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.

Television history: archives, excavation and the future. A discussion

This article considers possible futures for television (TV) studies, imagining how the discipline might evolve more productively over the next 10 years and what practical steps are necessary to move towards those outcomes. Conducted as a round-table discussion between leading figures in television history and archives, the debate focuses on the critical issue of archives, considering and responding to questions of access/inaccessibility, texts/contexts, commercial/symbolic value, impact and relevance. These questions reflect recurrent concerns when selecting case studies for historical TV research projects: how difficult is it to access the material (when it survives)? What obstacles might be faced (copyright, costs, etc.) when disseminating findings to a wider public? The relationship between the roles of ‘researcher’ and ‘archivist’ appears closer and more mutually supportive in TV studies than in other academic disciplines, with many people in practice straddling the traditional divide between the two roles, combining specialisms that serve to further scholarship and learning as well as the preservation of, and broad public engagements with, collections. The Research Excellence Framework’s imperative for academic researchers to achieve ‘impact’ in broader society encourages active and creative collaboration with those based in public organizations, such as the British Film Institute (BFI), who have a remit to reach a wider public. The discussion identifies various problems and successes experienced in collaboration between the academic, public and commercial sectors in the course of recent and ongoing research projects in TV studies.

The Subject in the Crowd: A Critical Discussion of Jodi Dean’s “Crowds and Party”

This article presents a critical discussion of Jodi Dean’s (2016) book “Crowds and Party”. I pay particular attention to her discussion of crowds and the Communist Party that is influenced by psychoanalysis. Dean has put forward an important argument for the affectivity within crowds that may be transformed into a Communist Party that is characterised by a similar affective infrastructure. I suggest that Dean’s discussion of affect is slightly vague at times and may be supplemented with Sigmund Freud’s work on affect. In contrast to Dean, who stresses the collectivity and deindividuation of the crowd, I argue that the crowd needs to be thought of as a place where individuality and collectivity come together and remain in tension. Such a tension may then be managed by the Party, as Dean illustrates.

CODEX: mapping co-created data for speculative geographies

This paper discusses a series of artworks named CODEX produced by the authors as part of a collaborative research project between the Centre for Research in Education, Art and Media (CREAM), University of Westminster, and the Oxford Internet Institute. Taking the form of experimental maps, large-scale installations and prints, we show how big data can be employed to reflect upon social phenomena through the formulation of critical, aesthetic and speculative geographies.

Curating in the post-industrial landscape case study: Ambika P3

An analysis of curating in the post-industrial landscape using the venue of Ambika P3, University of Westminster as a case study.

Returning to an old question: What do television actors do when they act?

This article argues for acknowledging and exploring actors’ processes in critical considerations of television drama. Theatre studies boasts a tradition of research privileging the actor, including a century’s worth of actor-training manuals, academic works observing rehearsals and performances and actor accounts. However, such considerations within television studies are relatively nascent. Drawing upon continuing drama as a fertile case study for investigating the specificities of television acting, the article concludes that the only way to understand television acting is through the analysis of insights from actors themselves, in combination with the well-established practices of analysing the textual end products of television acting.

The Art of the State

When we talk of culture we are talking about a source of enormous historical social power. Why did the GLC commitment to Popular Culture upset the rules of the unelected arts and sports quangos? How did the now abolished GLC get politics into arts policy?

Dark Places Catalogue (First ed.)

Exhibition Catalogue of Dark Places. As one of four co-curators, I worked with John Hansard to produce the publication. The catalogue contains additional information on artists, the positioning of the work with a commissioned essay by Sally O'Reilly. In addition to a descriptive entry on the Dark Places database,as Director of Office of Experiments we also designed Research Tools for independent researchers wishing to undertake work in the field. This included an ID card, with observational notes that correspond to the taxonomy of the database and a researched guide to legal issues for documenting and photographing secret sites.

Fieldworks from the Museum of the Void: Experiments in the Event of an Archive

This exhibition was a research presentation of works made at Center for Land Use Interpretation [CLUI]base in Wendover, Utah, USA between 2008-2010. The project was commissioned by the Centre For Land Interpretation in USA and funded by The Henry Moore Foundation in the UK. Documentation of research conducted in the field as made available as video and installation. An experimental discourse on the preservation of land art was put with GPS drawings and research information displayed as maps and documents. In examining physical sites in Utah, USA, the project connected to contemporary discourse centred on archives in relation to land art and land use. Using experimental processes conceived in relation to key concepts such as event structures and entropy, conceptual frameworks developed by Robert Smithson (USA) and John Latham (UK), the 'death drive' of the archive was examined in the context of a cultural impulse to preserve iconic works. The work took items from Lathams archive and placed them at the canonical 'Spiral Jetty', Smithson land art work at Rozel Point north of Salt Lake City. This became a focus for the project that also highlighted the role of the Getty Foundation in documenting major public artworks and CLUI in creating an American Land Museum. Work was created in the field at extreme remote locations using GPS technologies and visual tools were developed to articulate the concepts of the artists discussed, to engage the exhibition audience in ideas of transformation and entropy in art. Audiences were encouraged to sign a petition to be used in future preservation of spiral jetty currently facing development challenges.