The theatre and its screen double

This essay offers a close exploration of the live filming and sound production in the schaubühne berlin staging of strindberg's Fräulein Julie (directed by Katie Mitchell, shown on tour at the barbican, london, in 2012). It provides a series of theoretical and critical angles from which to discuss contemporary intermedia performance and audiovisual scenography. After a brief evocation of Artaud's writings in "theatre and cruelty" and on raw cinema, the essay builds on a historical understanding of Western theatre's evolving and hardly settled relationship to cinematography and moving-image technologies, as well as the "choreographic unconscious," as examined in contemporary dance and technology, before delving into an analysis of Mitchell's dramaturgy of real-time film construction and her use of the "camera-actor." A particular emphasis is placed on the question whether the live mediatization of realist drama, under Mitchell's direction, deliberately weakens the theatricality of the physical body and spoken language while proffering an extenuated, if uncritical/unpolitical modulation of digital prosthetics in a superbly crafted, seamless intermedial performance

Indo-U.S. FTA - Prospects for Audiovisual Services

Many WTO (World Trade Organization) member countries, including India, are defensive about opening up of the audiovisual sector in the Doha Round due to reasons of cultural sensitivity. On the other hand, the United States is pushing for liberalizing trade in this sector both in the WTO and in its bilateral FTAs (Free Trade Agreements). With the slow progress of the Doha Round, India and the United States are exploring the possibilities of entering into FTAs with like-minded trading partners. In this context, the present paper discusses the prospects of liberalizing audiovisual services under a possible Indo-U.S. FTA. The study found that India and the United States have significant trade complementarities in this sector which can be further enhanced under an FTA. It identifies areas such as co-production of films, digital content creation and broadband infrastructure in which companies from India and the United States can enter into mutually beneficial collaborations. It argues that India should enter into a media cooperation agreement with the U.S. to facilitate the inflow of technical know, finance and best management practices. It discusses regulatory and other reforms which would not only improve the productivity and global competitiveness of the Indian audiovisual sector but also enable it to gain from the FTA.Indo-U.S. FTA, GATS, bilateral agreements, audiovisual, Services

Indo-U.S. FTA: Prospects for Audiovisual Services

Many WTO (World Trade Organization) member countries, including India, are defensive about opening up of the audiovisual sector in the Doha Round due to reasons of cultural sensitivity. On the other hand, the United States is pushing for liberalizing trade in this sector - both in the WTO and in its bilateral FTAs (Free Trade Agreements). With the slow progress of the Doha Round, India and the United States are exploring the possibilities of entering into FTAs with like-minded trading partners. In this context, the present paper discusses the prospects of liberalizing audiovisual services under a possible Indo-U.S. FTA. The study found that India and the United States have significant trade complementarities in this sector which can be further enhanced under an FTA. It identifies areas such as co-production of films, digital content creation and broadband infrastructure in which companies from India and the United States can enter into mutually beneficial collaborations. It argues that India should enter into a media cooperation agreement with the U.S. to facilitate the inflow of technical know, finance and best management practices. It discusses regulatory and other reforms which would not only improve the productivity and global competitiveness of the Indian audiovisual sector but also enable it to gain from the FTA.Indo-U.S. FTA, GATS, bilateral agreements, audiovisual, services

Digital tools in media studies: analysis and research. An overview

Digital tools are increasingly used in media studies, opening up new perspectives for research and analysis, while creating new problems at the same time. In this volume, international media scholars and computer scientists present their projects, varying from powerful film-historical databases to automatic video analysis software, discussing their application of digital tools and reporting on their results. This book is the first publication of its kind and a helpful guide to both media scholars and computer scientists who intend to use digital tools in their research, providing information on applications, standards, and problems

Digital Tools in Media Studies

Digital tools are increasingly used in media studies, opening up new perspectives for research and analysis, while creating new problems at the same time. In this volume, international media scholars and computer scientists present their projects, varying from powerful film-historical databases to automatic video analysis software, discussing their application of digital tools and reporting on their results. This book is the first publication of its kind and a helpful guide to both media scholars and computer scientists who intend to use digital tools in their research, providing information on applications, standards, and problems

(Re)Defining movie ratings: acceptability, access, and boundary maintenance

2017 Summer.Includes bibliographical references.This thesis explores the allure of motion pictures in transition by focusing on moments of controversy, and in the way, these moments play-out through constant negotiation between an industry and an audience. In this way, the project dismantles MPAA rhetoric about film regulation in order to analyze the regulatory themes of access, acceptability, and boundary maintenance. In doing so, the project examines the history of film regulation to provide context to contemporary controversies surrounding the PG-13 and NC-17 ratings. Through a critical cultural lens, each rating is evaluated according to its impact on viewers and its reflection of cultural standards and norms. For this project, the most credible rating controversies question the themes of acceptability for the PG-13 rating and access for the NC-17. In these moments, the rating system does not successfully respond to discourse from audiences and industry members and shows the inherent limitations of the film industry's self-regulatory practices. At the same time, the project notes the necessity of the rating system to ensure the long-term success of the industry, in addition to, the overall freedom of film content

Media do not exist : performativity and mediating conjunctures

Collection : Theory on demand ; 31Media Do Not Exist: Performativity and Mediating Conjunctures by Jean-Marc Larrue and Marcello Vitali-Rosati offers a radically new approach to the phenomenon of mediation, proposing a new understanding that challenges the very notion of medium. It begins with a historical overview of recent developments in Western thought on mediation, especially since the mid 80s and the emergence of the disciplines of media archaeology and intermediality. While these developments are inseparable from the advent of digital technology, they have a long history. The authors trace the roots of this thought back to the dawn of philosophy. Humans interact with their environment – which includes other humans – not through media, but rather through a series of continually evolving mediations, which Larrue and Vitali-Rosati call ‘mediating conjunctures’. This observation leads them to the paradoxical argument that ‘media do not exist’. Existing theories of mediation processes remain largely influenced by a traditional understanding of media as relatively stable entities. Media Do Not Exist demonstrates the limits of this conception. The dynamics relating to mediation are the product not of a single medium, but rather of a series of mediating conjunctures. They are created by ceaselessly shifting events and interactions, blending the human and the non-human, energy, and matter

"Disney is the Tiffany’s and I am the Woolworth's of the business": A critical re-analysis of the business philosophies, production values and studio practices of animator-producer Paul Houlton Terry

This thesis was submitted for the degree of Doctor of Philosophy and awarded by Brunel University.Animator-producer Paul Houlton Terry has been portrayed as having little passion for the animation he produced and being more concerned with making a profit than producing entertaining cartoons with high production values. The purpose of the dissertation is to re-evaluate Terry‘s legacy to animated cartooning by analyzing his business philosophies, production values, and studio practices. Application of four psychodynamic factors to the early life and career of Terry, 1887-1929, found that his economic decision making was characterized by: an external locus of control, risk-averse financial behaviour, extreme saving behaviour through precaution, and shrewd money management practices. Based on Terry‘s historical responses to twelve major economic, technological, or institutional forces of change for the period 1929-1955, the psychodynamic factors were found to provide accurate explanations for his studio practices and production decisions. There was no evidence to support the conclusion that three early career disappointments undermined Terry‘s intrinsic motivation to create animated cartoons. Rather, Terry‘s lack of risk taking, external locus of control, tight studio production schedule, desire to compete with neighbour studio Fleischer, difficulty in separating financial rewards from creative processes in animation, and practice of undertaking surveillance measures on staff may have undermined his and his studio‘s creativity. Archival research found Terry to possess strong passions for and to have made significant creative contributions to the field of animation. Biographical research found that Terry retained a stable nucleus of highly talented artists who dedicated a significant portion of their working careers to the studio. An analysis of the cel aesthetics of a random sample of animated cartoons produced during the years 1930-1955 found that Terry created animated cartoons with above average cel aesthetics when compared to the other studios thereby supporting an inference that Terry was motivated to producing quality crafted animation. Further research is suggested into the role psychodynamic factors and economic decision-making play in the film production process and a clarification of Terry‘s legacy to the field of animated cartoons

Of Guilds and Men: Copyright Workarounds in the Cinematographic Industry

The motion picture industry utilizes a varied collection of more or less formal mechanisms for dealing with the collective nature of audiovisual works, ranging from collective bargaining to legal presumptions. What these instances of copyright workarounds have in common is that they are all about circumventing traditional notions of authorship (the right to be deemed the author of a work) and ownership (the right to exert control over a work). When considered from an international perspective, the cinematographic industry is fertile ground for an exploration of such mechanisms. After a recitation of the Berne Convention, this paper will proceed to discuss countries where the Berne Convention has been applied to audiovisual works with drastically different results: France and the United States. From there it will retrace the history of the so-called Foreign Levies Agreement. This agreement illustrates the collision of the French and American copyright workarounds. It was born from, inter alia, a dispute between the Directors\u27 Guild of America ( DGA ), the Writers\u27 Guild of America ( WGA ) and several movie producers upon the collection and distribution of foreign levies to American authors. This study will then discuss the contractual agreements between collective management organizations and guilds, and delineate underlying issues of collective action in this context