Breaking the Intimate Screen: Pre-Recording, Special Effects and the Aesthetics of Early British Television

The technological constraints of early British television encouraged drama productions which emphasised the immediate, the enclosed and the close-up, an approach which Jason Jacobs described in the title of his seminal study as 'the intimate screen'. While Jacobs' book showed that this conception of early British television drama was only part of the reality, he did not focus on the role that special effects played in expanding the scope of the early television screen. This article will focus upon this role, showing that special effects were not only of use in expanding the temporal and spatial scope of television, but were also considered to be of interest to the audience as a way of exploring the new medium, receiving coverage in the popular press. These effects included pre-recorded film inserts, pre-recorded narration, multiple sets, model work and animation, combined with the live studio performances. Drawing upon archival research into television production files and scripts as well as audience responses and periodical coverage of television at the time of broadcast, this article will focus on telefantasy. This genre offered particular opportunities for utilising effects in ways that seemed appropriate for the experimentation with the form of television and for the drama narratives. This period also saw a variety of shifts within television as the BBC sought to determine a specific identity and understand the possibilities for the new medium.
This research also incorporates the BBC's own research and internal dialogue concerning audiences and how their tastes should best be met, at a time when the television audience was not only growing in terms of number but was also expanding geographically and socially beyond the moneyed Londoners who could afford the first television sets and were within range of the Alexandra Palace transmissions. The primary case study for this article will be the 1949 production of H.G.Wells’ The Time Machine, which incorporated pre-recorded audio and film inserts, which expanded the narrative out of the live studio performance both temporally and spatially, with the effects work receiving coverage in the popular magazine Illustrated. Other productions considered will be the 1938 and 1948 productions of RUR, the 1948 production of Blithe Spirit, and the 1950 adaptation of The Strange Case of Dr Jekyll and Mr Hyde. Despite the focus on telefantasy, this article will also include examples from other genres, both dramatic and factual, showing how the BBC's response to the changing television audience was to restrict drama to a more 'realistic' aesthetic and to move experimentation with televisual form to non-drama productions such as variety performances.

Conversations with the Future: Creativity, Aesthetics and Industry Application in Anthropological Practice

This article presents a series of conversations with anthropologists working in collaborative, interdisciplinary settings and projects. It examines the changing role and place of anthropology on the island of Ireland, particular for early career anthropologists. With anthropologists now working in settings as diverse as business schools, health, music, documentary making and industry (to name but a few), early career researchers are now dealing with new challenges. In this piece, we map out a number of these debates and show how a multiplicity of anthropologies and practices are emerging on the island.

Forced Displacement, Suffering and the Aesthetics of Loss

This article investigates how artists have addressed shocking experiences of displacement in different political contexts. Drawing on the notion of ‘the aesthetics of loss’ (Köstlin, 2010), it examines and compares the different aims, desires and strategies that have shaped the histories and social lives of paintings, memorial statues, installations and other artefacts. The analysis identifies a mode of artistic engagement with the sense of a ‘loss of homeland’ that has been commonly felt amongst Sudeten German expellees, namely the production and framing of visual images as markers of collective trauma. These aesthetics of loss are contrasted with the approach taken by the Dutch artist Sophie Ernst in her project entitled HOME. Working with displaced people from Pakistan, India, Palestine, Israel and Iraq, she created a mnemonic space to stimulate a more individualistic, exploratory engagement with the loss of home, which aimed, in part, to elicit interpersonal empathy. To simply oppose these two modes of aesthetic engagement, however, would ignore the ways in which artefacts are drawn into different discursive, affective and spatial formations. This article argues for the need to expose such dynamic processes of framing and reframing by focusing on the processual aspects of aestheticisation with attention to the perspective of loss.

Dance in Handel's London Operas

In considering Handel's imaginative response to a range of contemporary theatrical dance styles and practices, this study demonstrates that dance was far from peripheral to the genre of opera seria. The importance of London as a leading centre for dance innovation, and the interaction between various theatrical genres regarding the use of dance, is also established.

Validity, trustworthiness and rigour:reasserting realism in qualitative research

Aim The aim of this paper is to challenge recent sceptical approaches to the possibility of validating qualitative research and to underline the benefits of adopting a realist approach to validity. Background In recent discussion about the methodological bases for qualitative research it has been argued that, because different methodologies take different approaches to validity, attempts to develop a common set of validation criteria are futile. On the basis of this sceptical view, a number of strategies for judging qualitative research have been proposed. These include suggestions that: it should be judged according to aesthetic or rhetorical criteria, rather than epistemological validity; responsibility for appraisal should move from researchers to readers; each methodology should be assessed individually according to its own merits. Discussion None of these suggestions provide a viable alternative to validity, defined as the extent to which research reflects accurately that to which it refers. Because the form of research does not determine its content, replacement of epistemology by aesthetics is unsustainable. Because research reports mediate between writer and reader, a one-sided approach to this relationship constitutes a false dichotomy. If we accept the criterion of practitioner confidence as a means of judging methodological approaches, this involves rejection of judgement according to a methodology�s own merits. Conclusion If qualitative research is actually about something, and if it is required to provide beneficial information, then a realist approach to validity holds out greatest promise.

‘The “PB” and the aestheticization of violence in Northern Ireland’

In this short article I feature examples of the creative appropriation and transformation of a protest vehicle such as the petrol bomb. I show that the human imagination can create an aesthetics out of even the street protest, and can creatively carnivalise, play and translocate such practices and violent stances into the dance studio, the theatre, and even the everyday.

Between “the Housewife” and “the Philosophy Professor”: Music, Narration and Address in Ousmane Sembene's Xala

The acclaimed Senegalese filmmaker Ousmane Sembene conceptualised himself as a modern day griot (West African oral performer), producing often didactic films that address a diverse spectatorship. Examining Xala, this paper argues that this address cannot be fully understood without attention to the film’s complex music/image relationships, which refigure classical and modernist film aesthetics to mobilise a discourse that recalls oral performance. In this way, Sembene negotiates the tensions of address generated by a spectatorship that is situated in the culturally hybrid spaces between the literate and the oral, the urban and the rural, and the global and the local.

Four articles on Irish traditional music

Four sole-authored entries in this Encyclopedia under the titles "Belfast", "Music and Politics," and "Traditional Music Revivals" and "Traditional Music, Aesthetics" totalling 6000 words.

I also served on the Editorial Advisory Committee for this Encyclopedia.

Cinema Lucida: Johan van der Keuken and the Meaning of Loss

Ever sceptical about the positivistic claims of ethnographic and so-called realist documentary, Johan van der Keuken’s film-making is the work of a curious, spontaneous and disorientated observer of the essential strangeness of both the foreign and the familiar, new landscapes and cities, experiences, and people. While there are various explicitly political and socially orientated films and themes across his work, it is those films and moments when what is being conveyed is a sense of him being somewhere liminal, being ‘in-between’ situations, cultures, styles and interpretations, reticent, uncertain but incorrigibly curious that constitute his most valuable contribution to documentary film aesthetics. Not surprisingly, such characteristics often come to the fore in those films where he tries to make sense of loss, the passing of lives and the legacies left behind. This article discusses questions of history and personal loss in a number of his films.

Towards a Poetics of the Cinematographic Frame

In delineating a poetics of the cinematographic frame, this article presents a typology of framing styles, and demonstrates how filmmakers use the frame as an expressive resource and how the frame uses them. The examples discussed are modernist in orientation, and each has a particular association with a city - its history, architecture, and cultural character. Although it is common practice to refer to some framing situations as instances of 'deframing', the article enquires into the problematic nature of this term, suggesting alternative visual and cinematographic contexts more amenable to its deconstructive implications. As the boundaries between cinema and the other arts continue to converge and relations between frame, image, and screen become more complex, this article offers a reassessment of some first principles of film language, especially the aesthetic integrity of the cinematographic frame.

Crystal Creatures: Context for the Dublin Blaschka Congress

The ‘Dublin Blaschka Congress’ was conceived as a gathering to bring together the diverse scholarly disciplines that are uniquely, if eccentrically, joined in the study of scientific glass models. Leopold and Rudolf Blaschka are best known for the ‘Glass Flowers’ of Harvard but in the nineteenth century they also invented techniques to sculpt anatomically accurate marine invertebrates in glass. In the course of preparing the Congress and a coordinated temporary exhibition, much new information was uncovered about the collections of Blaschka objects in Ireland, including a total of nearly 800 surviving models. The history of the artists shows a clever business model that was designed to tap a niche market in the contemporary fascination with natural history, and improved through the course of several decades with input from clients and their own passion for understanding their biological subjects. From a modern perspective, a single Blaschka glass model of a marine invertebrate can embody biology, the history of science, craftsmanship, glass chemistry, aesthetics and art. This ability to cross interdisciplinary bridges is a singular strength of the Blaschka works, and is evident in the published proceedings of the Congress.