'Hello darkness, my old friend': The company of music in a cinema of (shared) loneliness

How have cinema’s representations of loneliness changed over time, in keeping with the changing technological mediation of loneliness? What can these representations tell us about how the experience of loneliness is made sense of in everyday life? And, crucially, how has cinema’s own technicity remediated loneliness in the process of representing it? In order to unpack some of these complexities, this article narrows its focus to a mere two minutes of screen time: the opening of The Graduate (1967), with its iconic representation of a lone character traversing Los Angeles International Airport to the tune of Simon and Garfunkel’s ‘The Sound of Silence’. The Graduate opens an important window into a particular socio-historical moment when technologies, techniques, industry concerns, and social conditions placed the audio-visual aesthetics of loneliness at the core of American cinema. I interpret this moment as the symbolic beginning of what Robert Kolker has termed ‘a cinema of loneliness’, a body of films that frequently featured solo drifters at plot level and that were made by directors working in isolation due to the collapse of the old Hollywood studio system. Notably, The Graduate forces us to deal with a fundamental aspect of the ‘cinema of loneliness’ that Kolker intentionally sidesteps: the use of pre-existing popular music to offer a glimpse into a character’s state of mind. Moving beyond the confines of film and narrative theory, and situating the film in broader histories of listening, cinemagoing, and audio technologies, I argue that the soundtrack of The Graduate reflected new ways of listening ‘alone together’ that were developing both within and without the cinema theatre. I show that the film employs music in a manner consistent with how transistor radios were being used and discussed in 1960s America, and I explore how – in the very process of placing loneliness at the centre of its audio-visual aesthetics – it enabled heavily mediated experiences of shared loneliness. More specifically, I propose that ‘The Sound of Silence’ is central not only to how The Graduate conveys loneliness but also to how the film provides a provisional and non-political way out of it

Broadband Internet and Social Capital

We study how the diffusion of broadband Internet affects social capital using two data sets from the UK. Our empirical strategy exploits the fact that broadband access has long depended on customers' position in the voice telecommunication infrastructure that was designed in the 1930s. The actual speed of an Internet connection, in fact, rapidly decays with the distance of the dwelling from the specific node of the network serving its area. Merging unique information about the topology of the voice network with geocoded longitudinal data about individual social capital, we show that access to broadband Internet caused a significant decline in forms of offline interaction and civic engagement. Overall, our results suggest that broadband penetration substantially crowded out several aspects of social capital.Comment: Internet & Society; Economic

Cross-sectional and longitudinal associations between receptive arts engagement and loneliness among older adults

Purpose Loneliness in older adulthood is a societal and public health challenge warranting identification of sustainable and community-based protective factors. This study investigated whether frequency of receptive arts engagement is associated with lower odds of loneliness in older adults. Methods We used data of respondents from waves 2 (2004–2005) and 7 (2014–2015) of the English Longitudinal Study of Ageing (ELSA) and examined cross-sectional (n = 6222) and longitudinal (n = 3127) associations between frequency of receptive arts engagement (including visits to the cinema, museums/galleries/exhibitions, theatre/concerts/opera) and odds of loneliness (cut-off ≥ 6 on three-item short form of the Revised UCLA Loneliness Scale). We fitted logistic regression models adjusted for a range of sociodemographic, economic, health and social, community and civic engagement factors. Results Cross-sectionally, we found dose–response negative associations between engagement with all receptive arts activities and odds of loneliness. Prospectively, in the fully-adjusted models we found most robust evidence for the negative association between engagement with museums/galleries/exhibitions and odds of loneliness (OR = 0.68, 95% CI 0.48–0.95) for those who engaged every few months or more often compared with those who never engaged. We found weaker evidence for lower odds of loneliness for more frequent engagement with theatre/concerts/opera. Conclusions Frequent engagement with certain receptive arts activities and venues, particularly museums, galleries and exhibitions, may be a protective factor against loneliness in older adults. Future research is needed to identify the mechanisms through which this process may occur, leading to better understanding of how arts activities and venues can reduce loneliness among older adults

The Technologies of Isolation

In this investigation of the Japanese film Kairo, I contemplate how the horrors present in the film relate to the issue of self, by examining a number of interlocking motifs. These include thematic foci on disease and technology which are more intimately and inwardly focused that the film's conclusion first appears to suggest. The true horror here, I argue, is ontological: centred on the self and its divorcing from the exterior world, especially founded in an increased use of and reliance on communicative technologies. I contend that these concerns are manifested in Kairo by presenting the spread of technology as disease-like, infecting the city and the individuals who are isolated and imprisoned by their urban environment. Finally, I investigate the meanings of the apocalypse, expounding how it may be read as hopeful for the future rather than indicative of failure or doom

The technologies of isolation: apocalypse and self in Kurosawa Kiyoshi's Kairo

In this investigation of the Japanese film Kairo, I contemplate how the horrors present in the film relate to the issue of self, by examining a number of interlocking motifs. These include thematic foci on disease and technology which are more intimately and inwardly focused that the film's conclusion first appears to suggest. The true horror here, I argue, is ontological: centred on the self and its divorcing from the exterior world, especially founded in an increased use of and reliance on communicative technologies. I contend that these concerns are manifested in Kairo by presenting the spread of technology as disease-like, infecting the city and the individuals who are isolated and imprisoned by their urban environment. Finally, I investigate the meanings of the apocalypse, expounding how it may be read as hopeful for the future rather than indicative of failure or doom

The family and community lives of older people after the second world war: new evidence from York

No abstract available

Zen and the art of film narrative: Towards a transcendental realism in film

Nations and peoples are largely the stories they feed themselves. If they tell themselves stories that are lies, they will suffer the consequences of those lies. If they tell themselves stories that face their own truths, they will free their histories for future flowerings. (Okri 1995: 21) What defines the classic narrative is also at the root of its limitations; an epistemology that ties it to a material and psychological paradigm governed by largely explicable laws of cause and effect. Such notions as ‘character motivation’, ‘narrative aims’, ‘obstacles’, ‘climax’ and so on have evolved to become as overwhelmingly dominant in cinema as the dogma of reason which subsequently the industrial age solidified. It is from this that the moving-image medium emerged: empirical evidence of motivations, mechanistic notions of causes and effects and scientifically based – including the pseudosciences of psychology and sociology – that provide justifications for events and actions – all serve to reinforce the dominance of the classic narrative’s role in the storytelling of the developed world. In this article, I shall call for a different perspective on cinematic narrative form; not with a view to discussing what film generally is, but to make some general suggestions of what it could be, particularly from the perspective of a film-maker trying to transcend the limitations of the classic narrative. The motive is to try and understand how, in practice, one may evolve narrative forms in such a way as to deal with experiences not sufficiently touched by the classic form, as it is currently generally practised in cinema. I shall, in particular, look at the relationship between emotions and feelings and their relationship to narrative structure and bring into this examination some notions and ideas from Zen Buddhism to re-evaluate that relationship. The issues I hope to raise are about paradigms and I shall therefore deliberately base my discussion on general assertions and eclectic contextualization

The early childhood generalized trust belief scale

The study was designed to develop and evaluate the Early Childhood Generalized Trust Belief Scale (ECGTBS) as a method of assessing 5-to-8-year-olds’ generalized trust. Two hundred and eleven (103 male and 108 female) children (mean age 6 years and 2 months at Time 1) completed the ECGTBS twice over a year. A subsample of participants completed the ECGTBS after two weeks to assess the scale’s test-retest reliability. Exploratory and confirmatory factor analyses confirmed that the ECGTBS assessed the expected three factors: reliability, emotional trust, and honesty with item-pairs loading most strongly on their corresponding factor. However, the ECGTBS demonstrated low to modest internal consistency and test-retest reliability which indicates a need for further development of this instrument. As evidence for the convergent validity of the ECGTBS, the reliability and emotional trust items were associated with the children’s trust in classmates at Time 2. Concurrent asymmetric quadratic relationships indicated the importance of midrange generalized trust. Specifically, children with very high generalized trust experienced greater loneliness and children with very low generalized trust had fewer friendships than children with midrange trust

‘I’m ugly, but gentle’: performing ‘little character’ in post-Mao Chinese comedies

Stars are often associated with glamour and beauty, but in this paper I would like to question how the concept of “chou” (literally meaning ugliness) is embraced in contemporary Chinese cinema. The popularity of chouxing (ugly star) in the Chinese cinema since the late 1980s has challenged the star system in Chinese film industry during the previous decades when a male actor’s handsome appearance was regarded as an important criterion for him being cast as a leading man. Directing the public attention to a male star’s physical appearance by stressing the attributive adjective chou, this newly-coined word raises a question: how the cinematic emphasis on a male star’s physical appearance engages with the social construction of a star’s screen charisma under the transnational context? To answer the question, this article takes Ge You (b.1957) as a case study and explores the star’s impersonation of xiao renwu (little character) in Chinese comedies. I argue that the Chinese cinema’s emphasis of a chouxing’s physical appearance is a visual manifest of the character’s imperfectness and ordinariness. Nonetheless, despite the fact that the cinematic emphasis of the star’s unattractive appearance often signifies a little character’s unprivileged social status, it neither marginalises nor makes the character a social outsider. Instead, the imperfectness and ordinariness has endowed the little character with the power as an insider of the Chinese society

Confessions of a Movie-Fan: Introspection into a Consumer’s Experiential Consumption of ‘Pride & Prejudice.'

As people enjoy movies for various reasons, this paper is taking an existential-phenomenological perspective to discuss the consumption of movies as a holistic personal lived experience. By using subjective personal introspection, the author provides hereby insights into his personal lived consumption experiences with the recently released movie Pride & Prejudice. Although the introspective data suggest that a complex tapestry of interconnected factors contributes to a consumer’s movie enjoyment, this study found a consumer’s personal engagement with the movie narrative and its characters to be of particular importance. This personal engagement not only allows for a momentary escape from reality into the imaginative movie world, but is even further enhanced through intertextuality, by which the consumer connects the movie to one’s personal life experiences