Screen theory and film culture, 1977-1987.

My work in the 1970s and 1980s was developed with the evolving body of work now loosely called 'c e theory'. It centred on notions of authorship, spectatorship and art cinema with specific reference to the films of Carl Dreyer. In my research and writing on Dreyer's film Vampyr I applied the literary concept of the fantastigue to cinema, one of the first substantial theoretical contributions to a now established area of publication and research. According to one writer' this work was "probably the most ambitious attempt to apply Todorov's approach to cinema", a "notable exception" in the theoretical writing of that time. This was part of the wider movement associated with SEFT and Screen to interrogate the uncritical realism which dominated 1970s film studies. In my subsequent writing on Dreyer I explored a structuralist but more psychoanalytically informed discussion of genre, developing the concept of the "Dreyer text" as a way of bringing psychoanalytic concepts to compliment and complicate structuralist notions of authorship and genre. I was part of a loose group at Screen which was passionate both about cinema and ideas. While polemically defending the new concepts we were bringing to bear on cinema, we were equally concerned with their institutional placing. Our work concentrated both on regimes of looking allowed to the spectator by texts and their institutional placing. We focussed on political and discursive structures of the cinematic institution and developed a concept of `cinema as social practice'. In particular I pushed for a cultural critique of British Independent cinema and its institutions, which was continued in my work on screen acting. I was also instrumental in extending Screen theory to other visual arts. I felt that the sometime parochialism of film studies lay in part in its separation from analysis of other forms of visual culture. In my full context statement I wish to explore limitations in the political, semiotic and psychoanalytic models which I (as did many others) adopted at the time. What I now see as Screen theory's 'blind spots' in relation to issues of sexual orientation and race can be traced back to the problematic of this period. My own subsequent research on gay and lesbian cinema as well as film and television projects on screen acting (Acting Tapes) psychoanalysis (Between Two Worlds) and Frantz Fanon (Frantz Fanon: Black Skin White Mask) came out of dissatisfaction with that earlier project as it was then conceived. The form chosen - the essay and review - reflects the difficulty of thinking through these issues. [James Donald (ed), 'Fantasy and the Cinema', British Film Institute, London 1989] In essence my proposal involves looking back at my work around Dreyer and what one could broadly call my `film culture' work, and arguing that what was sometimes felt and described as a theory: practice division between these two domains could be more usefully thought of in retrospect in terms of two overlapping modes of theoretical production involving different notions of institution, conjuncture, subject etc. In looking again at the strengths and weaknesses of the work I am submitting here, however, I still expect key terms of subject and history, discourse and institution, to remain in place, modified and nuanced by the substantial range of work in psychoanalysis, cultural studies and queer theory that Screen in part engendered and which my work participated in

Ninteenth International Cosmic Ray Conference. OG Sessions, Volume 1

Contributed papers addressing cosmic ray origin and galactic phenomena are compiled. The topic areas covered in this volume include gamma ray bursts, gamma rays from point sources, and diffuse gamma ray emission

A comparative study of the effectiveness of small business organizations - Towards an economic interactionist theory of the small firm.

The present research adopted as its focal point of study the higher participants in small owner-managed manufacturing firms in the Kingston area of Surrey. A case-study approach was used in the research. The main-study sample consisted of eight firms drawn from the printing and electronics industries, i.e. four firms from each industry. In addition, an entrepreneur involved in the manufacture of wire products who was in the process of selling his firm to a public company before joining the latter as Managing Director, was investigated in order to assist in a deeper understanding of the situation of the small entrepreneur. The principal findings of the study centred around an observed dynamic process of entrepreneurial goal succession. Individually determined entrepreneurial goals, many of them having an essentially non-economic nature, were shown to change over time. Further, the goals valued at any one time were seen to conform more or less closely with one of three hypothesised ideal type entrepreneurial roles, each based upon a separate latent social identity. The three ideal type entrepreneurial roles were termed. "Artisan", "Classical Entrepreneur" and "Manager". Various facets of entrepreneurial experience were found to be associated, with entrepreneurial role type. Role specificity, job satisfaction, leadership style, role time intensitivity, environmental perception and business ideology were found to be dependent variables. In accordance with the organisational goal model of organisational effectiveness, the structurally and culturally prescribed goals of the firms studied were found to be expressed essentially in terms of the concept of profit. This goal was seen, in turn, to have an identifiable relationship with each of the three entrepreneurial roles. This relationship resulted in a decline in entrepreneurial independence and. discretion as the entrepreneur moved from occupation of the "Artisan" role to occupation of the "Classical Entrepreneur" role and, finally, to occupation of the "Manager" role. The underlying motivation for entry into entrepreneurship, and for subsequent movement between entrepreneurial role types, was seen as being based upon experiences of social marginality. Each of the three ideal type roles was seen as possessing potential for a solution to marginality in a different area of the total entrepreneurial environment. Finally, a scheme for an understanding of the firm's relations with its environment was conceptualised in terms of six facets of environmental control and an attempt was made to quantify them. The thesis questionnaires and case studies are presented in a separate volume accompanying the thesis

Screen theory and film culture, 1977-1987

My work in the 1970s and 1980s was developed with the evolving body of work now loosely called 'c e theory'. It centred on notions of authorship, spectatorship and art cinema with specific reference to the films of Carl Dreyer. In my research and writing on Dreyer's film Vampyr I applied the literary concept of the fantastigue to cinema, one of the first substantial theoretical contributions to a now established area of publication and research. According to one writer' this work was "probably the most ambitious attempt to apply Todorov's approach to cinema", a "notable exception" in the theoretical writing of that time. This was part of the wider movement associated with SEFT and Screen to interrogate the uncritical realism which dominated 1970s film studies. In my subsequent writing on Dreyer I explored a structuralist but more psychoanalytically informed discussion of genre, developing the concept of the "Dreyer text" as a way of bringing psychoanalytic concepts to compliment and complicate structuralist notions of authorship and genre. I was part of a loose group at Screen which was passionate both about cinema and ideas. While polemically defending the new concepts we were bringing to bear on cinema, we were equally concerned with their institutional placing. Our work concentrated both on regimes of looking allowed to the spectator by texts and their institutional placing. We focussed on political and discursive structures of the cinematic institution and developed a concept of 'cinema as social practice'. In particular I pushed for a cultural critique of British Independent cinema and its institutions, which was continued in my work on screen acting. I was also instrumental in extending Screen theory to other visual arts. I felt that the sometime parochialism of film studies lay in part in its separation from analysis of other forms of visual culture. In my full context statement I wish to explore limitations in the political, semiotic and psychoanalytic models which I (as did many others) adopted at the time. What I now see as Screen theory's 'blind spots' in relation to issues of sexual orientation and race can be traced back to the problematic of this period. My own subsequent research on gay and lesbian cinema as well as film and television projects on screen acting (Acting Tapes) psychoanalysis (Between Two Worlds) and Frantz Fanon (Frantz Fanon: Black Skin White Mask) came out of dissatisfaction with that earlier project as it was then conceived. The form chosen - the essay and review - reflects the difficulty of thinking through these issues. [James Donald (ed), 'Fantasy and the Cinema', British Film Institute, London 1989] In essence my proposal involves looking back at my work around Dreyer and what one could broadly call my 'film culture' work, and arguing that what was sometimes felt and described as a theory: practice division between these two domains could be more usefully thought of in retrospect in terms of two overlapping modes of theoretical production involving different notions of institution, conjuncture, subject etc. In looking again at the strengths and weaknesses of the work I am submitting here, however, I still expect key terms of subject and history, discourse and institution, to remain in place, modified and nuanced by the substantial range of work in psychoanalysis, cultural studies and queer theory that Screen in part engendered and which my work participated in.EThOS - Electronic Theses Online ServiceGBUnited Kingdo

Teacher training in the U.S.S.R. and Eastern Europe in the post-war period (1945-1966)

Abstract Not Provided

Massachusetts Domestic and Foreign Corporations Subject to an Excise: For the Use of Assessors (2004)

International audienc