Expresiones audiovisuales

This book offers the first comprehensive exploration of how the ancient past has shaped screen stardom in Hollywood since the silent era. It engages with debates on historical reception, gender and sexuality, nostalgia, authenticity and the uses of the past. Michael Williams gives fresh insights into ‘divinized stardom’, a highly influential and yet understudied phenomenon that predates Hollywood and continues into the digital age.
Case studies include Greta Garbo and Mata Hari (1931); Buster Crabbe and the 1931s Olympian body; the marketing of Rita Hayworth as Venus in the 1940s; sculpture and star performance in Oliver Stone’s Alexander (2004); landscape and sexuality in Troy (2004); digital afterimages of stars such as Marilyn Monroe; and the classical body in the contemporary ancient epic genre. The author’s richly layered ‘archaeological’ approach uses detailed textual analysis and archival research to survey the use of the myth and iconography of ancient Greece and Rome in some of stardom’s most popular and fascinating incarnations. This interdisciplinary study will be significant for anyone interested in star studies, film and cultural history, and classical reception.

By definition, illustration is an area that calls many others, in a more obvious or subtle way, crossing the different formation areas of the Department of Communication and Arts and reflecting itself somehow in all of them, with natural emphasis on the image areas. Every year, ilustrada will seek to bring to UBI a wide variety of national and international guests who may contribute to reflect on illustration and its relationship with areas such as design, drawing, animation, fashion and science, among others, in the perspective of the academic world of illustrators, their publics, editors and galleries that, increasingly, open their spaces exclusively to the exhibition of this kind of art work. More than anything, this meeting aims to provide a space to reflect around the topic of illustration in its different dimensions, scope and applications, underlining through it the approach and the intersection of diverse artistic subjects and the potential that comes from bridges established between them and a consequent sense of restlessness and effervescence that helps to explain the current dynamism generated around this universe and its multiple related issues. We are interested in the performative, hybrid and heterogeneous potential of these (meta)languages, their permanent regenerative capacity and constant media presence, to try to understand how they condition and/or expand our visual culture and, through it, our regard and way of seeing. We are also motivated by what in it allows us to search (or rediscover) what can remain from a certain physical sense of our relationship with image both as creators and as observers.

This collection examines the multiple ways people listen to, consume, and produce music and sound in an increasingly digital world. Technologies such as social networks, recommendation algorithms, virtual cloud storage, and portable listening devices increasingly mediate both personal and communal experiences with music. While such technologies may be convenient, their unexamined use raises ethical, socio-political, and philosophical questions. This volume brings together multiple contributions which engage with these questions and others posed by emergent musical and social technologies. Drawing upon a range of different areas of inquiry, it provides a varied critical approach to the question of how people interact with music in the modern era and debates the universal themes of modern music consumption.

In recent years, there has been something of an explosion in the performance of live music to silent films. There is a wide range of films with live and new scores that run from the historically accurate orchestral scores to contemporary sounds by groups such as Pet Shop Boys or by experimental composers and gothic heavy metal bands. It is no exaggeration to claim that music constitutes a bridge between the old silent film and the modern audience; music is also a channel for non-scholarly audiences to gain an appreciation of silent films. Music has become a means both for musicians and audiences to understand this bygone film art anew. This book is the first of its kind in that it aims to bring together writings and interviews to delineate the culture of providing music for silent films. It not only has the character of a scholarly work but is also something of a manual in that it discusses how to make music for silent films.

Intersecting Film, Music, and Queerness uses musicology and queer theory to uncover meaning and message in canonical American cinema. This study considers how queer readings are reinforced or nuanced through analysis of musical score. Taking a broad approach to queerness that questions heteronormative and homonormative patriarchal structures, binary relationships, gender assumptions and anxieties, this book challenges existing interpretations of what is progressive and what is retrogressive in cinema. Examined films include Bride of Frankenstein, Louisiana Story, Rudolph the Red-Nosed Reindeer, Blazing Saddles, Edward Scissorhands, Brokeback Mountain, Boys Don't Cry, Transamerica, Thelma & Louise, Go Fish and The Living End, with special attention given to films that subvert or complicate genre. Music is analyzed with concern for composition, intertextual references, absolute musical structures, song lyrics, recording, arrangement, and performance issues. This multidisciplinary work, featuring groundbreaking research, analysis, and theory, offers new close readings and a model for future scholarship.

One of the most visually striking traditions in cinema, for too long Expressionism has been a neglected critical category of research in film history and aesthetics. The fifteen essays in this anthology remedies this by revisiting key German films like The Cabinet of Dr. Caligari (1921) and Nosferatu (1922), and also provide original critical research into more obscure titles like Nerven (1919) and The Phantom Carriage (1921), films that were produced in the silent and early sound era in countries ranging from France, Sweden and Hungary, to the United States and Mexico. An innovative and wide-ranging collection, Expressionism in Cinema re-canonizes the classical Expressionist aesthetic, extending the critical and historical discussion beyond pre-existing scholarship into comparative and interdisciplinary areas of film research that reach across national boundaries.

The era of literary modernism coincided with a dramatic expansion of broadcast media throughout Europe, which challenged avant-garde writers with new modes of writing and provided them with a global audience for their work. Historicizing these developments and drawing on new sources for research including the BBC archives and other important collections – Broadcasting in the Modernist Era explores the ways in which canonical writers engaged with the new media of radio and television. Considering the interlinked areas of broadcasting culture and politics in this period, the book engages the radio writing and broadcasts of such writers as Virginia Woolf, W. B. Yeats, Ezra Pound, T. S. Eliot, James Joyce, George Orwell, E. M. Forster, J. B. Priestley, Dorothy L. Sayers, David Jones and Jean-Paul Sartre. With chapters by leading international scholars, the volumes empirical-based approach aims to open up new avenues for understandings of radiogenic writing in the mass-media age.

In-cell television is now a permanent feature of prisons in England and Wales, and a key part of the experience of modern incarceration. This sociological exploration of prisoners' use of television offers an engaging and thought provoking insight into the domestic and everyday lives of people in prison – with television close at hand. Victoria Knight explores how television contributes to imprisonment by normalising the prison cell. In doing so it legitimates this space to hold prisoners for long periods of time, typically without structured activity. As a consequence, television's place in the modern prison has also come to represent an unanticipated resource in the package of care for prisoners. This book uncovers the complex and rich emotive responses to prison life. Dimensions of boredom, anger, frustration, pleasure and happiness appear through the rich narratives of both prisoners and staff, indicating the ways institutions and individuals deal with their emotions. It also offers an insight into the unfolding future of the digital world in prisons and begins to consider how the prisoner can benefit from engagement with digital technologies. It will be of great interest to practitioners and scholars of prisons and penology, as well as those interested in the impact of television on society.

Where do Canadian content requirements come from? What is the difference between an over-the-top (OTP) service provider and a broadcast distribution undertaking (BDU)? How is broadcast regulation changing in response to the rise of new media? The second edition of Broadcasting Policy in Canada answers these questions by tracing the development of Canada's broadcasting legislation and analysing the roles and responsibilities of the key players in the broadcasting system, particularly those of the Canadian Radio-television and Telecommunications Commission (CRTC).

Featuring contributions from leading figures in the videogames industry including the international games scholar Henry Jenkins; Simon and Andrew Oliver, directors of Blitz Games; and writer and broadcaster Aleks Krotoski, this book surveys both the theory and practice of this fast-growing, yet relatively new disciplinary area. Mapping the commercial process of videogame production from pre-production to games journalism, David Surman demystifies the language of technical production processes by offering the reader a review of key production roles, along with the skills required to fulfill them. Focusing on the distribution and reception of videogames as a cultural form, as well as offering broader perspectives on issues such as the place of games in education and domestic technology, Surman examines the critical perspectives that have emerged in the academic community.