Tracing client interests in the course of a project: why are some client interests incorporated whereas others are not?

Many construction professionals and policy-makers would agree that client expectations should be accommodated during a building project. However, this aspiration is not easy to deal with as there may be conflicting interests within a client organization and these may change over time in the course of a project. This research asks why some client interests, and not others, are incorporated into the development of a building project. Actor-Network Theory (ANT) is used to study a single building project on a University campus. The building project is analysed as a number of discussions and negotiations, in which actors persuade each other to choose one solution over another. The analysis traces dynamic client engagement in decision-making processes as available options became increasingly constrained. However, this relative loss of control was countered by clients who continued the control over the timing of participants' involvement, and thus the way to impose their interests even at the later stage of the project.

Opening movements in Ophuls: Caught (and Madame de …)

This audiovisual essay was created at the wonderful NEH-funded workshop in videographic criticism at Middlebury College, ‘Scholarship in Sound and Image’. The essay provides an analysis of the orchestration of long takes and camera movement in the opening of Caught (Ophuls, 1949), and develops a comparison with the opening of Madame de… (Ophuls, 1953 – U.S. release title The Earrings of Madame de…), not least through a series of juxtapositions, which can be directly presented and compared in an audiovisual essay. The openings share a concern with the subjectivity of the female protagonists and our relationship toward it, evoking the women’s experience while balancing this with other kinds of perspective. As has been noted in the critical literature on Ophuls, and on melodramas of passion more generally, such views enable us to perceive the women concerned to be caught in material and ideological frameworks of which they are at best partially aware. Among the interests of this particular comparison, however, is the extent to which the dynamic around female subjectivity is played in relation to luxury goods, imagined, owned or admired. Tensions between on- and off-screen spaces and sounds are critical to the interest of the long takes under discussion. Camera movements subtly inflect the extent to which we are aligned (or otherwise) with the characters and the ways in which their material circumstances are revealed to us.