A Hint of the Lavender - The Gay Gangster in British Crime Cinema

This chapter traces the image of the gay gangster in British cinema. It draws upon film history and Queer theory to attempt to understand the fascination of this marginal character.

The Design and Development of Educational Immersive Environments: From Theory to Classroom Deployment

Computer game technology is poised to make a significant impact on the way our youngsters will learn. Our youngsters are ‘Digital Natives’, immersed in digital technologies, especially computer games. They expect to utilize these technologies in learning contexts. This expectation, and our response as educators, may change classroom practice and inform curriculum developments. This chapter approaches these issues ‘head on’. Starting from a review of the current educational issues, an evaluation of educational theory and instructional design principles, a new theoretical approach to the construction of “Educational Immersive Environments” (EIEs) is proposed. Elements of this approach are applied to development of an EIE to support Literacy Education in UK Primary Schools. An evaluation of a trial within a UK Primary School is discussed. Conclusions from both the theoretical development and the evaluation suggest how future teacher-practitioners may embrace both the technology and our approach to develop their own learning resources.

‘The Emergence of the Operatic’

The chapter discusses the notion of the ‘operatic’ with particular reference to movement. Through observation of singers in rehearsal and through interviews with singers over two years, the research posits that ‘operatic’ movement may be identified and explored as a discrete quality of movement in performance and recognised as an, albeit underappreciated, aspect of the artistry of the opera singer. The paper explores the effects of the demands of singing on the dramatic expressivity of the body and the strategies employed by singers to navigate, the sometimes conflicting demands of the composer and the director. ‘Operatic’ movement is regarded as that which is not generated through character or narrative (positioned as a normative approach to acting) but through the negotiation of the physical constrictions and artificiality of breath associated with operatic singing, combined with sensitivity towards opera’s non-normative performance conventions. This position is aided by an interrogation of opera through the lens of gender theory. The chapter makes two propositions, that the ‘operatic’, which does not form part of the formal pedagogy of singers, is an emergent property, especially evident at the intersection of the various creative disciplines that contribute to opera, such as when the orchestra is introduced to the rehearsal process, and that ‘operaticness’ is acquired and passed on through a process of kinaesthetic empathy.