Narrative on the Net:Bill and his hyper- lives, loves and texts

Narrative, by its very nature, is changing as a consequence of internet developments. Hypertexts are, for example, changing not just the way in which we disseminate information, but also the ways in which we write, speak and think. In this paper a narrative approach is taken to assess a case study of a person’s extensive home site on the web. Bill maintains an extensive web site documenting his life with Parkinson’s Disease, his love for running and all matters relating to the island of Montserrat in the Eastern Caribbean. Bill’s Parkinson’s Disease hypertext diary forms the focus of this case study of a life spent on-line. Though set up just as a diary about this progressively degenerative disease, because of its hypertextual qualities, this paper argues that it is through the diary that Bill comes to produce and sustain - to narrate - his identity. This paper thus contributes to the position that though hypertext encourages the construction of fragmented and false identity narratives, it is also a medium for sustaining linear and coherent representations of self-identity.

Censoring the 1970s: The BBFC and the Decade that Taste Forgot

This book is a study of the British Board of Film Censors in the 1970s. In permitting and refusing specific material to be shown on cinema screens the BBFC were dictating patterns of taste and helping shape and determine notions of acceptability. Contentious and controversial texts like A Clockwork Orange (1971), Straw Dogs (1971) The Devils (1971) and Life of Brian (1979) have been used to draw attention to the way in which the BBFC operated in the 1970s. While it is true to say that these films encountered major censorship problems, what of the hundreds of other films which were being classified at the same time? Did all films struggle with the British censors in this period, and can these famous examples be fitted into broader patterns of censorship policy and practice?

In studying over 250 film files from the BBFC archive, this work reveals how 1970s films such as Vampire Circus (1971), Confessions of a Window Cleaner (1974) and Carry on Emmannuelle (1978) also ran in to trouble with the film censor. This work explores the complex process of negotiation and compromise which affected all film submissions in the 1970s and the way in which the BBFC actively, and often sympathetically, negotiated with film directors, producers and distributors to assign the correct category to each film. The lack of any defined formal censorship policy in this period allowed the BBFC to work alongside the film industry and push cultural, social and artistic boundaries; however it also left the Board open to accusations of favouritism, subjectivity and personal bias.

This work is not simply a study of controversial films and contentious issues, but rather engages with wider issues of changing permission, legal struggles, the influence of the media and the legislative and governmental controls which both helped and hindered the BBFC in this important post-war decade. The approach used within this work focuses on historical and archival research, making it importantly inter-textual and offering a great deal to scholars from a number of associated disciplines, including history, social policy, media and communications and politics.

Thou art a strange fellow:Dissonance and Discordance in Intercultural Shakespeares

Any performance of the intercultural necessarily, and always, advances the question of the cultural since it involves the inter-action and interplay of unique and particular cultural performance styles and modes. Intercultural theatre, according to Pavis, is a hybrid theatrical form “drawing upon performance traditions traceable to distinct cultural areas. The hybridization is very often such that the original forms can no longer be distinguished.” The result of this collaboration of forms is, however, often not a ‘hybrid’ where cultural texts work cohesively and in unison to produce a harmonious mise en scene. Instead, intercultural performances are performances at the interstices and at the intersections of cultures. They raise problems of authorship, authority and performance unities and expose a sense of cultural foreignness. Consequently, intercultural performance can be said to be meta-theatre that queries the construction of culture since it places alongside performance traditions that confront.

Music, as performative unit, is a significant line of action by which the intercultural spectacle is constructed. Integral to Western theatre, and certainly more so in traditional Asian performance forms, the deliberate ‘fusion’ and ‘blending’ of musical styles in intercultural performances underscore not a harmony of diverse sounds but the possible dissonance and discordance already performed by the visual and verbal texts. The paper thus seeks to examine, in particular, the musical elements in intercultural performances such as Ong Keng Sen’s Lear (Theatreworks, 1999) and explore the ways in which music could possibly intensify the confrontation of performative texts resulting in a disruption of performance unities. When watching and listening to Lear, the question of the ‘local’ thus arises not merely with identification and alienation from what is seen but also what is familiar and foreign to one’s ears.

Constructing the 'gay gene' in the news:Optimism and skepticism in the US and British press

In the 1990s the discovery of a 'gay gene' was widely reported in the news media, often as front-page stories. Focusing on the print media presentation of Dean Hamer's 1993 and 1995 scientific papers reporting finding a genetic marker for homosexuality, we examine how these studies were framed in a selected sample of US and British newspapers and news magazines. We found disparate constructions of the 'gay gene' in each press culture. The US press reported Hamer's study as good science and treated it with 'cautious optimism' while the British press reported the research as 'the perils of the gay gene.' We discuss how these studies received such widespread attention and the sources and implications of the variant images of the 'gay gene' in the news.