An Uncertain Dominion: Irish Psychiatry, Methadone, and the Treatment of Opiate Abuse

This paper investigates some productive ambiguities around the medical administration of methadone in the Republic of Ireland. The tensions surrounding methadone maintenance therapy (MMT) are outlined, as well as the sociohistorical context in which a serious heroin addiction problem in Ireland developed. Irish psychiatry intervened in this situation, during a time of institutional change, debates concerning the nature of addiction, moral panics concerning heroin addiction in Irish society and the recent boom in the Irish economy, known popularly as the Celtic Tiger. A particular history of this sort illuminates how technologies like MMT become cosmopolitan, settling into, while changing, local contexts

The “genre-bender”: The creative leadership of Kathryn Bigelow

In the present chapter, we present the case study of the only woman film director who has ever won an Academy Award for Best Director, Kathryn Bigelow. We analyzed 43 written interviews of Kathryn Bigelow that have appeared in the popular press in the period 1988–2013 and outlined eight main themes emerging regarding her exercise of leadership in the cinematic context. We utilize three theoretical frameworks: (a) paradoxical leadership theory (Lewis, Andriopoulos, & Smith, 2014; Smith & Lewis, 2012); (b) ambidextrous leadership theory (Rosing, Frese, & Bausch, 2011), and (c) role congruity theory (Eagley & Karau, 2002) and show how Bigelow, as a woman artist/leader working in a complex organizational system that emphasizes radical innovation, exercised paradoxical and ambidextrous leadership and challenged existing conventions about genre, gender, and leadership. The case study implications for teaching and practice are discussed

From the ‘hegemony of the eye’ to the ‘hierarchy of perception’: The reconfiguration of sound and image in terrence malick's days of heaven

Terrence Malick's Days of Heaven (1978) has been hailed as ‘one of the most beautiful films ever made’, but the film's immense cinematic beauty has detracted from the impact of its experimental soundtrack. Drawing on interview material with editor Billy Weber (who worked on all three of Malick's films), the original screenplay of Days of Heaven and detailed sequence analysis, the paper examines the film's manipulation of the traditional relationship between sound and image. Indicating that Malick's experimentation with sound largely developed in post production, Weber confirms that the dialogue-heavy screenplay was transformed in the cutting room with the addition of Linda Manz's haunting voice-over. Ridding the film of dialogue created a different emphasis on sound and Weber's states that he and Malick were disappointed that this aspect of the film was critically overlooked. This article redresses this lack of critical recognition, whilst arguing that it is reflective of the general under-theorisation of sound within a body film theory and criticism which tends to emphasise the visual image. With reference to Jean-Louis Comolli, Mary Ann Doane and Kaja Silverman, amongst others, I underpin my discussion of sound in Malick's film with a look at the wider context of the marginalised position of sound within film theory. © 2001 Taylor & Francis Group, LLC