Cinematic Peripheries of Dublin

The term periphery is, most of the time, used with or in relation to the centre. The ‘zoning’ taken by granted by the architect is unlike the one portrayed by the director who frames the differences of places in a non-linear manner. Film offers a constructed urban experience, suggesting the city to be a local network composed of nodes and links, rather than a centre and the margin. It is possible to talk about the construction of a new kind of network in film through a temporal representation of space, of the distant as the close. In this way, film may be a tool to shift the gaze from the bird’s-eye view to the eye level to create ‘a unified perceptual image of the city’, in Christine Boyer’s words. The experienced surface of the city is two-dimensional neither in fiction nor in reality. In this chapter, the nodes of Dublin are examined through two Irish films, Goldfish Memory (Elizabeth Gill, 2003) and Adam and Paul (Leonard Abrahamson, 2004). Specific elements of the city of Dublin, including walls, houses, pubs, streets, bridges, and parks, are analysed to understand the nature of the network of the city composed of nodes and their connections.

A pilot study of a family focused, psychosocial intervention with war-exposed youth at risk of attack and abduction in north-eastern Democratic Republic of Congo

Rural communities in the Haut-Uele Province of northern Democratic Republic of Congo live in constant danger of attack and/or abduction by units of the Lord's Resistance Army operating in the region. This pilot study sought to develop and evaluate a community-participative psychosocial intervention involving life skills and relaxation training and Mobile Cinema screenings with this war-affected population living under current threat. 159 war-affected children and young people (aged 7-18) from the villages of Kiliwa and Li-May in north-eastern DR Congo took part in this study. In total, 22% of participants had been abduction previously while 73% had a family member abducted. Symptoms of post-traumatic stress reactions, internalising problems, conduct problems and pro-social behaviour were assessed by blinded interviewers at pre- and post-intervention and at 3-month follow-up. Participants were randomised (with an accompanying caregiver) to 8 sessions of a group-based, community-participative, psychosocial intervention (n=79) carried out by supervised local, lay facilitators or a wait-list control group (n=80). Average seminar attendance rates were high: 88% for participants and 84% for caregivers. Drop-out was low: 97% of participants were assessed at post-intervention and 88% at 3 month follow-up. At post-test, participants reported significantly fewer symptoms of post-traumatic stress reactions compared to controls (Cohen's d=0.40). At 3 month follow up, large improvements in internalising symptoms and moderate improvements in pro-social scores were reported, with caregivers noting a moderate to large decline in conduct problems among the young people. Trial Registration clinicalTrials.gov, Identifier: NCT01542398.

Invaders, Launchpads and Hybrids: The Importance of Transmediality in British Science Fiction Film in the 1950s

With its origins in the trick films of the 1890s and early 1900s, British science fiction film has a long history. While Things to Come (1936) is often identified as significant for being written by H.G.Wells, one of the fathers of science fiction as a genre, the importance of the interactions between media in the development of British science fiction film are often set aside. This chapter examines the importance of broadcast media to film-making in Britain, focusing on the 1950s as a period often valourised in writings about American science fiction, to the detriment of other national expressions of the genre. This period is key to the development of the genre in Britain, however, with the establishment of television as a popular medium incorporating the development of domestic science fiction television alongside the import of American products, together with the spread of the very term ‘science fiction’ through books, pulps and comics as well as radio, television and cinema. It was also the time of a backlash against the perceived threat of American soft cultural power embodied in the attractive shine of science fiction with its promise of a bright technological future. In particular, this chapter examines the significance of the relationship between the BBC television and radio services and the film production company Hammer, which was responsible for multiple adaptations of BBC properties, including a number of science fiction texts. The Hammer adaptation of the television serial The Quatermass Experiment proved to be the first major success for the company, moving it towards its most famous identity as producer of horror texts, though often horror with an underlying scientific element, as with their successful series of Frankenstein films. This chapter thus argues that the interaction between film and broadcast media in relation to science fiction was crucial at this historical juncture, not only in helping promote the identities of filmmakers like Hammer, but also in supporting the identity of the BBC and its properties, and in acting as a nexus for the then current debates on taste and national identity.

Framed Memories of Berlin:Film, Remembrance and Architecture

In The City of Collective Memory, urban historian Christina Boyer (1994) defines the image of a city as an abstracted concept, an imaginary (re)constructed form. This urban image is created from many aspects, one of which is the framed and edited views and experiences found in films situated in or about a particular city. In this study, to explore the collective memory of the city of Berlin from an architectural point of view, one film from each of the major historical periods of Berlin since the invention of cinema is examined: pre-WWI, interwar period, the Nazi period, post-WWII, Berlin Wall/Cold War, and the reunification period. Memory-making in the city is studied following the footsteps of the protagonists in the films, concluding that film-making and memory-making make use of similar processes, the editing of fragmented pieces of so-called reality, to create its own reality.

Voyage(s) to Sarajevo: Jean-Luc Godard and the Image of War

This essay discusses Jean-Luc Godard’s artistic response to the Bosnian War (1992-95), and its representations in the Western mass media. For Godard, the reluctance of Europe’s advanced liberal democracies to intervene meaningfully in Bosnia – their insistence that 'humanitarianism' rather than protective intervention was the order of the day – was tantamount to supporting Serbian fascism, and – a fortiori – regressing to a policy of appeasement reminiscent of the days of the Munich Agreement. Although Godard's stance set him against some of his former compatriots on the left, speculating on his ideological motivations is beside the point. Rather, it is is in his filmmaking, in his vision of cinema, and how it relates to other histories of the image, that Godard’s sensibility can be most keenly felt and understood. As the essay points out, even his recent contribution to Jean-Michel Frodon's compilation film, Bridges of Sarajevo/Les ponts de Sarajevo (2014, 114 mn.), persists in posing questions about how the past continues to shape the present, and how Sarajevo and its contemporary history still delineates the identity of Europe. 

Development of Novel Post-Tensioned Glulam Timber Composites

Improvements in the structural performance of glulam timber beams by the inclusion of reinforcing materials can increase both the service performance and ultimate capacity. In recent years research focusing on the addition of fibre reinforced polymers (FRP) to strengthen members has yielded positive results. However, the FRP material is still relatively expensive and its full potential in combination with structural timber has not been realised. This paper describes a series of four-point bending tests that were conducted, under service loads and to failure, on unreinforced, reinforced and post-tensioned glulam timber beams, where the reinforcing tendon used was 12mm diameter basalt fibre reinforced polymer (BFRP). The research was designed to evaluate the benefits offered by including an active reinforcement in contrast to the passive reinforcement typically used within timber strengthening works, in addition to establishing the affect that bonding the reinforcing tendon has on the material’s performance. Further experimental tests have been developed to investigate the long-term implications of this research, with emphasis placed upon creep and loss of post-tensioning.
The laboratory investigations established that the flexural strength and stiffness increased for both the unbonded and bonded post-tensioned timbers compared to the unreinforced beams. Timber that was post-tensioned with an unbonded BFRP tendon showed a flexural strength increase of 2.8% and an increase in stiffness of 8.7%. Post-tensioned beams with a bonded BFRP tendon showed increases in flexural strength and stiffness of 16.6% and 11.5% respectively.

From Beijing with love: The global dimension of Bertolucci’s The Last Emperor

Famous for being the first foreign feature film that obtained permission to shoot in the Forbidden City, The Last Emperor (1987) is also one of the most ambitious and expensive independent productions of its time, awarded four Golden Globes and nine Academy Awards, including Best Picture. In addition, The Last Emperor can be considered as one of the first attempts of cinematic collaboration between West and East, in a period of cultural and economic transformations witnessed by China. This article aims to offer an overview of the production history of The Last Emperor, focusing on the co-production collaborations and the outcomes of a western auteur’s gaze on Chinese history. Questions of Orientalism, travel narrative and critical reception are taken into account in order to engage with the transnational implications of Bertolucci’s film and the western fascination with China.

Can(Plan)+: Extending the Operational Semantics of the BDI Architecture to deal with Uncertain Information

The BDI architecture, where agents are modelled based on their beliefs, desires and intentions, provides a practical approach to develop large scale systems. However, it is not well suited to model complex Supervisory Control And Data Acquisition (SCADA) systems pervaded by uncertainty. In this paper we address this issue by extending the operational semantics of Can(Plan) into Can(Plan)+. We start by modelling the beliefs of an agent as a set of epistemic states where each state, possibly using a different representation, models part of the agent's beliefs. These epistemic states are stratified to make them commensurable and to reason about the uncertain beliefs of the agent. The syntax and semantics of a BDI agent are extended accordingly and we identify fragments with computationally efficient semantics. Finally, we examine how primitive actions are affected by uncertainty and we define an appropriate form of lookahead planning.

Shakespeare and World Cinema

Review of the field

Cinema-going at the Southampton Odeon: Exhibition Data and Popular Taste

Cinemagoing data from the 1970s. A case study of the data from the Southampton Odeon

Estimation of the small strain stiffness of glacial till using geophysical methods and barometric loading response

Stiffness values in geotechnical structures can range over many orders of magnitude for relatively small operational strains. The typical strain levels where soil stiffness changes most dramatically is in the range 0.01-0.1%, however soils do not exhibit linear stress-strain behaviour at small strains. Knowledge of the in situ stiffness at small strain is important in geotechnical numerical modelling and design. The stress-strain regime of cut slopes is complex, as we have different principle stress directions at different positions along the potential failure plane. For example, loading may be primarily in extension near the toe of the slope, while compressive loading is predominant at the crest of a slope. Cuttings in heavily overconsolidated clays are known to be susceptible to progressive failure and subsequent strain softening, in which progressive yielding propagates from the toe towards the crest of the slope over time. In order to gain a better understanding of the rate of softening it would be advantageous to measure changes in small strain stiffness in the field.