Come to Daddy? Claiming Chris Cunningham for British Art Cinema

Twenty years after he came to prominence via a series of provocative, ground-breaking music videos, Chris Cunningham remains a troubling, elusive figure within British visual culture. His output – which includes short films, advertisements, art gallery commissions, installations, music production and a touring multi-screen live performance – is relatively slim, and his seemingly slow work rate (and tendency to leave projects uncompleted or unreleased) has been a frustration for fans and commentators, particularly those who hoped he would channel his interests and talents into a full-length ‘feature’ film project. There has been a diverse critical response to his musical sensitivity, his associations with UK electronica culture – and the Warp label in particular – his working relationship with Aphex Twin, his importance within the history of the pop video and his deployment of transgressive, suggestive imagery involving mutated, traumatised or robotic bodies. However, this article makes a claim for placing Cunningham within discourses of British art cinema. It proposes that the many contradictions that define and animate Cunningham's work – narrative versus abstraction, political engagement versus surrealism, sincerity versus provocation, commerce versus experimentation, art versus craft, a ‘British’ sensibility versus a transnational one – are also those that typify a particular terrain of British film culture that falls awkwardly between populism and experimentalism

Working Title Films and Universal : The Integration of a British Production Company into a Hollywood Studio

Working Title Films is arguably the most successful and well-known production company in Britain today. For over 30 years, it has produced a diverse range of critically and commercially successful British films including romantic comedies such as Four Weddings and a Funeral (1994) and Bridget Jones’s Diary (2001), family films like Bean (1997) and Nanny McPhee (2005) and dramas including Atonement (2007) and The Theory of Everything (2014). For the majority of its history, however, Working Title has been defined in business terms by its status as a subsidiary of one of two multinational media conglomerates, PolyGram (1992–8) and Universal (1998–present). The transition between the two began when PolyGram, and its film studio, PolyGram Filmed Entertainment (PFE), was sold to Seagram, the parent company of Universal. This article examines Working Title’s integration into Universal and the evolving media ecology which shaped the processes of development, green-lighting, production, marketing and distribution at play within and between both companies between 1998 and 2006. In these respects, Working Title’s transition between parent companies is a narrative of both continuity and change. Significantly, three key stages of gatekeeping remained common to both the PFE and Universal eras: development, green-lighting and distribution. The institutional perimeters within which these points of decision-making occurred, however, changed considerably. The article concludes by considering the impact of such structures and processes on the films which Working Title produced, particularly their various representations of Britain and ‘Britishness’

The impacts of environmental warming on Odonata: a review

Climate change brings with it unprecedented rates of increase in environmental temperature, which will have major consequences for the earth's flora and fauna. The Odonata represent a taxon that has many strong links to this abiotic factor due to its tropical evolutionary history and adaptations to temperate climates. Temperature is known to affect odonate physiology including life-history traits such as developmental rate, phenology and seasonal regulation as well as immune function and the production of pigment for thermoregulation. A range of behaviours are likely to be affected which will, in turn, influence other parts of the aquatic ecosystem, primarily through trophic interactions. Temperature may influence changes in geographical distributions, through a shifting of species' fundamental niches, changes in the distribution of suitable habitat and variation in the dispersal ability of species. Finally, such a rapid change in the environment results in a strong selective pressure towards adaptation to cope and the inevitable loss of some populations and, potentially, species. Where data are lacking for odonates, studies on other invertebrate groups will be considered. Finally, directions for research are suggested, particularly laboratory studies that investigate underlying causes of climate-driven macroecological patterns

Resistance through realism : Youth subculture films in 1970s (and 1980s) Britain

This document is the Accepted Manuscript version of the following article: Nathaniel Weiner, ‘Resistance through realism: Youth subculture films in 1970s (and 1980s) Britain’. The final, definitive version of this paper has been published in European Journal of Cultural Studies, November 2015, DOI: https://doi.org/10.1177/1367549415603376. Published by SAGE Publishing.Film scholars have argued that the British social realist films of the late 1950s and early 1960s reflect the concerns articulated by British cultural studies during the same period. This article looks at how the social realist films of the 1970s and early 1980s similarly reflect the concerns of British cultural studies scholarship produced by the University of Birmingham’s Centre for Contemporary Cultural Studies during the 1970s. It argues that the Centre for Contemporary Cultural Studies’ approach to stylised working-class youth subcultures is echoed in the portrayal of youth subcultures in the social realist films Pressure (1976), Bloody Kids (1979), Babylon (1980) and Made in Britain (1982). This article explores the ways in which these films show us both the strengths and weaknesses of the Centre for Contemporary Cultural Studies’ work on subcultures.Peer reviewe

Cultural distance, mindfulness and passive xenophobia: Using Integrated Threat Theory to explore home higher education students' perspectives on 'internationalisation at home'

This paper addresses the question of interaction between home and international students using qualitative data from 100 home students at two 'teaching intensive' universities in the southwest of England. Stephan and Stephan's Integrated Threat Theory is used to analyse the data, finding evidence for all four types of threat that they predict when outgroups interact. It is found that home students perceive threats to their academic success and group identity from the presence of international students on the campus and in the classroom. These are linked to anxieties around 'mindful' forms of interaction and a taboo around the discussion of difference, leading to a 'passive xenophobia' for the majority. The paper concludes that Integrated Threat Theory is a useful tool in critiquing the 'internationalisation at home' agenda, making suggestions for policies and practices that may alleviate perceived threats, thereby improving the quality and outcomes of intercultural interaction. © 2010 British Educational Research Association

internationalization strategies and policies in second tier higher education institutions

This study addresses the major objectives and challenges in the internationalization processes of second-tier higher education institutions. We use the examples of universities of applied sciences in the Netherlands, academic colleges in Israel, and community colleges in Canada to offer a global perspective regarding the internationalization efforts in these types of institutions. Through comprehensive comparative analysis of secondary sources, we identify the trends taking place within these types of higher education institutions in these countries. We find that second-tier institutions tend not to have solidified for themselves tailored internationalization approaches and strategies that are uniquely fitting to their own missions, aims and student populations. This oversight creates a situation whereby such institutions, despite their culturally diverse student populations and the promise they hold to create a unique niche within internationalization discourse, fail to utilize the potential inherent in targeted internationalization strategies

Emerging trends in reassessing translation, conflict, and memory

New Approaches on Translation, Conflict, and Memory: Narratives of the Spanish Civil War and the Dictatorship is a collection of essays that endeavours to establish a new dialogue between translation, conflict, and memory studies. Focusing on cultural representations of the Spanish Civil War and the Franco Dictatorship, it explores the significance and the effect of translation within Spain and beyond. Drawing on fictional and non-fictional texts, reports from war zones, and audiovisual productions, the contributors to this volume examine the scope of translation in transmitting the conflict and the dictatorship from a contemporary perspective. Narratives produced during and after the Civil War and the dictatorship both in Spain and abroad have led to new debates arising from the reassessment of a conflict that continues to resonate

The poetry of Ian Wedde 1967-1978

This thesis is a study of the first decade of Ian Wedde's poetry, 1967-1978. It focuses on the three main collections of his verse published in these years, Made Over (1974), Earthly: Sonnets For Carlos (1975) and Spells For Coming Out (1977), after which discussion moves to the as-yet uncollected poems dating from about 1974. My concern with Made Over was to establish the mechanics of Wedde's poetic voice by scrutinising what I consider to be the seminal poems of that collection. Their thematic connectedness is the most important feature to emerge from the investigation; Wedde's most distinctive trait is discovered here. Attention then turned to the period Wedde spent in the south, 1972-1974, out of which came Earthly, Dick Seddon's Great Dive (novel) and later Spells; all three display a common core of imagery which I have called the 'Otago vision'. Dick Seddon is considered insofar as it has bearings on the poetry Wedde was writing at the same time as the novel. Earthly is made the occasion of a detailed exploration of the Otago-inspired iconography and the massive reticulation of time, place, and energy which this vision gives rise to. Spells takes up the problems of this multi-connectiveness and my intention was to bring out the play of the personal co-ordinate against the deeply serious explorative one. As for the uncollected work, it seemed to me necessary to bring Wedde's poetry as far up to date as possible. To have left off at Spells would have meant leaving the thesis poetically in 1974, which is a long way back in terms of a poet as prolific and technically innovative as Wedde. For one thing, his most exciting long poems were written in this later period. I felt that nothing barred an interpretative study from at least attempting to understand where Wedde is now, 1978