Post-Conflict Performance, Film and Visual Arts:Cities of Memory

This book examines how contemporary theatre, performance, film and the visual arts respond to the post-conflict condition. The contents of the volume focus on a range of post-conflict cities, encouraging interdisciplinary discussion on the role of the arts and its relation to issues of testimony, witnessing, forgetting, representation, healing, reconciliation, agency, and metaphor. Contributors include: Thomas Elsaesser, Jane Taylor, Marvin Carlson, Rob Stone, Laurel Borisenko, Katarzyna Puzon, Miriam Paeslack, Emma Grey, Paula Blair, Zoran Poposki, Marija Todorova, Elena Carduro, and Paul Devlin.

Ghosts and Television

This chapter explores the ghost story on television, and particularly the tensions between the medium and the genre. Television has long been seen as a nearly-supernatural medium, an association that the very term 'medium' enhances. In particular, the very intimacy of television, and its domestic presence, have led to it being considered to be a suitable and effective venue for the ghost story, while at the same time concerns have risen over it being too effective at conveying horror into the home. The ghost story is thus one of the genres where the tensions between the medium's aesthetic possibilities and desire for censorship can be most clearly seen. As such, there is a recurring use of the ghost story in relation to different techniques of special effects and narrative on television, some more effective than others, and the presence of the ghost story on television waxes and wanes as different styles become more or less popular, and different narrative forms, such as single play or serial or series, become more or less dominant. Drawing on examples primarily from a British and US context, this chapter outlines the history of the ghost story on television and demonstrates how the tensions in presentation, narrative and considerations of the viewer have influenced the many changes that have taken place within the genre.

The Pinnacle of Popular Taste?: The Importance of Confessions of a Window Cleaner (1974)

Loathed by critics, the British sexploitation comedy Confessions of a Window Cleaner (1974) was dismissed as tawdry and vulgar yet its massive popular appeal makes it an important indicator of popular taste in the much-maligned 1970s. Using new archival material, this article examines what the film offered and how it was deliberately crafted in order to appeal to a variety of audiences.

Invaders, Launchpads and Hybrids: The Importance of Transmediality in British Science Fiction Film in the 1950s

With its origins in the trick films of the 1890s and early 1900s, British science fiction film has a long history. While Things to Come (1936) is often identified as significant for being written by H.G.Wells, one of the fathers of science fiction as a genre, the importance of the interactions between media in the development of British science fiction film are often set aside. This chapter examines the importance of broadcast media to film-making in Britain, focusing on the 1950s as a period often valourised in writings about American science fiction, to the detriment of other national expressions of the genre. This period is key to the development of the genre in Britain, however, with the establishment of television as a popular medium incorporating the development of domestic science fiction television alongside the import of American products, together with the spread of the very term ‘science fiction’ through books, pulps and comics as well as radio, television and cinema. It was also the time of a backlash against the perceived threat of American soft cultural power embodied in the attractive shine of science fiction with its promise of a bright technological future. In particular, this chapter examines the significance of the relationship between the BBC television and radio services and the film production company Hammer, which was responsible for multiple adaptations of BBC properties, including a number of science fiction texts. The Hammer adaptation of the television serial The Quatermass Experiment proved to be the first major success for the company, moving it towards its most famous identity as producer of horror texts, though often horror with an underlying scientific element, as with their successful series of Frankenstein films. This chapter thus argues that the interaction between film and broadcast media in relation to science fiction was crucial at this historical juncture, not only in helping promote the identities of filmmakers like Hammer, but also in supporting the identity of the BBC and its properties, and in acting as a nexus for the then current debates on taste and national identity.

Development of a novel UV indicator and dosimeter film

A novel UV indicator is described, comprising nanocrystalline particles of titania dispersed in a film of a polymer, hydroxyl ethyl cellulose (HEC), containing: a mild reducing agent, triethanolamine (TEOA) and a redox indicator, methylene blue (MB). The UV indicator film is blue-coloured in the absence of UV light and loses colour upon exposure to UV light, attaining within a few min a steady-state degree of bleaching that can provide a measure of the irradiance of the incident light. The original blue colour of the film returns once the source of UV light is removed. The spectral characteristics of a typical UV indicator film, and its components, are discussed and the UV-absorbing action of the titania particles highlighted. From the measured %bleaching undergone by a typical UV indicator as a function of light irradiance the indicator appears fully bleached, within 7 min, by a UV irradiance of 3 mW cm (-) or greater. The mechanism by which the UV indicator works is described. The reversible nature of the UV indicator is removed by covering a typical UV indicator with a thin, largely oxygen impermeable, polymer film, such as the regenerated cellulose found in Sellotape(TM). The product is a UV dosimeter, the response of which is related to the intensity and duration of the incident UV light, as well as the amount of titania in the film. A typical UV dosimeter film is fully bleached by 250 mJ cm(-2) of UV light. The possible use of these novel indicators to measure UV exposure levels, irradiance and dose, is discussed.

Conjugate heat transfer and film cooling of a multi-stage cooling scheme

Cooling techniques play a key role in improving efficiency and power output of modern gas turbines. The conjugate technique of film and impingement cooling schemes is considered in this study. The Multi-Stage Cooling Scheme (MSCS) involves coolant passing from inside to outside turbine blade through two stages. The first stage; the coolant passes through first hole to internal gap where the impinging jet cools the external layer of the blade. Finally, the coolant passes through the internal gap to the second hole which has specific designed geometry for external film cooling. The effect of design parameters, such as, offset distance between two-stage holes, gap height, and inclination angle of the first hole, on upstream conjugate heat transfer rate and downstream film cooling effectiveness performance are investigated computationally. An Inconel 617 alloy with variable properties is selected for the solid material. The conjugate heat transfer and film cooling characteristics of MSCS are analyzed across blowing ratios of Br = 1 and 2 for density ratio, 2. This study presents upstream wall temperature distributions due to conjugate heat transfer for different gap design parameters. The maximum film cooling effectiveness with upstream conjugate heat transfer is less than adiabatic film cooling effectiveness by 24–34%. However, the full coverage of cooling effectiveness in spanwise direction can be obtained using internal cooling with conjugate heat transfer, whereas adiabatic film cooling effectiveness has narrow distribution.

Haunted Seasons: Television Ghost Stories for Christmas and Horror for Halloween

Why do the English have ghost stories at Christmas? Why does US television have special Halloween episodes? Is this all down to Dickens, or is it a hangover of an ancient, pagan past? Why does it survive? Haunted Seasons explores these and related questions, examining the history and meaning of seasonal horror. It reaches back through archaeological evidence of ancient beliefs, through Shakespeare, and Victorian ghost stories, and the works of M.R.James, and onwards to radio and television. The broader genre of supernatural television is considered in relation to the irruptions of abnormality into the normal, along with the significance of time and the seasons in these narratives and their telling. Particular focus is placed on the BBC Ghost Story for Christmas strand and the Halloween episodes of The Simpsons to help us interpret the continued use of these seasonal horror stories and their place in society, from fireside to television.

Film, History and Memory

Film, History and Memory examines the relationship between film and history, exploring the multiplicity of ways in which films depict, contest, reinforce or subvert historical understanding. This volume broadens the focus from 'history', the study of past events, to 'memory', the processes – individual, generational, collective or state-driven – by which meanings are attached to the past. This approach acknowledges how the significance of the historical film lies less in its empirical qualities than in its powerful capacity to influence public thinking and discourses about the past, whether by shaping collective memory, popular history and social memory, or by retrieving suppressed or marginalized histories. This study aims to contribute to the growing literature on history and film through the breadth of its approach, both in disciplinary and geographical terms. Contributors are drawn not only from the discipline of history but also film studies, film practice, art history, languages and literature, and cultural studies.