‘This is not a cinema’ : the projectionist’s tale

‘This is not a cinema’, proclaims the screen in my local Vue cinema in 2017, just before the main feature is shown. This declaration is followed by footage of sports, opera and music festivals, and the claim of a new, plural identity, ‘This is big screen entertainment’, which is spelled out in words and images as ‘Big screen theatre’, ‘Big screen sports’, ‘Big screen opera’ and ‘Big screen festival’. This campaign is a branding ident with a difference for Vue cinemas, the smallest of the three major British chains.1 For what is being negotiated is the identity of the medium, and the drive of the promotion is to diminish the association of cinema buildings and feature films, and replace it with an image of more diverse big screen ‘content delivery’. This is not a cinema – which, as a dedicated building, might seem a bit twentieth century – but something rather more modern, like a portal. A portal – or a computer screen. However, as most of the audience will have very powerful, very small personal computers in their pockets, this association is disavowed through the repetition of ‘BIG’. This is not a cinema; it is somewhere that other events can be experienced both large and loud at premium prices. This policy of the redesignation of cinema, however, is shot through with ambivalence. The short promotional film advocating the spatial and temporal transcendence now available in this not-cinema building is immediately followed by an advertisement for the benefits of Sony 4K, with an instructional edge, informing viewers that now is the time to settle down, turn everything off and enjoy the dark. To behave as if it is a cinema

The new Northern Ireland as a crime scene

This article explores the increased attractiveness of a ‘post-conflict’ Belfast as a television setting for British television police series. The Fall (2013, 2016), Bloodlands (2021) and Marcella (2021) are all set in Belfast, while most of the hit series Line of Duty (2012–) has been filmed in Northern Ireland. How do these new Belfast-set crime dramas negotiate the tropes and iconography of twentieth-century Troubles Belfast, while also participating in the transformation of the city associated with the arrival of transnational audiovisual industries? While recognising that much recent scholarship focuses on the creation of the Titanic Quarter through the redevelopment of the Harland & Wolff shipyard and the production of the HBO-Warner series, Game of Thrones, this article pursues the recent appearances of contemporary Belfast on screen in Bloodlands, Marcella (2021) and Line of Duty. Building on scholarship, such as the work of John Hill, Martin McLoone and Ruth Barton which has established the contours of the Troubles film, the history of Belfast on film and genre in the Northern Ireland context, the existence of an identifiable chronotope ‘Troubles Belfast’ is proposed. Is Belfast recognisable as a specific place outside a Troubles chronotope? What are the stories that can be told of Northern Ireland outside a Troubles chronotope? In particular, which is pertinent to an industry desperate to maintain its attractiveness to transnational productions, the tension between the identification of Belfast as a specific place and the generation of new and different stories is explored in the case studies. To what extent is the televisual use of the new screen Belfast caught in the paradox that it is the old Belfast which makes it an attractive setting for crime drama

'It's a film' : medium specificity as textual gesture in Red road and The unloved

British cinema has long been intertwined with television. The buzzwords of the transition to digital media, 'convergence' and 'multi-platform delivery', have particular histories in the British context which can be grasped only through an understanding of the cultural, historical and institutional peculiarities of the British film and television industries. Central to this understanding must be two comparisons: first, the relative stability of television in the duopoly period (at its core, the licence-funded BBC) in contrast to the repeated boom and bust of the many different financial/industrial combinations which have comprised the film industry; and second, the cultural and historical connotations of 'film' and 'television'. All readers of this journal will be familiar – possibly over-familiar – with the notion that 'British cinema is alive and well and living on television'. At the end of the first decade of the twenty-first century, when 'the end of medium specificity' is much trumpeted, it might be useful to return to the historical imbrication of British film and television, to explore both the possibility that medium specificity may be more nationally specific than much contemporary theorisation suggests, and to consider some of the relationships between film and television manifest at a textual level in two recent films, Red Road (2006) and The Unloved (2009)

Reflections on equality, diversity and gender at the end of a media studies headship

This article reflects, from a feminist perspective, on a five-year period as Head of a School of Media. It considers the position of media studies within the new academic capitalism, and the re-masculinisation of the university that this has produced. It considers strategies employed by the field to stake its own claim to that masculinisation, in particular the embrace of ‘the digital’. Finally it describes the challenges this posed for the author, and tactics employed in dealing with them

Introduction : screen Londons

Our aim, in editing the ‘London Issue’ of this journal, is to contribute to a conversation between scholars of British cinema and television, London historians and scholars of the cinematic city. In 2007, introducing the themed issue on ‘Space and Place in British Cinema and Television’, Steve Chibnall and Julian Petley observed that it would have been possible to fill the whole journal with essays about the representation of London. This issue does just that, responding to the increased interest in cinematic and, to a lesser extent, televisual, Londons, while also demonstrating the continuing fertility of the paradigms of ‘space and place’ for scholars of the moving image1. It includes a wide range of approaches to the topic of London on screen, with varying attention to British institutions of the moving image – such as Channel Four or the British Board of Film Classification – as well as to concepts such as genre, narration and memory. As a whole, the issue, through its juxtapositions of method and approach, shows something of the complexity of encounters between the terms ‘London’, ‘cinema’ and ‘television’ within British film and television studies

Pleasure and meaningful discourse: an overview of research issues

The concept of pleasure has emerged as a multi-faceted social and cultural phenomenon in studies of media audiences since the 1980s. In these studies different forms of pleasure have been identified as explaining audience activity and commitment. In the diverse studies pleasure has emerged as a multi-faceted social and cultural concept that needs to be contextualized carefully. Genre and genre variations, class, gender, (sub-)cultural identity and generation all seem to be instrumental in determining the kind and variety of pleasures experienced in the act of viewing. This body of research has undoubtedly contributed to a better understanding of the complexity of audience activities, but it is exactly the diversity of the concept that is puzzling and poses a challenge to its further use. If pleasure is maintained as a key concept in audience analysis that holds much explanatory power, it needs a stronger theoretical foundation. The article maps the ways in which the concept of pleasure has been used by cultural theorists, who have paved the way for its application in reception analysis, and it goes on to explore the ways in which the concept has been used in empirical studies. Central to our discussion is the division between the ‘public knowledge’ and the ‘popular culture’ projects in reception analysis which, we argue, have major implications for the way in which pleasure has come to be understood as divorced from politics, power and ideology. Finally, we suggest ways of bridging the gap between these two projects in an effort to link pleasure to the concepts of hegemony and ideology

‘I’m not your mother’: British social realism, neoliberalism and the maternal subject in Sally Wainwright’s Happy Valley (BBC1 2014-2016)

This article examines Sally Wainwright's Happy Valley (BBC1, 2014–2016) in the context of recent feminist attempts to theorise the idea of a maternal subject. Happy Valley, a police series set in an economically disadvantaged community in West Yorkshire, has been seen as expanding the genre of British social realism, in its focus on strong Northern women, by giving it ‘a female voice’ (Gorton, 2016: 73). I argue that its challenge is more substantial. Both the tradition of British social realism on which the series draws, and the neoliberal narratives of the family which formed the discursive context of its production, I argue, are founded on a social imaginary in which the mother is seen as responsible for the production of the selves of others, but cannot herself be a subject. The series itself, however, places at its centre an active, articulate, mobile and angry maternal subject. In so doing, it radically contests both a tradition of British social realism rooted in male nostalgia and more recent neoliberal narratives of maternal guilt and lifestyle choice. It does this through a more fundamental contestation: of the wider cultural narratives about selfhood and the maternal that underpin both. Its reflective maternal subject, whose narrative journey involves acceptance of an irrecoverable loss, anger and guilt as a crucial aspect of subjectivity, and who embodies an ethics of relationality, is a figure impossible in conventional accounts of subject and nation. She can be understood, however, in terms of recent feminist theories of the maternal

Training face perception in developmental prosopagnosia through perceptual learning

Background: Recent work has shown that perceptual learning can improve face discrimination in subjects with acquired prosopagnosia. Objective: In this study, we administered the same program to determine if such training would improve face perception in developmental prosopagnosia.Method: We trained ten subjects with developmental prosopagnosia for several months with a program that required shape discrimination between morphed facial images, using a staircase procedure to keep training near each subject’s perceptual threshold. To promote ecological validity, training progressed from blocks of neutral faces in frontal view through increasing variations in view and expression. Five subjects did 11 weeks of a control television task before training, and the other five were re-assessed for maintenance of benefit 3 months after training. Results: Perceptual sensitivity for faces improved after training but did not improve after the control task. Improvement generalized to untrained expressions and views of these faces, and there was some evidence of transfer to new faces. Benefits were maintained over three months. Training also led to improvements on standard neuropsychological tests of short-term familiarity, and some subjects reported positive effects in daily life.Conclusion: We conclude that perceptual learning can lead to persistent improvements in face discrimination in developmental prosopagnosia. The strong generalization suggests that learning is occurring at the level of three-dimensional representations with some invariance for the dynamic effects of expression

Toward a History of Women Projectionists in Post-war British Cinemas

Cinema projection is usually understood to be a male-dominated occupation, with the projection box characterised as a gendered space separate from the more typically feminine front-of-house roles. Although this is a fairly accurate representation, it risks eliminating all traces of women’s labour in the projection box. Previous work by David R. Williams (1997) and Rebecca Harrison (2016) has addressed the role of women projectionists during wartime, and this article begins to excavate a hidden history of women projectionists in a peacetime context. The article uses oral testimony from two women – Florence Barton and Joan Pearson – who worked as projectionists in the mid-twentieth century. Their accounts are presented in the article as two portraits, which aim to convey a sense of the women’s everyday lives in the projection box, as well as think about implications that their stories have for our understanding of women’s roles in projection more broadly. Of particular significance to both Barton and Pearson are the relationships that they had with their male colleagues, the possibilities afforded for career progression (and the different paths taken by the women) and the nature of projection work. The women’s repeated assertions that they were expected to do the same jobs as their male counterparts form a key aspect of the interviews, which suggest there is scope for further investigation of women’s labour specifically in projection boxes and in cinemas more generally