bluuebunny/crossref_metadata_2025_split huggingface dataset:
From Below to Above the Title: the Construction of the Star Image of Barbara Stanwyck, 1930-1935
Authors: Berkvens Linda 
Published: February 2020

This paper examines the construction of the star image of Barbara Stanwyck from her first role at Columbia studio in 1930, until 1935, when she became a freelance actress. I will focus especially on Stanwyck’s status as a female performer and the possible models of womanhood she portrayed. The work she did, and the accompanying publicity, raises questions about female representation, which I seek to address through this research. I will mainly use archival resources such as fan magazines, press books, and studio publicity material, contemporary to the period to examine how Stanwyck’s star image was constructed in this period. Traditionally, scholars look at film stars as part of the filmic text. My research method includes the use of other material (publicity, studio documents, etc.) contemporary to Stanwyck, and demonstrates my intention to look at stars and their images from a different
angle. This paper challenges the traditional way of looking at stars as fetishised objects, instead moving toward a more practical examination of the construction of the female star
image.
UTV, THE NETWORK RELATIONSHIP AND REPORTING THE ‘TROUBLES’
Authors: Lafferty Orla 
Published: February 2020

UTV, formerly known as Ulster Television, has been the franchised commercial broadcaster in Northern Ireland since Hallowe’en night, 1959. While detailed research has been carried out on the history of the BBC in Northern Ireland (Cathcart, 1984, McLoone, 1996) there has been neglect in
the study of the political, social and cultural role of UTV in this period. Johnson and Turnock (2005) attempted to address the lack of attention given to the regional structure of commercial
broadcasting in the UK yet fail to even mention UTV in their index. There has however been some slight discussion of UTV within the wider context of broadcasting in Northern Ireland (Butler 1995, Curtis, 1998 and Millar 1994) and Bernard Sendall and Jeremy Potter’s (1983, 1990) volumes Independent Television in Britain provide an invaluable source of historical information. More recently a book released for the channel’s 50th anniversary gives some insight into the channel's working processes but remains mainly anecdotal. These studies have not acknowledged the importance of regional broadcasters, particularly in relation to Northern Ireland and have failed to sustain their research. This paper aims to address this issue through three assertions. Studies on
broadcasting in Northern Ireland have tended to focus on the lack of political debate or exploration of the situation in the region as well as productions which caused controversy when aired. This has led to a large neglect of aired programme material that can be analyzed and critiqued to add a
different perspective to the already vast debate on the media and Northern Ireland. Secondly, the most important relationship for UTV as an independent broadcaster was its relationship with the Independent Television Authority and network. Finally, in coping with the ‘Troubles’, UTV
adopted the approach of creating a dialogue with the community and ensuring that their focus remained on local people and their stories.
Transmedia Muppets: The Possibilities of Performer Narratives
Authors: Calbreath-Frasieur Aaron 
Published: February 2020

This article examines how the Muppets franchise engages with transmedia narratives, their stories moving fluidly between television, film, comics, the internet and more. Rather than highlight the complexity Henry Jenkins (2006), Elizabeth Evans (2011) and others associate with transmedia, an examination of the Muppets offers insight into a mechanism that allows for simpler coherent connection between texts. The Muppets’ ongoing performer narrative challenges the prevailing understanding of transmedia storytelling. As performative characters (singers, actors, performance artists), any text concerned with Muppets, even those in which they act as other characters, becomes part of an overarching Muppet narrative. A high degree of self-reflexivity further supports transmediality, as most Muppet texts contain references to that text as a performance by the Muppets. Thus the comic Muppet Robin Hood and the film Muppet Treasure Island continue the story of the Muppets as further insight is gained into the characters' personalities and ongoing performance history. Examining different iterations of the Muppets franchise illuminates the ramifications of performer narratives for transmedia storytelling.
Introducing Interactive Documentary in the Context of Critical Media Education
Authors: Mikelli Danai 
Published: February 2020

This paper provides an overview of my doctoral research project, concerning the educational uses of interactive documentary. It also discusses the pedagogical possibilities and limitations of Mozilla’s Popcorn Maker, which is a web application for the creation of interactive stories and consists the main tool for my fieldwork, involving young people in a series of workshops with the aim to produce their own interactive documentaries. My research is theoretically anchored to the work of Brazilian educator Paulo Freire and is aligned with the model of Critical Media Education. My research questions investigate the ways in which young people engage with interactive documentaries and the potential of such practices to raise critical consciousness, as defined by Freire (1970). Gifreu (2012) sees interactive documentary as a medium that offers ‘experiences that combine an entertainment with a didactic and/or educational dimension’, however its position within Critical Media Education has not been yet discussed.
New Materialist Spectatorship: The Moving-Image-Body, the Mockumentary and a New Image of Thought
Authors: Von Schantz Miriam 
Published: February 2020

In this article I propose to rethink spectatorship as analytic category within cinema studies. Through an engagement with new materialist theory I shift the conversation from the locked positions of spectator and text towards an acknowledgement of the spectatorial event as a becoming increased or decreased in capacity to affect and be affected. By doing so I argue that what is effectuated in the event of spectating is in fact the production of a certain body, what I call a moving-image-body. This, I claim, develops in connection with different so-called spectatorial contracts, contracts that produce different agential conditions. An examination of some examples from the realm of the mockumentary, notably I’m Still Here (Affleck, 2010), leads me to discuss the core of the issue as one pertaining to the potential production of new realities, and my methodological proposal as a way towards mapping, not what the event of spectating means, but rather what it does. KEYWORDS Spectatorship, Mockumentary, New Materialism, Genre theory, Audiovisual Event.
A Social Zombie: The Performative Nature of Contemporary (British) Zombie Cinema Fandom
Authors: Shakir Shanaz 
Published: February 2020

It may be tempting to brush zombies aside as irrelevant, pop cultural ephemera but zombies have followed vampires out, through film and into wider culture, as icon and metaphor. Zombie popular culture, in addition to movies, books, and video games includes individuals routinely donning complex homemade costumes to march in zombie walks and/or engage in role-playing games like Humans vs. Zombies (See companies like Zed events <http://www.zedevents.co.uk> paintballing, or airsofting). There is even a mobile phone application circulating around college and university campuses, that purportedly helps new students get to know each other through role-playing a zombie-themed game of tag (other mobile phone applications include Zombie, Run! which is a combination of pedometer, GPS, scary soundtrack & zombie newscasts to make jogging fun). This is not to mention zombie related merchandise, (for example undead teds <http://www.undeadteds.com> and living dead dolls <http://www.livingdeaddolls.com>) zombie music, (for example, Rob Zombie, White Zombie & Zombina and the Skeletones) and zombie fan-sites (all things zombie <http://allthingszombie.com> and the Zombie Media Database <http://www.zmdb.org>). The ways in which the cinematic spectatorship of the zombie has transformed, extending the spatial, experiential, interactive and phenomenological understanding of horror cinema within the digital context is an interesting one. In particular the relationship between bodies, spaces and technologies provides a philosophical interrogation of contemporary zombie experience. The performance-centric nature of this new zombie fandom can be seen as a new formulation of cinematic immersion and a new notion of interactive play. In this article I examine the ethnographic case study of combat-ops-UK’s airsofting (paintball, without the paint) event - The Hungry Games - in which I performed zombification. I explore how such fan practices enhance the possibilities of cinematic fandom, interrogating the use of new media technologies in enhancing the pleasures (and terrors) that performing as a zombie or zombie-victim add to the cinematic experience. KEY WORDS Horror, Film, Movies, Zombies, Zombie, Dead, Corpse, Living, Walking, British
Art of the Masses: From Kodak Brownie to Instagram
Authors: Tifentale Alise 
Published: February 2020

In history of photography, new technological developments often provide a basis for new forms of imagery. These, in turn, are followed by new ways of theorizing the photographic image. For example, the cheapness and ease of use of the Kodak Brownie camera around 1900 gave rise to a massive movement of amateur photography, introduced the snapshot, and established a tradition of family photograph albums. Similarly, around 2010 we saw a rise in popularity of a new kind of image-making, image-sharing, and image-viewing device, which I propose to call the networked camera. This networked camera is a curious hybrid consisting of a smartphone with a built-in camera, wireless internet connection, and online image-sharing platforms and other social media. The availability of such devices have provided the technological basis for the formation of a new sub-genre of amateur photography – the selfie. The selfie continues the tradition of photographic self-portraiture yet at the same time presents us with a radically new type of image that demands equally new ways of analyzing it. Arguments put forward in this article are grounded in the research project Selfiecity (2013-2014) led by Lev Manovich and his research lab Software Studies Initiative. This project was based on a dataset of 3,200 selfies posted to Instagram during one week from five global cities: New York, Moscow, Berlin, Sao Paulo, and Bangkok. Research methods included computational analysis (such as software-driven face recognition and use of custom-made data visualization tools) as well as formal and content analysis of each individual image. The article reveals some of the inherent complexities in understanding the selfie that the methods and findings of Selfiecity have helped to articulate. Seeking for valid methods of theorizing and contextualizing the selfie, the article attempts to combine insights from the perspectives of history of photography and art history, digital humanities, and software studies.
How to Become War Machine, Or … A Low Hacktivist (Un)Methodology in Pieces
Authors: Micali Alberto 
Published: February 2020

In recent years, digital media and networks have been increasingly used to deploy dissent, opposition and resistance. More frequently, beyond traditional media as communicational tools, politically-oriented hacking subjectivities like ‘Anonymous’ employ media as weapons. However, a similar material deployment of media actions cannot be studied as a static, clearly definable ‘thing’ based on a representational order. These media actions, as well as their compositional relations, and the processes through which they are originated, are mostly ephemeral. Moreover, their deployment is always actualised in emergent and unstable contexts, within which the elements at stake – involving human and non-human components – are continuously in change, acting often beyond representation. For this reason, I suggest a ‘low hacktivist methodology in pieces’ as a theoretical and practical exercise of assemblage for recognising and dealing with similar criticalities without imposing any impossible objectivity. Inspired by Wark’s ‘low theory’ and Guattarian ecosophy, such a ‘scattered’ (un)methodology is conceived as a ‘method assemblage’ capable of activating, rather than framing, the virtual ‘lines of flight’ of the (problematised) objects of research. Within such assemblages, in fact, subject and object are critically put into question, allowing new methodological strategies to deal with hacktivist media actions. Becoming ‘war machine’ is a temporary and fragmented attempt to ‘machinise’ with the forces populating hacktivist media assemblages. Here, an ontological reframing is needed: a confrontation with humanist paradigms that enables, as a critical circuit, the blossoming of theory from the same actions at stake.
Talking Architecture: Exploring knowledge production through conversation in architectural creative practice research
Authors: Hatleskog Eli , Holder Anna , Hoete Anthony 
Published: February 2020

This paper will discuss the field of Architectural Creative Practice Research (ACPR) with a view to understanding what architects actually do in practice and how what they do may be translated into creative practice research. It argues that, since it is an entrepreneurial profession, a lot of what architects do is talk, but that we do not usually think of talking as a design skill or research method. However, talking about architecture is not just words. Not only can it can inform the production of built form, it can allow for nuanced and diverse views of practice to be shared and developed. This paper will argue that talking about architecture (and not simply drawing it or writing about it) can help us to develop greater understandings of both the role of the architect in practice and the diverse opportunities that an architectural response to creative practice research may provide.
Older Adults and Email Use: The challenges facing interface co-design
Authors: Almeida-Ferreira Sonia , Veloso Ana Isabel , Mealha Oscar 
Published: February 2020

Faced with a rapidly ageing society and with constant technological progression, studies focused on fostering communicative action and reducing social isolation have become increasingly relevant. This paper presents a proposal of a graphical interface for an asynchronous communication service aimed at older adults, which was tested in different user contexts – both in Portugal and the United States of America. The main aims of this study are to determine to what extent the participation of older adults in the development of an email service can influence its usability and the design of a simplified interface. The usability results provide consistent clues as to how the technical development of an email service for older adults should proceed. We conclude that we should not design an email interface so as to be completely different from existing ones. Rather, we chose to improve its usability and simplify the entire process of using an email service.
Seniors, iTV and content about Social Services: Clarifying the relationship
Authors: Carlos Mariana , Silva Telmo 
Published: February 2020

Over the years, television has been seen as a means of enriching human development. The technological evolution of this means of communication has led broadcasters to deliver more attractive and diversified contents. Hence, traditional broadcasting has evolved from the traditional passivity to the granting of a participatory role for viewers, creating a new paradigm – Interactive Television. Senior citizen viewers are great consumers of television and represent a considerable portion of people, who can take advantage of the interactivity potentialities. Most of the time, changes in social services take too long to reach senior citizens due to their technological, sensory or cognitive limitations, which tend to occur with the aging process. In this exploratory study, the research team aims to find principles for the development of content about social services, considering iTV potential and the limitations of senior citizens’ viewers. To accomplish this goal, the research team developed audiovisual content, videos regarding social services with different approaches on technological aspects. The evaluation of its effectiveness was by means of inquiry with direct questions on the material that was showcased.
Communicating public and social services through iTV: Promoting older adults’ quality of life
Authors: Campelo David , Silva Telmo , Abreu Jorge 
Published: February 2020

As the demographic transition occurs in a global scale, dealing with the consequences of population ageing has emerged as a critical task to modern societies. This has led government entities to pay more and more attention to seniors’ concerns, limitations and needs. A deep understand of old citizens, especially those unfamiliar with Internet and smartphone technologies, is also a challenge in order to enable them to fully benefit of the Information and Communication Technologies (ICTs). In the light of this issue, personalization and user-centred approaches involving older adults in all development stages may be the key for higher levels of user engagement with such ICT solutions as the interactive television (iTV) platform reported in this paper (+TV4E). The +TV4E is an on-going research project conducted at University of Aveiro, Portugal, based on a social inclusion approach, aiming to take benefit from the television viewing dynamics of senior viewers, by interweaving short and personalized adverts related to public and social services alongside regular broadcast contents. The platform is being designed with a user-centred approach featuring the integration of assistive technologies and multiplemultimedia communication channels. In this paper, a system architecture to deliver the informative contents is stated and a discussion of the potential social impacts of providing such platform is presented.
Honey, You Know I Can’t Hear You When You Aren’t in the Room
Authors: Welch Rosanne 
Published: February 2020

The need for more diversity in Hollywood films and television is currently being debated by scholars and content makers alike, but where is the proof that more diverse writers will create more diverse material? Since all forms of art are subjective, there is no perfect way to prove the importance of having female writers in the room except through samples of qualitative case studies of various female writers across the history of film. By studying the writing of several female screenwriters – personal correspondence, interviews and their writing for the screen – this paper will begin to prove that having a female voice in the room has made a difference in several prominent films. It will further hypothesise that greater representation can only create greater opportunity for more female stories and voices to be heard.
Research for my PhD dissertation ‘Married: With Screenplay’ involved the work of several prominent female screenwriters across the first century of filmmaking, including Anita Loos, Dorothy Parker, Frances Goodrich and Joan Didion. In all of their memoirs and other writings about working on screenplays, each mentioned the importance of (often) being the lone woman in the room during pitches and during the development of a screenplay. Goodrich summarised all their experiences concisely when she wrote, ‘I’m always the only woman working on the picture and I hold the fate of the women [characters] in my hand… I’ll fight for what the gal will or will not do, and I can be completely unfeminine about it.’ Also, the rise of female directors, such as Barbra Streisand or female production executives, such as Kathleen Kennedy, prove that one of the greatest assets to having a female voice in the room is the ability to invite other women inside. Therefore, this paper contributes to the scholarship on women in film and to authorship studies.
Spaces of social representation in the new urban landscape: the case of Kypseli Municipal Market, Athens, Greece
Authors: Daniilidis Alexandros 
Published: February 2020

While being an indicator of a well-regulated economy, public markets also function as spaces of socialization, cultural representation and a formative factor for community identities. In addition, a new trend in the specific field of study has emerged in the past ten years that approaches the institution of public markets as an expression of informal practices, cooperative economy and resistance to the ongoing commercialization and privatization of urban space. A case as such has been the historic municipal market of Kypseli, one of Athens’ most vibrant and densely populated districts. This paper seeks to explore the different stages of social agency and those public initiatives associated with the communal space of Kypseli Market by addressing the following question: How these forces have attempted to reintroduce the space’s character and functionality as a response to the challenges of privatization, commercialization and social exclusion of underprivileged groups of people, namely refugees, migrants and members of lower class stratification?
Impact of Workplace Bullying on Employee Performance
Authors: Pradhan Ajay , Joshi Jalsha 
Published: February 2020

Background of the study: The past decade bullying has received growing attention in organization research where analysts have announced disturbing discoveries about the negative results related with harassing, both for the people and the associations concerned. It is a behavior that occurs over a period of time and is meant to harm someone who feels powerless to respond. Verbal bullying includes teasing and threatening to cause harm whereas social bullying is occurred in the workplace that might happen by leaving someone out of a meeting on purpose of publicly reproaching someone.
Objectives: The main objective of this study is to examine whether there is existence of any bullying practices in the Nepalese workplaces. It also aims to examine the association between workplace bullying and employee’s performance.
Methods: The study was employed descriptive and causal comparative research design. Primary data for each variable was collected from 80 employees of different hospitals working in Kathmandu and Lalitpur. To observe the employee bullying and employee’s performance, structured questionnaire was used to collect responses.
Results: Results of study reveals that workplace bullying, working environment and individual job characteristics have significant positive association with employee performance and negative relationship between organizational responses and employee performance.
Conclusions: The study concludes that the most persuasive factor that influences the employee performance is working environment followed by individual job characteristics, workplace bullying and the least one being organizational responses.
Implications: To meet organizational goal, respondents mentioned that hospital should create conducive working environment. The firm should imply “The Sexual Harassment at Workplace Prevention Act, 2015” as mentioned by Nepal Government. Everyone should be equally treated in an organization provided that every individuals’ rights being protected at the same time.