Global to city scale urban anthropogenic heat flux: model and variability

The large scale urban consumption of energy (LUCY) model simulates all components of anthropogenic heat flux (QF) from the global to individual city scale at 2.5 × 2.5 arc-minute resolution. This includes a database of different working patterns and public holidays, vehicle use and energy consumption in each country. The databases can be edited to include specific diurnal and seasonal vehicle and energy consumption patterns, local holidays and flows of people within a city. If better information about individual cities is available within this (open-source) database, then the accuracy of this model can only improve, to provide the community data from global-scale climate modelling or the individual city scale in the future. The results show that QF varied widely through the year, through the day, between countries and urban areas. An assessment of the heat emissions estimated revealed that they are reasonably close to those produced by a global model and a number of small-scale city models, so results from LUCY can be used with a degree of confidence. From LUCY, the global mean urban QF has a diurnal range of 0.7–3.6 W m−2, and is greater on weekdays than weekends. The heat release from building is the largest contributor (89–96%), to heat emissions globally. Differences between months are greatest in the middle of the day (up to 1 W m−2 at 1 pm). December to February, the coldest months in the Northern Hemisphere, have the highest heat emissions. July and August are at the higher end. The least QF is emitted in May. The highest individual grid cell heat fluxes in urban areas were located in New York (577), Paris (261.5), Tokyo (178), San Francisco (173.6), Vancouver (119) and London (106.7). Copyright © 2010 Royal Meteorological Society

Interaction between grammatical categories and cognition in bilinguals: The role of proficiency, cultural immersion, and language of instruction

Previous studies have demonstrated that there is a tight link between grammatical concepts and cognitive preferences in monolingual speakers (Lucy 1992, Lucy & Gaskins 2003, Imai & Gentner 1997, Imai & Mazuka 2003). Recent research has also shown that bilinguals with languages that differ in their concepts may shift their cognitive preferences as a function of their proficiency (Athanasopoulos, 2006) or cultural immersion (Cook, Bassetti, Kasai, Sasaki, & Takahashi, 2006). The current short paper assesses the relative impact of each of these variables, and furthermore asks whether bilinguals alternate between two distinct cognitive representations of language-specific concepts depending on the language used in the experiment. Results from an object classification task showed that Japanese–English bilinguals shifted their behaviour towards the second language (L2) pattern primarily as a function of their L2 proficiency, while cultural immersion and language of instruction played a minimal role. These findings suggest that acquisition of novel grammatical categories leads to cognitive restructuring in the bilingual mind and have implications for the relationship between language and cognitive processing.

Human monstrosity: rape, ambiguity and performance in Rosemary’s Baby (Roman Polanski, 1968)

The narrative of Rosemary’s Baby hinges on a central hesitation between pregnancy induced madness and the existence of Satanism. Accordingly, the monstrous element is embodied in both the real and the supernatural: Rosemary’s husband Guy (John Cassavetes) is responsible for her victimisation through rape in either explanation. However, I will argue that the inherent ambiguity of the plot makes it difficult to place him as such a figure typical to the archetypal horror binaries of normality/monster, human/inhuman. By displacing generic convention the film complicates the issue of monstrosity, whilst simultaneously offering the possibility for the depiction of female experience of marriage to be at the centre of the narrative, for the real to be possibly of more significance than the supernatural. Previous writing has tended to concentrate on Rosemary and her pregnancy, so through detailed consideration of Cassavetes’ performance and its placement in the mise-en-scène this focus on Guy aims to demonstrate that he changes almost as much as Rosemary does. The chapter will focus on the film’s depiction of rape, during Rosemary’s nightmare and after it, in order to demonstrate how the notion of performance reveals Guy’s monstrousness and the difficulties this represents in our engagement with him.

“There’s something very familiar about all this”: generic play and performance in the Back to the Future trilogy (Robert Zemeckis, 1985, 1989, 1990)

The Back to the Future Trilogy incorporates several different generic elements, including aspects of the fifties teen movie, science fiction, comedy and the western. These different modes playfully intertwine with each other creating a complex world of repetitions, echoes and modulations. This essay seeks to interrogate the construction of generic elements and the play between them through a close analysis of a repeated performance. Genre is signalled through various strategies employed within the construction of mise-en-scène, a significant portion of this, as I would like to argue, is transmitted through performance. The material detail of a performance – incorporating gesture, movement, voice, and even surrounding elements such as costume – as well as the way it its presented within a film is key to the establishment, invocation and coherence of genre. Furthermore, attention to the complexity of performance details, particularly in the manner in which they reverberate across texts, demonstrates the intricacy of genre and its inherent mutability. The Back to the Future trilogy represents a specific interest in the flexibility of genre. Within each film, and especially across all three, aspects of various genres are interlaced through both visual and narrative detail, thus constructing a dense layer of references both within and without the texts. To explore this patterning in more detail I will interrogate the contribution of performance to generic play through close analysis of Thomas F. Wilson’s performance of Biff/Griff/Burford Tannen and his central encounter with Marty McFly (Michael J. Fox) in each film. These moments take place in a fifties diner, a 1980s retro diner and a saloon respectively, each space contributing the similarities and differences in each repetition. Close attention to Wilson’s performance of each related character, which contains both modulations and repetitions used specifically to place each film’s central generic theme, demonstrates how embedded the play between genres and their flexibility is within the trilogy.

“Normality is threatened by the Monster”: Robin Wood, Romero and zombies

A tribute to Robin Wood, focusing on his influence on horror criticism, and more specifically, on his appraisal of George A. Romero as ‘a great and audacious filmmaker’ through detailed consideration of his zombie movies. The article considers the key elements of his extraordinary influence on horror criticism, and a detailed examination of the monster which most directly responds to horror’s potential ambivalence: the zombie. In order to consider the ambivalence in the relationship between normality and the monster – that central and most important component of Wood’s horror criticism – created by Romero’s zombies, analysis focuses on the materiality of the films through close attention to the bodies on-screen.

Effort and affect: engaging with film performance

In order to consider our emotional and physical involvement with film this chapter explores the rapport between camera and performer and how this impacts on the construction of engagement, drawing on critical approaches across the disciplines of film, dance and philosophy to describe our spatial, emotional and sensuous relationship to characters and bodies on-screen. Concern with the relationship between what is happening on screen and the shaping of our engagement is developed through attention to the effort of a particular performance, using close analysis to make sense of the affect invited by qualities of movement and how they are presented in moment from Rosemary’s Baby (Polanski, 1968).

Camera and performer: energetic engagement with the shield

The stylistic strategies, in particular those concerning camera placement and movement, of The Shield (FX, 2002-08) seem to directly fit into an aesthetic tradition developed by US cop dramas like Hill Street Blues (NBC, 1981-87), Homicide: Life on the Street (NBC, 1993-99) and NYPD Blue (ABC, 1993-2005). In these precinct dramas, decisions concerning spatial arrangements of camera and performer foreground a desire to present and react to action while it is happening, and with a minimum of apparent construction. As Jonathan Bignell (2009) has argued, the intimacy and immediacy of this stylistic approach, which has at its core an attempt at a documentary-like realism, is important to the police drama as a genre, while also being tendencies that have been taken as specific characteristics of television more generally. I explore how The Shield develops this tradition of a reactive camera style in its strategy of shooting with two cameras rather than one, with specific attention to how this shapes the presentation of performance. Through a detailed examination of the relationship between performer and camera(s) the chapter considers the way the series establishes access to the fictional world, which is crucial to the manner of police investigation central to its drama, and the impact of this on how we engage with performance. The cameras’ placement appears to balance various impulses, including: the demands of attending to an ensemble cast, spontaneous performance style, and action that is physically dynamic and involving. In a series that makes stylistic decisions around presentation of the body on-screen deliberately close yet obstructive, involving yet fleeting, the chapter explores the affect of this on the watching experience.

Performing performers: embodiment and intertextuality in the contemporary biopic

The actor’s body is of critical importance to the biopic’s representation of ‘real’ lives, to issues of physical and gestural resemblance, and in its role as the dramatic vehicle; acting out significant moments, embodying transformations. Through detailed examination of Beyond the Sea (2004), De-Lovely (2004), Molière (2007), films which foreground the construction, and constructedness, of life through performance and spectacle, this chapter explores the self-reflexive and intertexual embodiment of life stories. It focuses on the material details of performance in relation to distinctly contemporary strategies of film style and tone, and how these connect to questions of expectation and agency.

Access and excess in The Texas Chain Saw Massacre

Much is made of the viscerally disturbing qualities embedded in The Texas Chain Saw Massacre - human bodies are traumatised, mutilated and distorted – and the way these are matched by close and often intense access to the performers involved. Graphic violence focused on the body specifically indicates the film as a key contemporary horror text. Yet, for all this closeness to the performers, it soon becomes clear in undertaking close-analysis of the film that access to them is equally characterised by extreme distance, both spatially and cognitively. The issue of distance is particularly striking, not least because of its ramifications on engagement, which throws up various aesthetic and methodological questions concerning performers’ expressive authenticity. This article considers the lack of access to performance in The Texas Chain Saw Massacre, paying particular attention to how this fits in with contemporaneous presentations of performance more generally, as seen in films such as Junior Bonner (Sam Peckinpah, 1972). As part of this investigation I consider the affect of such a severe disruption to access on engagement with, and discussion of, performance. At the heart of this investigation lie methodological considerations of the place of performance analysis in the post-studio period. How can we perceive anything of a character’s interior life, and therefore engage with performers who we fundamentally lack access to? Does such an apparently significant difference in the way performers and their embodiment is treated mean that they can even be thought of as delivering a performance?

“The suffering black male body and the threatened white female body": ambiguous bodies in Candyman

This article explores the roles of monster and victim as experienced through the body, and considers how the relationship between violence and the body affects the presentation of these roles through close analysis of performance in Candyman (Bernard Rose, 1992). I aim to demonstrate that commitment to such a detailed approach, offers a more intricate and rewarding critical interaction, reflecting the complexity of narrative film. Consideration of the particulars of performance is crucial, in its affect on our engagement with the performer and their physical presence. Through this attention I intend to demonstrate how the seemingly fixed role of monster is in fact more fluid than first apparent, that monster and victim can co-exist in the same body. Candyman’s physicality and the way it is presented foregrounds the oscillations between violence and suffering, the relationship between the body and the violence inflicted on and by it, ambiguities which are also found in the heroine’s development, thus enhancing the film’s striking preoccupation with the shifting parallels between monster and victim.

Morgawr: an experimental Bronze Age-type sewn-plank craft based on the Ferriby boats

This paper reports on the construction of a full-scale Bronze Age-type sewn-plank boat based on the Ferriby boats. The boat, which was named Morgawr, was constructed in the National Maritime Museum Cornwall in Falmouth, England, during 2012 and the first months of 2013, as part of a larger exhibition in the museum. This paper provides the background and context of the project, describes the process of building the craft, and reflects in particular on differences between Morgawr and the ‘hypothetical reconstruction of a complete sewn-plank boat’ published in 1990 by Ted Wright and John Coates which formed the basis for this project.

The representation of bodily pain in late nineteenth-century English culture

This book deals with bodily pain in the late Victorian period, considering the ways in which its understanding is shaped by medicine and theology.