2,518 research outputs found

    On Not Being Porn: Intimacy and the Sexually Explicit Art Film

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    Since the mid-twentieth century, we have passed from a time where sexual frankness was actively obstructed by censorship and industry self-regulation to an age when pornography is circulated freely and is fairly ubiquitous on the Internet. Attitudes to sexually explicit material have accordingly changed a great deal in this time, but more at the level of the grounds on which it is objected to rather than through a general acceptance of it in the public sphere. Critical objections now tend to be political or aesthetic in nature rather than moralistic. Commercial cinema still seems wary of a frank exploration of sexuality, preferring to address it tangentially in genres such as the erotic thriller. In Europe, an art house canon of sexually explicit movies has formed, starting with Bertolucci’s Last Tango in Paris (1972) and the French-produced In the Realm of the Senses (1976). This article looks at the steps taken since the 1970s to challenge out-of-date taboos and yet at the same time differentiate the serious film about sex from both pornography (operating in parallel with mainstream cinema but in its shadow) and the exploitation film. After reviewing the art film’s relationship with both hard and soft core, two recent films, Intimacy (2000) and 9 Songs (2005), are analyzed for their explicit content and for the way they articulate their ideas about sex through graphic depictions of sexual acts. Compulsive and/or claustrophobic unsimulated sexual behaviour is used as a way of asking probing questions of intimacy (and its filmability). This is shown to be a very different thing from the highly visual and staged satisfactions of pornography

    ‚ÄúConsider Yourself One of Us‚ÄĚ: The Dickens Musical on Stage and Screen

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    Charles Dickens‚Äôs work has been taken and adapted for many different ends. Quite a lot of attention has been given to film and television versions of the novels, many of which are very distinguished. The stage and screen musical based on his work, essentially a product of the last fifty years, has been neither as studied nor as respected. This paper looks at the connection between Dickens‚Äôs novels, the celebration of ‚ÄúLondon-ness‚ÄĚ and its articulation in popular forms of working-class music and song. It will argue that potentially unpromising texts were taken and used to articulate pride and a sense of community for groups representing the disadvantaged of the East End and, more specifically, for first-generation Jewish settlers in London. This is all the more surprising as it was in the first instance through depictions of Oliver Twist and the problematic figure of Fagin that an Anglo-Jewish sensibility was able to express itself. Other texts by Dickens, notably Pickwick Papers, A Christmas Carol and The Old Curiosity Shop, were also adapted to musical forms with varying results, but the period of their heyday was relatively short, as their use of traditional and communitarian forms gave place in the people‚Äôs affection to manufactured pop/rock and operetta forms. I will argue that this decline was partly the product of changing London demographics and shifts in theatre economics and partly of the appropriation of Dickens by the academy

    New, Good doctors for an altered society

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    No Abstrac

    Effect of tart cherry juice on risk of gout attacks: protocol for a randomised controlled trial

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    Introduction: Gout is a painful form of inflammatory arthritis associated with several comorbidities, particularly cardiovascular disease. Cherries, which are rich in anti-inflammatory and antioxidative bioactive compounds, are proposed to be efficacious in preventing and treating gout, but recommendations to patients are conflicting. Cherry consumption has been demonstrated to lower serum urate levels and inflammation in several small studies. One observational case cross-over study reported that cherry consumption was associated with reduced risk of recurrent gout attacks. This preliminary evidence requires substantiation. The proposed randomised clinical trial aims to test the effect of consumption of tart cherry juice on risk of gout attacks. Methods and analysis: This 12-month, parallel, double-blind, randomised, placebo-controlled trial will recruit 120 individuals (aged 18‚Äď80 years) with a clinical diagnosis of gout who have self-reported a gout flare in the previous year. Participants will be randomly assigned to an intervention group, which will receive Montmorency tart cherry juice daily for a 12-month period, or a corresponding placebo group, which will receive a cherry-flavoured placebo drink. The primary study outcome is change in frequency of self-reported gout attacks. Secondary outcome measures include attack intensity, serum urate concentration, fractional excretion of uric acid, biomarkers of inflammation, blood lipids and other markers of cardiovascular risk. Other secondary outcome measures will be changes in physical activity and functional status. Statistical analysis will be conducted on an intention-to-treat basis. Ethics and dissemination: This study has been granted ethical approval by the National Research Ethics Service, Yorkshire and The Humber‚ÄĒLeeds West Research Ethics Committee (ref: 18/SW/0262). Results of the trial will be submitted for publication in a peer-reviewed journal. Trial registration number: NCT03621215

    Television drama series’ incorporation of film narrative innovation: the case of 24

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    Joyard (2003) refers to the past decade as the Golden Age of the American series, mostly in connection with their narrative features and their capacity to arouse emotions. 24 (2001) by Joel Surnow and Robert Cochran illustrates perfectly these innovative capacities in dramatic series. The series concept is everything, making 24 an instant cult object. It is presented as the nearest to real time that any artistic work can achieve. The continuous flow of events from 24 enters our homes through our TV sets permitting us to follow an apparent reality, projected week by week at the same hour, but making us feel a contemporaneous experience from a use of a space/time that struggles against illusion. Creative liberty has permitted the development of new narrative trends (Thompson, 2003), just as unusual aesthetic forms new to television (Nelson, 2001) have striven to deliver greater degrees of realism. Narrative complexity is increasing, becoming more intricate not only at the plot level but also at the level of character development, which might lead us to believe that television series are positioning themselves in the vanguard of visual media narrative

    A technique combining neurolept·analgesia with local analgesia for caesarean section

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    A technique of combining neurolept-analgesia and local anaesthesia for caesarean section is described, together with the necessary modifications in surgical technique. The results of a small series are analysed. This is found to be a safe and useful technique, and is regarded by the authors as being preferable to general anaesthesia where the services of a skilled anaesthetist are not always to hand

    Manifestly covariant variational principle for gauge theories of gravity

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    A variational principle for gauge theories of gravity is presented, which maintains manifest covariance under the symmetries to which the action is invariant, throughout the calculation of the equations of motion and conservation laws. This is performed by deriving explicit manifestly covariant expressions for the Euler--Lagrange variational derivatives and Noether's theorems for a generic action of the form typically assumed in gauge theories of gravity. The approach is illustrated by application to two scale-invariant gravitational gauge theories, namely Weyl gauge theory (WGT) and the recently proposed `extended' Weyl gauge theory (eWGT), where the latter may be considered as a novel gauging of the conformal group, but the method can be straightforwardly applied to other theories with smaller or larger symmetry groups. The approach also enables one easily to establish the relationship between manifestly covariant forms of variational derivatives obtained when one or more of the gauge field strengths is set to zero either before or after the variation is performed. This is illustrated explicitly for both WGT and eWGT in the case where the translational gauge field strength (or torsion) is set to zero before and after performing the variation, respectively.Comment: 27 pages, no figures, submitted to PR
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