Several Interruptions: Web commission for the relaunch of The Arts Council of England website

Several Interruptions, which collages together online videos in which people are seen holding their breath underwater, is both interruption (as its name suggests) as well as documentary, in which the seemingly mundane and numerous has been made back into something unique and original. Thomson & Craighead have personally chosen, from some 61,000 possible files on YouTube, videos which they have edited together into brief vignettes which interrupt each other sequentially (in time) and laterally (on-screen).

Construction studies in higher education and the use of digital technology

The construction industry wants graduate employees skilled in relationship building and information technology and communications (ITC). Much of the relationship building at universities has evolved through technology. Government and the ITC industry fund lobby groups to influence both educational establishments and Government to incorporate more ITC in education _ and ultimately into the construction industry. This influencing ignores the technoskeptics’ concerns about student disengagement through excessive online distractions. Construction studies students (n=64) and lecturers (n=16) at a construction university were surveyed to discover the impact of the use and applications of ITC. Contrary to Government and industry technopositivism, construction students and lecturers preferred hard copy documents to online feedback for assignments and marking, more human interface and less technological substitution and to be on campus for lectures and face-to-face meetings rather than viewing on-screen. ITC also distracted users from tasks which, in the case of students, prevented the development of the concentration and deep thinking which a university education should deliver. The research findings are contrary to the promotions of Government, ITC industry and ITC departments and have implications for construction employers where a renewed focus on human communication should mean less stress, fewer delays and cost overruns.

Screening the RSC stage: the 2014 Live from Stratford-upon-Avon cinema broadcasts

During the Royal Shakespeare Company's 2014 summer season, both parts of Henry IV and The Two Gentlemen of Verona were presented as Live from Stratford-upon-Avon broadcasts in cinemas around the world. This article presents a case study of these broadcasts, drawing on the author's observations and insights as their producer as well as interview contributions from those involved in both the stage and screen presentations. Recognising that the hybrid form of “live cinema” performance has developed rapidly over the past five years but is as-yet little-documented, the study develops an analytical approach to its creative processes and to its aesthetics. This discussion is combined with a consideration of the history of earlier screen adaptations of RSC productions at Stratford-upon-Avon. The article details the stages of the production process for the Live from Stratford-upon-Avon broadcasts in 2014 and considers the ways in which the broadcast teams collaborate with the casts and creative teams of the theatre productions. In addition, the article explores processes of adaptation in the journey from stage to screen, the poetics of multi-camera presentation and questions of “live-ness”, the social experience of viewing performance in the cinema, and possible developments for live theatre on screen.

The Punk-Rock King: Musical Anachronism in Period Film

Music has a powerful indexical ability to evoke particular times and places. Such an ability has been exploited at length by the often-elaborate soundscapes of period films, which regularly utilise incidental scores and featured period songs to help root their narrative action in past times, and to immerse their audiences in the sensibilities of a different age. However, this article will begin to examine the ways in which period film soundtracks can also be used to complicate a narrative sense of time and place through the use of ‘musical anachronism’: music conspicuously ‘out of time’ with the temporality depicted on screen. Through the analysis of a sequence from the film W.E. (Madonna, 2011) and the consideration of existing critical and conceptual contexts, this article will explore how anachronistic soundtracks can function beyond ‘postmodern novelty’ or ‘nuisance’ to historical verisimilitude, instead offering alternative modes of engagement with story and history.