Authenticity and performance of class in British factual TV series

The chapter characterises British ‘Reality TV’ as a hybrid of factual and fictional television genres, as signaled by the more accurate genre designation ‘structured reality’ television. From the 1990s onwards, in order to develop programmes that are attractive to audiences and inexpensive to produce, programme makers have focused on hybrids of dramatic and documentary modes. This chapter argues that many recent Reality TV programmes privilege soap opera’s emphasis on character, storyline and performance. This affects the ways that class authenticity is understood, undermining factual programmes’ usual claim to legitimacy based on reference to a pre-existing reality, and transforming hierarchies that separate highly-valued from low-valued types of programme.

Circulation dynamics and its influence on European and Mediterranean January-April climate over the past half millennium: results and insights from instrumental data, documentary evidence and coupled climate models

We use long instrumental temperature series together with available field reconstructions of sea-level pressure (SLP) and three-dimensional climate model simulations to analyze relations between temperature anomalies and atmospheric circulation patterns over much of Europe and the Mediterranean for the late winter/early spring (January–April, JFMA) season. A Canonical Correlation Analysis (CCA) investigates interannual to interdecadal covariability between a new gridded SLP field reconstruction and seven long instrumental temperature series covering the past 250 years. We then present and discuss prominent atmospheric circulation patterns related to anomalous warm and cold JFMA conditions within different European areas spanning the period 1760–2007. Next, using a data assimilation technique, we link gridded SLP data with a climate model (EC-Bilt-Clio) for a better dynamical understanding of the relationship between large scale circulation and European climate. We thus present an alternative approach to reconstruct climate for the pre-instrumental period based on the assimilated model simulations. Furthermore, we present an independent method to extend the dynamic circulation analysis for anomalously cold European JFMA conditions back to the sixteenth century. To this end, we use documentary records that are spatially representative for the long instrumental records and derive, through modern analogs, large-scale SLP, surface temperature and precipitation fields. The skill of the analog method is tested in the virtual world of two three-dimensional climate simulations (ECHO-G and HadCM3). This endeavor offers new possibilities to both constrain climate model into a reconstruction mode (through the assimilation approach) and to better asses documentary data in a quantitative way.

Nordic Film Series: "To My Son in Spain: Finnish Canadians in the Spanish Civil War"

Finlandia University's Nordic Film Series, a free event open to the public, will feature two viewings of "To My Son in Spain: Finnish Canadians in the Spanish Civil War," with writer Dr. Saku Pinta available for questions. This documentary features the story of Jules Päiviö (1916-2013), who was the last surviving Canadian volunteer of the Mackenzie-Papineau Battallion of the “International Brigades”.

Nordic Film Series: "To My Son in Spain: Finnish Canadians in the Spanish Civil War"

Finlandia University's Nordic Film Series, a free event open to the public, will feature two viewings of "To My Son in Spain: Finnish Canadians in the Spanish Civil War," with writer Dr. Saku Pinta available for questions. This documentary features the story of Jules Päiviö (1916-2013), who was the last surviving Canadian volunteer of the Mackenzie-Papineau Battallion of the “International Brigades”.

The largest floods in the High Rhine basin since 1268 assessed from documentary and instrumental evidence

The magnitudes of the largest known floods of the River Rhine in Basel since 1268 were assessed using a hydraulic model drawing on a set of pre-instrumental evidence and daily hydrological measurements from 1808. The pre-instrumental evidence, consisting of flood marks and documentary data describing extreme events with the customary reference to specific landmarks, was “calibrated” by comparing it with the instrumental series for the overlapping period between the two categories of evidence (1808–1900). Summer (JJA) floods were particularly frequent in the century between 1651–1750, when precipitation was also high. Severe winter (DJF) floods have not occurred since the late 19th century despite a significant increase in winter precipitation. Six catastrophic events involving a runoff greater than 6000 m 3 s-1 are documented prior to 1700. They were initiated by spells of torrential rainfall of up to 72 h (1480 event) and preceded by long periods of substantial precipitation that saturated the soils, and/or by abundant snowmelt. All except two (1999 and 2007) of the 43 identified severe events (SEs: defined as having runoff > 5000 and < 6000 m 3 s -1) occurred prior to 1877. Not a single SE is documented from 1877 to 1998. The intermediate 121-year-long “flood disaster gap” is unique over the period since 1268. The effect of river regulations (1714 for the River Kander; 1877 for the River Aare) and the building of reservoirs in the 20th century upon peak runoff were investigated using a one-dimensional hydraulic flood-routing model. Results show that anthropogenic effects only partially account for the “flood disaster gap” suggesting that variations in climate should also be taken into account in explaining these features.

Reality bites: Documentary photography and architectural realism = Fragmentos de realidad: Fotografía documental y realismo en arquitectura

En el día de hoy nos enfrentamos a una serie de desafíos económicos, geopolíticos y ambientales que apuntan hacia una transformación profunda del mundo tal y como lo conocemos. La arquitectura esta – siempre lo ha estado – imbricada en todos estos problemas. En nuestra actual condición de recursos limitados e injusticia global surge la necesidad de superar la dicotomía entre progreso y tradición, entre innovación y preservación – la urgencia de redefinir incluso cada uno de estos términos. Los tipos de crisis que encaramos ahora no se resolverán con mas tecnología y más crecimiento – se necesita también una profunda reevaluación de nuestros sistemas de valores e incluso de nuestra sensibilidad. En este contexto, la humilde contribución de esta tesis consiste en proponer la idea de un realismo en arquitectura, entendido como una actitud progresista y atenta a lo que ya existe, dispuesta a abrir los ojos al presente, a las condiciones y los problemas reales que nos rodean. Pensando en esta idea, resulta evidente que si bien el realismo carece de una definición clara en el campo de la arquitectura hoy, cuenta sin embargo con numerosos precedentes parciales, entre ellos algunos de los más notorios episodios de la historia de la arquitectura reciente. Al intentar confeccionar una lista provisional de arquitectos realistas en el último siglo, otro hecho se nos presenta: muchos, por no decir todos estos arquitectos, comparten una fijación por la fotografía, bien apropiándose del trabajo de fotógrafos contemporáneos, bien tomando sus propias imágenes como una forma de mirar fuera de sus estudios e incorporar la realidad del medio construido a sus proyectos. Parece entonces lógico pensar que la arquitectura, como disciplina visual, ha acudido a otra disciplina visual en búsqueda de su propia respuesta al problema del realismo – dentro de este campo la fotografía reverbera con la arquitectura especialmente, ya que ambas son consideradas simultáneamente como practicas utilitarias y como parte de las bellas artes. Parece entonces lógico el organizar la investigación como una serie de casos, con la esperanza de que la acumulación de diversas instancias en las que la arquitectura ha acudido a la fotografía en su búsqueda de un realismo arrojara luz sobre las ideas más generales a debate. Por tanto, cada uno de los episodios en este texto se examina en sus propios términos, si bien una serie de interconexiones emergen a medida que el estudio procede con un suave orden cronológico. Hacia el final del texto cuestiones más grandes recobran protagonismo, a medida que las repercusiones políticas de nuestro estudio se hacen más patentes y comenzamos a interrogar las implicaciones contemporáneas y el potencial futuro de nuestra discusión sobre el realismo. ABSTRACT Today we are faced with a series of economic, geopolitical and environmental challenges that outline a deep transformation of the world as we know it. Architecture is – it has always been – ingrained in all of these problems. In our current condition of limited resources and global inequalities there is a necessity to overcome the dichotomy between progress and tradition, between innovation and preservation – an urgency to even redefine these terms altogether. The types of crises that we are facing will not be solved with more technology and more growth – a deep reevaluation of our systems of values and our sensibilities are also needed. In this context, the humble contribution of this text is to put forward the idea of an architectural realism, understood as an attitude that is both progressive and attentive to what is already in place, willing to open its eyes to the present and accept the real conditions and problems around us. In thinking about this prospect, it immediately becomes apparent that even if realism lacks a clear definition in the field of architecture today, there are numerous partial precedents for it, among them some of the most notorious episodes in the recent history of architecture. In crafting a tentative list of realist architects in the last century, another realization takes place: many, not to say all of these architects, have had a fixation with photography, either appropriating the work of contemporary photographers or taking photographs themselves as a way to look out their windows and bring the reality of the built environment into their practices. It seems then logical to think that architecture, as a visual discipline, has looked to other visual disciplines in search for its own take on the problem of realism – within this field, photography specially resonates with architecture, since both are regarded simultaneously as utilitarian practices and belonging to the fine arts. The idea then becomes to organize the research as a series of cases, with the hope that the accumulation of diverse instances in which architecture has approached photography in its realist drive will shed some light on the larger ideas at stake. Therefore, each of the episodes in this text is examined on its own terms, with a series of interconnections slowly emerging as our survey proceeds with a soft chronologic order. Towards the end of the study, larger issues regain relevance as the political repercussions of our inquiry become more pressing and we start to question the contemporary implications and future potentials of our discussion on realism.

Documentary history of the state of Maine ...

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Au service du marechal?:French documentary under German occupation

Following the fall of France in June 1940 and the installation of the Vichy Regime, government set about establishing its own New Order. A reprogramming of national consciousness was attempted through an emphasis on a return to traditional values which was disseminated in various fora. Despite publications on divers aspects of Vichy's propaganda machine, work on film production of the period has merely touched on mainstream documentary without further analysis. Such a lacuna appears inexplicable in light of the production of 550 or so documentaries between 1940 and 1944, especially in view of a 1948 comment by the film writer Roger Régent that documentary in many ways provided a focal point for the regime's wishes for "moralisation collective". This thesis sets out the first steps of a new evaluation of the role of documentary during the Occupation. After an overview of the changes to the industry and the ideological framework of the Révolution nationale, the thesis discusses theories of propaganda together with direct examples of Vichy propaganda documentary. The 'control' thus established is then applied to an examination of the 'Arts, Sciences, Voyages' series of documentary screenings (1941-43) and the Premier congrès du film documentaire (1943), tracing thematic and ideological consonances and evaluating the use of documentary film of the Occupation in the Service of the Marshal.