 2011

This article provides the first overview of contemporary low-budget digital cinema in New Zealand, the first decade of which has resulted in a body of fiction films that contest the national cinematic canon in terms of thematic and representational emphases as well as narrative and
aesthetic strategies. To investigate the causes and consequences of these departures, the output and methods of New Zealand's digital feature film-makers are explored, revealing how shifts in creative processes and increased access to the means of production enabled by low-cost, lightweight
digital video intersect with the proliferating cultural affiliations of emerging film-makers to produce change. I thus argue that the very ontology of digital video and associated medium-specific practices are increasingly integral to culturally and aesthetically pluralistic projections in
New Zealand cinema. As a consequence, I also argue for public investment in the sector and the alteration of funding policies designed for large-budget productions so that a tier of film-making ripe for experimentation and innovation can exist in fruitful dialogue with more mainstream fare.
Sacredness in Russian Socialist Iconography before and after 1917. Invention of a new revolutionary tradition, starting from the old one
Authors: Dogo Dunja
Published: October 2011

My investigation aims at describing how a particular miscellany of symbols and typologies, crossing the Christian legacy (i.e. icon painting), exploded in revolutionary Russia and increased at the outbreak of the Civil War (1918−1921). For this purpose I will draw attention not
only to selected posters of the period, but also to a film chronicle recorded in November 1917. This footage shows how the Bolsheviks first drew on the bloody October in Moscow in order to cast the revolutionary experience as a personal sacrifice in the cause of collective ‘redemption’.
Bolsheviks actually continued a practice of syncretism which was previously widely exercised in propaganda for the war loan, not only by the Provisional Government, but even by the tsarist establishment. In the period between February and October, very popular sacred archetypes drawn from
Last Judgment iconography tended to be modified and adapted to revolutionary themes by various Russian socialist elites in the context of a battle for conquering the old symbols. The keynotes of the Second International were equally reasserted through religious images by the Bolsheviks in
power, to reach the peasant soldier.
Exchange and interconnection in US network radio: A reinterpretation of the 1938 War of the Worlds broadcast
Authors: Hayes Joy Elizabeth , Battles Kathleen
Published: October 2011

This article offers a revision of the dominant reading of the 1938 War of the Worlds radio play as an unparalleled example of media power and radio artistry. Analyses of both the sound-text of the broadcast and audience responses collected afterwards show that War of the Worlds
– like a number of other radio programme genres – explored the possibility of two-way communication in national network radio. The play celebrated radio's ability to coordinate multiple communication media and create a 'constant communicative presence' in which the listener was
a central part. Although many audience members were frightened or disturbed by the broadcast, we argue that the primary audience response was to communicate with others through social and technologically mediated networks. Listeners drew on these networks to interrogate the meaning of the
broadcast, share information with family and friends and 'talk back' to the media.
Transmit/disrupt: Why does illegal broadcasting continue to thrive in the age of spectrum liberalization?
Authors: Schlosberg Justin
Published: October 2011

This research examines the systemic factors that perpetuate illegal broadcasting in London. It is primarily based on interviews conducted with relevant policy-makers, lobbyists and activists between May and August 2009. Findings were contextualized by secondary data and documents sourced
in part through applications under the Freedom of Information Act. The research finds that illegal broadcasting plays a key role in the value chain of production within the urban music industry and that current digital radio policy is unlikely to reduce its prevalence. Illegal broadcasting
is becoming an increasingly marginalized issue in regulatory discourse and there is a growing emphasis on enforcement at the expense of licensing alternatives. The research also uncovers significant aspects of 'informal' policy-making in respect of illegal broadcasting, raising question marks
over the transparency and accountability of the policy process.
Jaisa Desh, Waisa Vesh? Explorations on the representations of Adivasis in popular Hindi cinema
Authors: Rekhari Suneeti
Published: October 2011

This article seeks to discuss specific examples of Adivasi representation in Indian cinema, particularly popular Hindi cinema (as opposed to ‘art’ or ‘parallel’ cinema), and the ways in which it has distilled and codified the representations of ‘other’
groups for a mass audience. Mainstream Hindi cinema, even in its postcolonial phase, has not provided images of Adivasis that reflect their reality. This ‘constructed reality’ of the cinema in which Adivasis exist remains the widespread (mis)understanding of their cultures. It
is this cinematic marginalization and cultural stereotyping that will be explored further. This article is a preliminary exploration and will look at particular examples of representation in Hindi films, including Naagin [Female Cobra] (Nandlal Jaswantlal, 1954), Madhumati (Bimal Roy, 1958),
Yeh Gulistan Hamara [This Flower Garden of Ours] (Atma Ram, 1972), Lal Salaam [Red Salute] (Gaganvihari Boratte, 2002) and Chak De! [Come On! India] (Shimit Amin, 2007). The aim is for this exploration to provide a foundation for further research into Adivasi representation and the wider discourses
of power, politics and inequality in Indian society.
REVIEWS
Authors: Schulz Suzanne L. , Sen Priyanjali , Frank Aparna , Roy Mantra , Manring Rebecca J.
Published: October 2011

CLASS, POWER AND CONSCIOUSNESS IN INDIAN CINEMA AND TELEVISION, ANIRUDH DESHPANDE (2009) Delhi: Primus Books, 169 pp., ISBN 978-81-908918-2-0, Hardback (1st ed.), Rs 595 MOURNING THE NATION: INDIAN CINEMA IN THE WAKE OF PARTITION, BHASKAR SARKAR (2009) Durham: Duke University Press,
384 pp., ISBN- 10 0822343932, Hardback, $94.25, ISBN – 13 978-0822344117, Paperback, $24.95 INDIAN CINEMA IN THE TIME OF CELLULOID: FROM BOLLYWOOD TO THE EMERGENCY, ASHISH RAJADHYAKSHA (2009) New Delhi: Tulika Books, 441 pp., ISBN: 978-81-89487-52-2, Hardback, $75.00
EMOTION PICTURES: CINEMATIC JOURNEYS INTO THE INDIAN SELF, NARENDRA PANJWANI (2006) Ahmedabad: Rainbow Publishers. 296 pp., ISBN: 81-86962-72-7, Hardback, $40/Rs. 1200 FROM RAJAHS AND YOGIS TO GANDHI AND BEYOND: IMAGES OF INDIA IN INTERNATIONAL FILMS OF THE TWENTIETH CENTURY, VIJAYA
MULAY (2010) Calcutta: Seagull Books, 554 pp., ISBN 978-1905422951, $109.95
Imagining women and diaspora in the 1990s Bollywood film: A ‘close-up’ look at the visual politics in Pardes
Authors: Manavalli Krishna
Published: October 2011

This article highlights the manner in which Bollywood cinema functions as an effective visual public space for disseminating hegemonic forms of gendered nationalism in the troubled times of neo-liberalization and increased migration to the West in the 1990s. The visual strategies employed
in the Bollywood blockbuster Pardes/Overseas (Ghai 1997) reveal such problematic intersections of the discourses of nation, culture and gender. Moreover, the iconic construction of the Hindu woman as nation in the film is also underpinned by the anxiety of patriarchal transformations resulting
from the multiple economic and cultural shifts that characterized this Indian diaspora at the time.
The masala of globalism: Repositioning ‘dis/placement’ in the films of Mira Nair
Authors: Mukherjee Ishani
Published: October 2011

The displacement of cultures and re-imagination of place-bound identities is a common thread that binds most of the films of Mira Nair. Nair is an Indian-born, US-based director whose cinematic and documentary creations are both processes and products of a globalized culture. Her films
operate on multiple levels of crossover cinematic philosophies, comprise cosmopolitan visual displays and grow out of transnational socio-political contexts, making her repertoire an ideal case study for the processes of modern globalism. In this article, my purpose is to critically analyse
how Nair reconceptualizes the notions of ‘place’ and ‘displacement’ in her films, particularly in Mississippi Masala (1991) and The Namesake (2006). By tracing the transnational migration of two Indian families, Nair tries to cinematically capture their struggle to
culturally reconfigure their identities within constantly mutating spatial contexts. The purpose of this article is to investigate the global–local implications of these two films, primarily from the theoretical perspective of deterritorialization, which can be understood as ‘the
loss of the “natural” relation of culture to geographical and social territories’. I argue that Nair’s complex film narratives put forth an alternative visual framework for shifting notions of place and identity within the current context of ‘globalization [which]
fundamentally transforms the relationship between the places we inhabit and our cultural practices, experiences and identities’.
Undressing My Mother and love and death in rural Ireland
Authors: Boyle Deirdre
Published: October 2011

Undressing My Mother raises questions about nakedness, nudity and nation, and the power inherent in mature women's bodies. This essay examines Wardrop's film in the context of other works that celebrate the aging Venus as motherland. It also explores how the film, which is both an act
of mourning for his father and an acceptance of his inheritance, represents a coming of age for an Irish film-maker son.
Village, a case study in effective communication
Authors: Holm Nancy Graham
Published: October 2011

An effective public service announcement has to be more than aesthetically brilliant. It must raise awareness and motivate viewers to action. In a focus group of 50 participants, 27 say Village fails as effective communication. This can be explained by psychological differences in the
perception of information.
From the everyday to the universal: The War Is Over
Authors: Sutton Paul
Published: October 2011

Following the tradition of Italian neo-realism, Nina Mimica's poignant The War Is Over captures something of the horror and the emotional suffering of war, in a deceptively simple, yet powerfully expressed and dynamically realized, parable. This article will explore how the film
historicizes war to produce a powerfully universal statement.
Structural completeness in The War Is Over
Authors: Nielsen Jakob Isak
Published: October 2011

This article argues that Nina Mimica's The War Is Over achieves structural completeness on the basis of a number of choices regarding its visual style: shot scale, shot length, editing style and camera movement.
The War Is (Not) Over: a re-evaluation in the new era of perpetual war
Authors: Zambenedetti Alberto
Published: October 2011

In The War Is Over, Croatian director Nina Mimica portrays a disabled veteran of an undefined war announcing his homecoming to his family. In this article I will examine the implications of Mimica's short in a world that seems to posit 'the end of war' as a conceptual and narrative
impossibility.
A shot-by-shot breakdown of Undressing My Mother
Authors: Raskin Richard
Published: October 2011

NB. What follows is merely an outline of the film, indicating its overall structure and making it possible to refer to individual shots by number. No indications are provided here concerning movement within the shot (either of the person filmed or of the camera), dissolves and fades,
the use of music, etc. The images and text are reproduced with the kind permission of Ken Wardrop.
Balancing responsibilities in Undressing My Mother
Authors: Harper Sophie
Published: October 2011

Among the many challenges faced by Ken Wardrop when making Undressing My Mother was a need to meet a number of potentially competing responsibilities that arose in part from the degree of self-revelation to which his mother had agreed. This article will focus on the film-maker's ultimate
success in balancing those responsibilities.
Aesthetics of intimacy
Authors: Holohan Conn
Published: October 2011

Intimacy is a defining feature of the short film's mode of address. Both the context in which shorts circulate and the structural limits of the short film form construct a relationship of intimacy between film-maker and audience which echoes that of the art film as defined by Bordwell.
Filming the naked body
Authors: Lefebvre-Linetzky Jacques
Published: October 2011

Ken Wardrop takes up the challenge of exploring the naked body of his own mother while sustaining what Edgar Allan Poe defined as the 'unity of effect'. The emotional impact brought about by the mother's final outpouring is the last touch that justifies the aesthetic choices made by
the director.
Time of death
Authors: Stone Rob
Published: October 2011

Short films are no longer celluloid but software, and, following Deleuze, the most interesting short films no longer deal in movement but in time. These are not little movies but full-length timies. This article makes the case for a new critical approach to the short film.
Not the same ones you sang when you were little: children, Spain and Chapero-Jackson’s Alumbramiento
Authors: Middents Jeffrey
Published: October 2011

Although the title Alumbramiento references childbirth, children are conspicuously absent throughout the film: motherhood defines Maria, but not her children. In framing death by referencing the absence of children, the film also comments on the discontinuous nature of the post-Francoist Spanish family.
Suffering in silence: Alumbramiento as a melodramatic text
Authors: Hay Jimmy
Published: October 2011

How does a short film such as Alumbramiento relate to a classic genre such as melodrama? This article examines how the film's exploration of morality, its adoption of pathos and its use of soundtrack and mise-en-scène all demand its inscription within an evolving concept of melodrama.
Coming into the light: Alumbramiento in context
Authors: Acevedo-Muñoz Ernesto R.
Published: October 2011

This essay places Alumbramiento in the context of Spanish cinema after 1960. Narrative and formal analysis focus on strategies to make dual metaphors of death and birth converge within the film as a family is brought closer together and renewed during the mother's final hours.
Out of the underworld
Authors: Rabiger Michael
Published: October 2011

Derailment elegantly and playfully promises more than it delivers. No matter: its director deploys the cinema's oft-neglected strengths to explore the state of subway reverie. Ravishingly shot, with symphonically scored natural sound, it makes a woman imagine a love affair, then take the first promising, outrageous steps in pursuit.
Exploding anonymity: the romance and risk of Derailment
Authors: Prout Ryan
Published: October 2011

This article examines resonances in popular culture of the location where Derailment is shot. It situates the use of close-ups within surrealist and other aesthetics. It asks how we reread the text in the knowledge of recent terrorist atrocities. By comparing Derailment with other short films, it also queries the sexuality of the glance.
Air, scent and the senses in Derailment
Authors: Thomson Claire
Published: October 2011

This essay explores the ways in which Derailment evokes - primarily in light and sound - the air of the Paris Métro: the distinctive scent of the subway system, the movement of air through tunnels, platforms and carriages, and the sharing of that air with others who move through the space.
A Swiftian Sunday
Authors: McIlroy Brian
Published: October 2011

This essay explores the political and religious conflicts embedded in the film. In particular, I focus on how British, American and Irish Protestant (Swiftian) influences assault the traditional Irish Catholic ethos. I argue that the allusion to Swift suggests that neither modernity nor tradition encapsulates the desired state of being.
Disturbing types: gender stereotypes and the short film
Authors: Holohan Conn
Published: October 2011

Sunday presents us with a moment of character revelation that undermines the gender stereotypes that have dominated Irish cinema. Its force lies in its refusal to contextualize this revelation through narrative, thereby ensuring that it retains its power to disturb.
Seven words: the real Sunday
Authors: Radley Emma
Published: October 2011

Using Lacanian psychoanalytic theory, this article examines the gendered dynamics of the various levels of signification in Sunday. It considers the way in which the mother's desire acts as an uncanny disruptive device on traditional structures of meaning and order.
Mum, Dad and the Apocalypse: John Lawlor’s Sunday
Authors: Marx Lesley
Published: October 2011

This article explores how Sunday weaves together - through patterns of imagery, sound and silence - forms of catastrophic revelation concerning patriarchal obsession with control that manifests itself through institutional Christianity, enlightenment dreams of cosmic domination or, most shockingly and viscerally, in the private space of the family dining room.
Straight lines and circles
Authors: Quigley Paula
Published: October 2011

A gendered distinction between straight lines and circles offers a way of approaching the aesthetic choices that underpin Sunday. The situation of the crucial close-up in an alternative temporal and spatial register highlights the film's implicit tension between a 'feminized' space and a 'masculine' regime of narrative law and order.
Tuning in to Sunday
Authors: Barton Ruth
Published: October 2011

I explore here the significance of the references to the foreign media in Sunday. My focus is on the sequence featuring the radio broadcast and the references to The Sunday Times and The Sunday Press. How do the father's tastes add to our understanding of his character and motivations?
Megamusicals, spectacle and the postdramatic aesthetics of late capitalism
Authors: Siropoulos Vagelis
Published: October 2011

One of the most controversial aspects of the megamusical is the stage spectacle it offers. The aim of this article is to define this spectacle as an aesthetic category and analyse the reasons for its vast popularity in postmodern culture. A cultural reading of the megamusical’s
staging vocabulary will show that the genre’s prodigious emphasis on the visual aspects of the performance is an integral part of a postmodern masscultural aesthetic that emphasizes aesthetic form instead of narrative content. This aesthetic, which has its roots in modernist and avant-garde
practices, can be defined as ‘postdramatic’ and its commodification in postmodern culture is closely related to the late-capitalist reorganization of social life in spectacular terms. Moreover, cultural critics, from Walter Benjamin to Gut Debord and Fredric Jameson, have shown
that this spectacularization of social life has a century-long history and intensifies over the years. Based on this theorization of spectacular transformation as an ongoing socio-economic process, this article will also trace the history of the megamusical’s postdramatic spectacle.
It will show how capitalism, throughout the twentieth century, cultivated new modes of perception that made possible the introduction on the musical stage of new methods of postdramatic organization, which affected Broadway’s aesthetic production from the book musical, dance musical
and concept musical to the megamusical.
‘Is this what it takes just to make it to Broadway?!’: Marketing In the Heights in the twenty-first century
Authors: Craft Elizabeth Titrington
Published: October 2011

Tony winning musical In the Heights defied box office odds when it recouped its $10 million investment only ten months after opening on 9 March 2008 on Broadway. The marketing campaign of this unlikely ‘hit’, which blends musical theatre, Latin and hip hop styles
to portray a group historically underrepresented onstage – namely, the Hispanic community of Manhattan’s Washington Heights neighbourhood – was as innovative as its subject and style. Close examination of the musical’s savvy marketing campaign reveals how it carefully
negotiates the show’s hip hop and Latino identities and uses a range of media to attract new audiences while also cultivating the traditional Broadway fan base. Drawing upon ethnography and multimedia analysis, this case study provides a glimpse into the rapidly changing theatrical marketplace
of the early twenty-first century.
Encores! and the downsizing of the classic American musical
Authors: Eisler Garrett
Published: October 2011

Current economic conditions on Broadway have rendered many of the great musicals of the past prohibitively expensive to produce as originally envisioned. Over the past decade, New York’s Encores! series has overcome this problem by presenting partially staged ‘concert versions’
of such works featuring full orchestra and star performers, but with abbreviated librettos and minimal staging and design. The formula has proved successful on many fronts: the three annual Encores! presentations are major events in the Broadway community, attracting thousands of subscribers
and prime publicity. Some of the more popular Encores! projects have even transferred to Broadway with only slight ‘upgrading’ of production values – most notably their revival of Kander and Ebb’s Chicago, now an international franchise still running on Broadway, in
the West End and in cities around the world. Clearly, Encores! has made an impact on contemporary musical theatre practice. It has provided a service to the field in the areas of restoration and preservation of repertoire, and it has attracted top-rank talent to breathe life into some forgotten
works. But, by doing so in the pared-down form of the staged reading, has it also unwittingly set a hazardous precedent for future musical revivals? This article explores the economic and cultural ramifications of Encores!’s success in our current cost-cutting climate and its implications
for the future of the American musical theatre legacy.
‘We Said We Wouldn’t Look Back’: Utopia and the backward glance in Dorothy Reynolds and Julian Slade’s Salad Days
Authors: Adiseshiah Siân
Published: October 2011

The 1954 British musical Salad Days has been almost completely neglected by academics, partly, it seems because it is assumed to be light, frothy nonsense with no real significance. Its neglect is particularly noteworthy considering Salad Days’ huge popularity in its own time.
But this musical is far from conservative; the protagonists are a young graduate couple, who try to circumvent the restrictions of the grim world of the diegetic narrative and more specifically the gendered and classed roles expected of them. This article revisits Salad Days, reading it as
a utopian text and in doing so repositions the show as an articulation of utopian desire for the ‘not-yet’ of a more liberated future. Although, the novel has been the traditional home of utopia, musical theatre is considered here to contain forms that can circumvent the regulations
of prose fiction. The abstract and non-representational nature of music and performance makes them effective modes for articulating utopian desire. Salad Days uses both utopian and nostalgic sensibilities, and this article explores ways in which the utopian modes challenge ideological boundaries,
and the backward glance signifies mourning for lost opportunities.
‘No day but today’: Queer temporality in Rent
Authors: Ellis Sarah Taylor
Published: October 2011

Through a reading of Jonathan Larson’s rock opera Rent, I explore how the genre of musical theatre ‘queers’ time. Rather than a continuously progressive temporality, I suggest that the musical comprises shifts along a continuum between a standstill and accelerated
time, with the production numbers veering towards these heightened extremes. Rent advocates a powerful ‘no day but today’ mentality in the wake of crisis, bringing time to a standstill against the apocalyptic pace of the HIV/AIDS epidemic. Anthems, reprises and other repetitive
frameworks ‘queer’ narrative time and capture a fragmentary sense of communitas that valuably blurs the lines among characters, performers and audience members. While the genre of musical theatre may seem steeped in abstract idealism, then, performers can step out of character
and spectators can join the anthem, appropriating the formal difference and the utopian openness of the musical number to a wide array of concrete social causes.
REVIEWS
Authors: Purin Peter , Stultz Kristin , Coleman Bud , Winters Ben
Published: October 2011

SONDHEIM ON MUSIC: MINOR DETAILS AND MAJOR DECISIONS, MARK EDEN HOROWITZ (2010) 2nd ed., Lanham, MD, Toronto and Plymouth, UK: The Scarecrow Press Inc., 568 pp., ISBN: 978-0-8108-7436-7, Hardback, £31.95 THE GOLDEN AGE OF AMERICAN MUSICAL THEATRE: 1943–1965, CORINNE J. NADEN
(2011) Toronto: The Scarecrow Press Inc., 267 pp., ISBN 978-0-8108-7733-7, Hardback, $39.95 SHOW TUNES: THE SONGS, SHOWS, AND CAREERS OF BROADWAY’S MAJOR COMPOSERS, STEVEN SUSKIN (2010) 4th ed., New York: Oxford University Press, 600 pp., ISBN 978-0-19-531407-6, Hardback, $60.00
THE HOLLYWOOD FILM MUSIC READER, MERVYN COOKE (ED.) (2010) Oxford: Oxford University Press, 384 pp., ISBN: 978-0-19-533118-9, Hardback, £65; ISBN 978-0-19-533119-6, Paperback, £22.50
Empowering a state's development of a knowledge society
Authors: Ramaprasad Arkalgud , Sridhar Makam K.
Published: October 2011

This article presents an ontological framework for empowering a state's development of a knowledge society. It is an adaptation of the framework for the role of Triple Helix (TH) in the global agenda for innovation, competitiveness and sustainability. The adaptation is based on the
experience of the Karnataka Knowledge Commission (KKC) in India – Karnataka is a state in India – and related literature. The discussion shows how the framework can be used to advance the vision of developing a knowledge society in Karnataka and elsewhere around the globe.
Regional trade and international production networks: The context of automobile industry in Asia
Authors: De Debdeep
Published: October 2011

The dynamics of regional development has moved on in analysing the complex relationship in the changing international production networks (IPNs). Regional integration in these days is limited in not only the formation of regional trade agreements and free trade agreements which has
emerged in facilitating the economic cooperation with the stagnation in WTO but also a complex strategic coupling of those economic factors linking the industries operating in specific regions to their counterparts orchestrating production networks on a global basis. Development of automotive
industry, covering automobile vehicle and component manufacturing, is usually in the interest of policymakers in developing Asian countries. Promotion of the automotive industry can lead to the expansion of numerous complementary investments by auto parts firms, thereby laying down the basis
for broad-based industrial growth. With the increased global competition and the emergence of Asia as the regional automobile hub, there is a need for understanding the industry dynamics in the context of IPNs built on this regional frame. Policy domain is conducive to maintain economic and
policy environment in the entire region as well as to strengthen absorptive capability of indigenous manufacturers in regional trajectories. Thus this article tries to identify the linkages in the production networks and the trade agreements in the context of the automobile industry. The key
issue is how the growing formal trade agreements influence the IPNs which had been established and working relatively perfectly in the region. This article analyses the intraregional trade in the automobile industry in Asia which is essentially empirical in design but the empirical analysis
is carried out in the context of the existing literature. This article concludes with the fact that regionalism can in fact trigger the formation of the networks, thus facilitating the regional industrial growth.
Environmental regulation and innovation in high-pollution industries: A case study in a Brazilian refinery
Authors: de Azevedo Adalberto Mantovani Martiniano , Pereira Newton Mller
Published: October 2011

This article discusses the influence of environmental regulation on the adoption of new production techniques by a Brazilian petroleum refinery (Replan). Two kinds of techniques adopted in order to comply with environmental regulation are described: techniques to control local environmental
impacts (water, air and soil contamination) and techniques to produce less-polluting diesel. The article uses secondary data and primary data collected in Replan and in the Petrobras R&D Center. The research covers the period between 1999 and 2003, when strict environmental regulation
forced Brazilian refineries to update their production processes. Thus, the analysis of this article is focused on how Replan had reacted to the tightening of regulation. From the standpoint of evolutionary economics, the environmental regulation is considered a contextual determinant of the
adoption of environmental technology. It is concluded that in the case of Replan, environmental regulation brought about the need of huge investments to adapt processes and products to new standards. The case also demonstrates the usefulness of environmental regulation as a policy tool for
inducing highly polluting industries to adopt technologies that can mitigate environmental impacts and also promote technological learning in new environmental technologies.
Rent-sharing: Organizational and technological innovations under military regimes in South Korea and Turkey
Authors: Oh Ingyu , Varcin Recep
Published: October 2011

The concept of the developmental state suffers from its weak provision of an economic explanation as to why bureaucratic efficiency was the reason for the phenomenal economic growth in South Korea (19601990s) and Turkey (1990s2000s), especially during military regimes. Although neoclassical
economics emphasizes the superiority of the free market to efficient bureaucracy, it also fails to unveil the black box of innovation among developing countries, especially when they are experiencing strong control by the military governments. Instead of the bureaucratic efficiency or the
free market, we analyse conglomerate innovation structures under the institution of rent-sharing in South Korea and Turkey during the developmental phase. In doing so, we also try to find the reason for the delayed economic growth in Turkey despite its successful political independence and
reforms in the 1920s, much earlier than those of South Korea in the 1960s, in the statebusiness relations. In South Korea the institution of rent-sharing cleared the uncertainties of technological innovation by first mandating organizational innovation, whereas the Turkish institution of rent-sharing
did not mandate organizational innovation as an initial prerequisite to technological innovation.
Objects of amplified context: an interview with artist-teacher Pepón Osorio
Authors: Kay Lisa , Woywod Christine
Published: October 2011

The authors recount lessons learned through the experience of interviewing Professor Pepón Osorio about his practice as an artist-teacher-researcher. Central to the authors’ interview method is ‘bead collage’, an arts-informed inquiry process that invites participants
to construct and reflect on their experience by manipulating small objects of material culture. This interview methodology facilitated an encounter in which Osorio internally and externally organized his thoughts through the creation of a bead collage. The artefact is a visual testimony of
the interview process, his teaching philosophy and his approach to art-making. As a result, the article is a visual and textual construction that unpacks Osorio’s approach and passion as an artist-teacher. The authors conclude that the centrality of stories, use of negotiation and improvisation,
knowledge of self and situation, and art as testimony are valuable strategies to articulate when teaching others about meaningful intersections of community, collaboration and art.
Try holding your pencil like this
Authors: Barnes Suzanne
Published: October 2011

Artists train the next generation of artists. To the uninitiated, this system might seem mysterious, even bizarre. Communities of idiosyncratic creative individuals pass on a lineage that stretches back to some French caves, further perhaps. A life spent as an artist is remarkable enough.
A life spent as artist and as an educator of future artists is extraordinary. This essay is a tender reflection of the joy and honour of being one link in the chain.
Sincerity and irony examined through the work of Jeff Koons
Authors: Blackwell Clovis
Published: October 2011

The artwork of Jeff Koons had always seemed intentionally ironic to me. But after re-evaluating his work, I find sincerity. My initial assumption of Koons’s use of irony formed a powerful impression on my understanding of the art world. Further research into Koons’s life
and work revealed to me a different perspective, one that has impacted the way I approach my own work and instructional practice. Examining two works by Koons, I show how St John the Baptist could be interpreted as ironic, but the more recent Liberty Bell demonstrates deeper complexity and
vindicates the sincerity that Koons claimed all along. Perhaps irony is not always the favourable means of communicating, and sincerity can be used successfully.
CAA 2011
Authors: Mayo Sherry
Published: October 2011

This is a brief review of the 2011 CAA sessions pertaining to arts research, as perceived by one attendee. An effort was made to integrate the hybrid discourse of new media in contemporary art practice with the emergence of arts technology integration in education and arts research.
Woven in briefly is a snippet from the contemporary studio artist scene in a dynamically changed and perplexing marketplace. This author is trying to synthesize conversations from several sessions that seem to provide a glimpse of some of the hot topics in contemporary art and arts education
and their intersections. If this review was depicted as a word cloud such text would be featured as: living artist, emergence, artist-scholar, art as research, contemporary art practice, new media, terminal degree, sciarts, transdisciplinary and ruptured boundaries.
Why subject relatives prevail: Constraints versus constructional licensing
Authors: Duffield Cecily Jill , Michaelis Laura A.
Published: October 2011

Relative clauses containing subject relative-pronouns(e.g.that go to Utah all the time,)are the prevalent type both across languages (Keenan and Comrie 1977) and in conversation, accounting for 65% of relative clauses in the American National Corpus (Reali and Christiansen 2007) and 67% of relative clauses in the corpus examined for this study, the Switchboard corpus. This fact appears attributable to parsing preferences, as per Hawkins (1999, 2004), Gibson (1998) and Gibson et al. (2005): subject extractions are the most local filler-gap dependency and therefore impose the lowest burden on short-term memory. This explanation, however, not only lacks strong psycholinguistic support but also fails to explain a major pattern in Switchboard: subject relatives are not preferred across the board but only as modifiers of postverbal (object and oblique) nominals. We propose that the preference for subject relatives is an effect not of general-purpose interpretive or encoding constraints but rather of constructional licensing: the subject relative belongs to an entrenched syntactic routine, the Presentational Relative construction, e.g.I have friends that clip articles(McCawley 1981; Lambrecht 1987, 1988, 2002). We investigate this hypothesis by examining the formal, semantic and pragmatic properties of relative-clause modifiers of postverbal nominals in the Switchboard corpus.
Tautou's Face
Authors: Peters Jeffrey N.
Published: October 2011

Reactions in France to Jean-Pierre Jeunet's phenomenally successful filmLe fabuleux destin d'Amélie Poulain(2001) tend to fall into two groups. According to one perspective, the film is a superficial and racially sanitized form of cine-tourism; according to another, it is a profound and sincere celebration of traditional French values. For both groups, the cultural work the film performs coalesces around close-ups of the face of Audrey Tautou, the film's star. This essay asks how Tautou's face and the close-up shot it exemplifies can say so much while showing so little. By drawing on the theoretical history of camera distance, it argues that the formal design of the close-up, which demands simultaneously an analytic and an affective response to the visual image, usefully informs the relations between political reactions to the film and French debates around the question of national identity at the start of the twenty-first century.
The Unwatched Life Is Not Worth Living: The Elevation of the Ordinary in Celebrity Culture
Authors: Gamson Joshua
Published: October 2011

When my first daughter was born a few years ago, I entered a celebrity news blackout, a somewhat discomfiting condition for a sociologist of celebrity. When she entered preschool, though, I resubscribed toUs Weeklyand devoured its morsels like a starving man at McDonald's: Kim Kardashian and her then-boyfriend ate at Chipotle on their first date! Ashton Kutcher was mad about his neighbor's noisy construction! Lindsay Lohan is back in rehab! I felt less disconnected from others, comforted by the familiar company, a little dirtier and a little lighter.
Knowing the Performer from the Performance: Fame, Celebrity, and Literary Studies
Authors: Braudy Leo
Published: October 2011

In 1986, when the frenzy of renown was first published, let alone in the 1970s, when I first started working on it, little did I know that a few decades later fame and its history would be a subject of expanding academic study. After all, when I was in the midst of writing it, I was told by my agent that I had better hurry up and finish before no one was interested in fame anymore.