• geographies, yearnings, identities

      Jackson, Maggie; Bebbington, Chris (University of Chester / Fiesol e Arte, 2006)
      This book is the catalogue from the photographic exhibition, geographies, yearnings, identities, held at at Fiesole Art School near Florence in 2006.
    • ‘Half a loaf is better than none’: The framing of political and national identity in Welsh border newspapers in the aftermath of the Mold Riots, 1869-1870

      Roberts, Simon Gwyn; University of Chester (2014-07-21)
      The Mold Riots of 1869 came at a time of social and cultural upheaval throughout Wales. Several distinct contexts intersect, and this paper will attempt to synthesize and interpret them by analyzing archival coverage of the events in the local press. The period was a dynamic one for local newspapers across the UK, with Benson arguing that the English provincial press at the time was ‘less cautious, more calculating, and more sensationalist than much of the existing literature would lead one to suppose’. Welsh newspapers have, however, been hitherto largely ignored by that literature. This would seem to be something of an oversight, because Welsh identity became politicized for the first time in the 1860s. In the particular context of North-East Wales, where - as in many border regions - identity is contested, the coverage of the Mold Riots in the local press offers an instructive opportunity to examine early attempts to negotiate identity politics in what was already a mixed, semi-anglicised region in which questions of religion, language, class and loyalty were emerging as potentially divisive political issues. The paper will examine local newspapers’ rhetorical frames, in which audiences are encouraged to interpret events in ways sympathetic to the actions of the authorities. This paper sees the event as a pivotal example of changing interpretations of political and national identity in local newspapers with a cross-border remit.
    • High speed pressure learning in UK feature film units

      Ludwin, Linda (2005-07-06)
      This conference paper discusses how UK film units (as temporary organisations) work and learn together.
    • Hillsborough: Justice at last, but the city of Liverpool always knew the truth

      Hassall, Paul; University of Chester (Eurosport Uk, 2016-04-27)
      A response to the verdicts of the Hillsborough inquest
    • Horizontal dancefloors and vertical screens: Club culture in the cinema and the diegesis of the dancefloor

      Morrison, Simon A.; University of Chester; University of Leeds (Cine-Clube de Avanca, 2012)
      The culture – in particular the counterculture - of an age will always inform its cinema. This paper will argue that the most significant countercultural movement of the last 25 years has been the “rave” revolution, that morphed into Electronic Dance Music Culture (EDMC). The paper will address how that scene can be read through the medium of its cinematic representation, in UK films such as Human Traffic (1999) and North American productions such as 2012’s Irvine Welsh’s Ecstasy. The paper will focus on the way music is utilised within EDMC film texts and the particular issues raised by the use of music in “clubbing” movies. The paper will firstly address non-diegetic codes and the particular issues of scoring a film that itself is focused on the tropes and modes of electronic music, by drawing on the primary input of composers. The argument will then move on to the more ambiguous area of diegetic codes, for instance retro fitting music to time-coded nightclub sequences, postproduction. The paper will then look at metadiegesis, when the music actually forms part of the club experience, blurring these diegetic boundaries and highlighting the peculiar issues that arise when rotating a horizontal dancefloor onto a vertical cinema screen.
    • I Scream Therefore I Fan? Music Audiences and Affective Citizenship

      Duffett, Mark; University of Chester (New York University Press, 2017-08-28)
      Screaming has long been regarded, in the mainstream media, as the sine qua non of celebrity fandom. Pop music represents one of the obvious places where it is heard in the public sphere. Not all fans scream, but those who do are not doubted as fans since they express their position on the “knowing field” of fandom in an emotional way. As scholars, however, we rarely if ever discuss exclamations made by fans, instead focusing on their creativity, autonomy and collective intelligence. Taking popular music as its focus, what follows will develop in two sections. The first considers why screaming has been framed as a problematic activity. The second argues that fan screaming can alternatively be understood as a form of enunciative productivity, an indicator of totemic interest, and a mode of affective citizenship.
    • “I'm from Europe, but I'm not European”: Television and children's identities in England and Bulgaria

      Slavtcheva-Petkova, Vera; University of Chester (Routledge, 2012-11-05)
      This article examines the role television (TV) plays in the development of primary school children's European knowledge and identities in England and Bulgaria. It compares the media coverage on Europe and the European Union with pupils' European perceptions and identities. The article reports data from 174 qualitative interviews with children and the content analysis of seven TV programmes. It concludes that TV plays a strong role in collective identities when a topic is salient on the agenda. TV raises awareness and knowledge and sets the direction of understanding. Yet, despite the higher salience of Europe on the Bulgarian media agenda, Bulgarians feel less European than English children. The article provides an explanation to this phenomenon, thus filling an important gap in the literature about the media's role in collective identities formation from an early age. It also adopts an innovative approach in the study of agenda-setting theory by investigating its application among children.
    • Impossible Unity? Representing Internal Diversity in Post-Devolution Wales

      Roberts, Simon Gwyn; University of Chester-- (Palgrave Macmillan, 2015-09-16)
      The gradual transformation of British politics through the processes of devolution has been a ‘work in progress’ since Scotland and Wales voted in favour in the 1997 referenda (in the case of Wales, for the creation of an Assembly with devolved powers). Yet these major constitutional changes have not been matched by a realignment of the UK media (Cushion, Lewis and Groves, 2009). In this context, the particular deficiencies of the Welsh media have become increasingly politically relevant in recent years, with its shortcomings (in terms of informing the public about devolved politics) regularly highlighted by politicians, academics and journalists. A 2014 BBC poll, for example, found that fewer than half of Welsh respondents knew the NHS was devolved, which Thomas (2014) suggests results from a Welsh media landscape in which “huge numbers of people” get their news from London-based newspapers. The contrast with Scotland is marked: while Scottish devolution provided a pretext for London-based national newspapers to reduce news content from all three devolved nations it simultaneously provided a catalyst for the further development of an independent media policy in Scotland itself. In interviews, London journalists argued that since Scotland had its own parliament it had its ‘own news’ and its own newspaper editions to carry it (Denver, 2002). More recently, Macwhirter (2014) rued the financial decline of the Scottish newspaper industry, suggesting that this makes it harder for the Scottish media to perform their traditional role as ‘cultural curators’ and forum for informed debate. However, sentiments like this merely highlight the more acute media deficiency in Wales, because the Welsh media is considerably more fragmented than its Scottish equivalent, with no real tradition of a Welsh national press to draw on and the majority of newspaper readers dependent on London-based publications. Around 1,760,000 (from a total population of three million) read newspapers with ‘virtually no Welsh content’ (Davies, 2008).
    • In Darwin’s Garden: an evolutionary exploration of augmented reality in practice

      Summers, Alan; University of Chester
      This chapter discusses the rapid developments in augmented reality and mixed reality technologies, from a practitioner’s perspective of making the augmented reality sculptural work In Darwin’s Garden. From its conception in 2012, to its exhibition at Carbon Meets Silicon II in 2017, the advances in augmented reality technology led to an interplay between the goal of the creators and the technological realisation of that vision. The art, design and technology involved, generated a reactive process that was mired in external influences as the accessibility to augmented reality became commercially valuable and subsequently restricted. This chapter will be of interest to anyone who wants to understand more about the possibilities, technologies and processes involved in realising mixed reality practice and about the commercial culture that supports it.
    • In the Thick of It, Proximities of Belonging in Performance Research

      Piasecka, Shelley; University of Chester (National Drama Publications, 2014-04)
      Themes of belonging: to a group, identity, culture and place have dominated education and performance research in recent years. For the social sciences, the educational significance of belonging tends to surface within ethnicity and race (see Demie, 2005; Hassan, 2009; Tomlinson, 1998), gender and sexuality (see Cole, 2006) and self-esteem and citizenship education (see Ma, 2003; Halliday, 1999; Piper and Garratt, 2004). In these contexts, questions of belonging are typically premised upon ideas of inclusion and exclusion, notions of Otherness and constructs of personal and social identity. For the purposes of this paper, though, I approach belonging from the perspective of the dramatic inquiry and storytelling. To introduce the theme, I refer to proximities of belonging, as exemplified by Conquergood (2004) and for dramatic practice, Boal’s Theatre of the Oppressed. By way of illustration, I consider two projects undertaken as part my PhD: Heroes and Villains: a performance project with junior school children from a junior school in Stoke-on-Trent and Robin and the Pirate Letters: an early readers initiative for infant children in Cheshire East.
    • Inspired by Nature

      Turner, Jeremy; University of Chester (Forestry Commission, 2018-05)
      Sculptural work included in juried exhibition, 'Inspired by Nature'. Selected members of the Royal Society of Sculptors invited to exhibit at Grizedale Forest Gallery as part of a collaboration between the RSS, Forestry Commission and Forest Artworks.
    • Interactivity 2: New media, politics and society

      Charles, Alec; University of Chester (Peter Lang, 2014-07-31)
      Drawing upon developments in social networking, crowdsourcing, clicktivism, digital games and reality TV, this study asks whether the technological innovations which sponsored such absurdities might ever promote progressive modes of social interaction and political participation. Perhaps somewhat absurdly, it suggests they one day might.
    • Interdisciplinarity in the Performing Arts: Contemporary Perspectives

      Sarco-Thomas, Malaika; Aquilina, Stefan; University of Malta (University of Malta Press, 2018)
      Interdisciplinarity in the Performing Arts: Contemporary Perspectives contributes to current discussion about the intrinsic interdisciplinary nature of the performing arts, while also identifying the potential which theatre, dance, and music have in creating bridges with other disciplines like neuroscience, social sciences, philosophy, pedagogy, and therapy. Coordinated by the School of Performing Arts of the University of Malta and featuring contributions from KU Leuven, Ghent University, Vrije Universiteit Brussel (Belgium), Royal Holloway (London), Universidade Estadual de Campinas (Brazil), and Adam Mickiewicz University (Poland), this publication explores questions brought forward by approaches to performance that interweave theory and practice, through examples of methodologies, philosophies, interpretations, and applications of interdisciplinarity today.
    • Introduction

      Hart, Christopher; University of Chester (Midrash, 2018-10-14)
      This introduction proposes the argument that during the First World War entertainments , media and popular culture used the war to attract audiences and readers - five propositions are introduced. The first is this. Entertainment as a topic for study is not trivial, inconsequential or irrelevant. To understand any culture look at what its members do for their entertainment. This includes looking at such things as, in 1914, jokes and humour, songs and music, drama and plays, cartoons and caricatures, films and animation, fiction and gossip, photographs and illustrations, advertising and posters, and newspapers and magazines. This proposition will be discussed in more detail once the other four propositions have been stated. The second position is this. The core activities that are taken as entertainment, such as the cinema, books, music and newspapers, are surrounded by the institutions, industries and crafts which bring the entertainments to the marketplace. The third position is the recognition people read, sing, watch, listen and laugh not just for leisure but also when doing work and other activities. Entertainment does not always have to be separate from the workplace or from time doing work-based tasks; it can be incorporated into most aspects of life. The fourth position follows on from longstanding debates about hierarchical schemes of entertainment regarding differentiated cultural value. Notions of high culture and low culture, popular culture and elite culture are overworked dichotomies that distract attention from the entertainment under study, as a thing in itself, and lead to prejudice against one of the classes of entertainment on the scale. If classical music performances are elitist, exclusionist and class-based it does not entail they are ‘bad' and things should be otherwise. It is not the music or musicians that are excluding anyone. It is the instructional arrangements that bring such performances to the marketplace, a lack of education provided about the value of the experience and, possibly, snobbishness of some audiences. The fifth proposition is entertainment is about audience experience. This can take multiple forms for the same audience of an entertainment. Bosshart and Macconi (1998) include the following in a list of possible experiences an audience member can take from consuming a particular media - obtaining relaxation, being distracted, seeing something different to the norm, seeking excitement or a thrill, wanting to laugh, sharing the joy and enjoying a place.
    • Introduction (Sport, Media and Regional Identity)

      Roberts, Simon Gwyn; University of Chester (Cambridge Scholars, 2015-12-01)
      Introduction to an edited volume entitled Sport, Media and Regional Identity.
    • Introduction to the book: Interdisciplinarity in the Performing Arts: Contemporary Perspectives

      Sarco-Thomas, Malaika; Aquilina, Stefan (Malta University Press, 2018)
      The introduction to this book includes an overview of current discourses on interdisciplinary research and practice within the performing arts, and gives an overview of chapters contained in the book. Interdisciplinarity in the Performing Arts: Contemporary Perspectives contributes to current discussion about the intrinsic interdisciplinary nature of the performing arts, while also identifying the potential which theatre, dance, and music have in creating bridges with other disciplines like neuroscience, social sciences, philosophy, pedagogy, and therapy. Coordinated by the School of Performing Arts of the University of Malta and featuring contributions from KU Leuven, Ghent University, Vrije Universiteit Brussel (Belgium), Royal Holloway (London), Universidade Estadual de Campinas (Brazil), and Adam Mickiewicz University (Poland), this publication explores questions brought forward by approaches to performance that interweave theory and practice, through examples of methodologies, philosophies, interpretations, and applications of interdisciplinarity today.
    • It's a book! It's a game! It's 'Building Stories'! Play, Plot and Narration in Graphic Narrative.

      Grennan, Simon; Hague, Ian; University of Chester, London College of Printing (5th International Graphic Novel and Comics Conference, British Library London., 2014-06-01)
      In reviews of Chris Ware’s Building Stories, critics regularly draw attention to the board-game like design of the comic’s box and elements of the text within. Yet while many have noted the similarities between Building Stories and the visual/physical design of board games such as Monopoly, and Ware himself has cited ‘French "Jeux Reunis" game sets from the late 19th and the early 20th century’ as one of the inspirations for the work’s design concept, few go as far as to suggest that Building Stories actually is a game. In this paper, Simon Grennan and Ian Hague will consider the ways in which Building Stories’ narrative structure mirrors those conventionally found in games. Drawing upon works published by Bethesda Softworks, such as Fallout 3, Fallout: New Vegas and the Elder Scrolls series, as well as comics including Jason Shiga’s Meanwhile and Actus Tragicus’ Actus Box: 5 Graphic Novellas, and literary works such as Marc Saporta’s Composition No.1 and B.S. Johnson’s The Unfortunates, Grennan and Hague will interrogate some of the formal and discursive relationships between play and narrative, such as the productive structuring of choice, the impact of types of accumulated and excluded actions upon plot and the narratological implications of subverting the social habits by which games, comics and literature are defined. Utilising Seymour Chatman’s 1978 theorisation of narrative as a ‘double time’ structure, being the time of the plot plus the time of the text, they will suggest that both games and comics promote specific discourse activities over others as conditions of comprehension, whilst sharing formal structures that are utilised in each register to underwrite the distinctions between them. Hence, it is as possible to choose to read the cells of comic in any order as it is to choose one course of actions over another in a game. Grennan and Hague will analyse the degrees of similarity and difference between these options in their particular contexts, relative to an experience of a plot, in order to problematise the relationship between discourse and plot at the heart of Chatman’s theory.
    • It’s All in Proportion: Tracing the Evolution of the Time-Aggregate in Roberto Gerhard’s Music

      Sproston, Darren; University of Chester (Cambridge Scholars Publishing, 2016-12-01)
      This chapter investigates a very specific innovation in Roberto Gerhard’s compositional practice and traces its possible origins. The technique in question is the “time-aggregate” or use of proportions, directly derived from the tone row, as a structural device. This inquiry begins Roberto Gerhard’s article “Functions of the Series in Twelve-Note Composition” and then works in reverse chronological order through his writings and compositions and through the musings of other scholars finally dwelling on three works which are believed to be Gerhard’s earliest experiments in the use of the method: the Three Impromptus (1950), Capriccio for Solo Flute (1949), and the Sonata for Viola (Cello) and Piano (1948/1956).
    • It’s Only Teenage Wasteland: The Home Media Revival of Freaks and Geeks

      Barnett, Katie; University of Chester (Palgrave Macmillan, 2017-10-27)
      This chapter explores the home media revival of the short-lived US TV series Freaks and Geeks (1999-2000), examining the ways in which successful fan campaigns led to the broadcast of missing episodes and the eventual DVD release of the series in 2004. The developing cult status of Freaks and Geeks is discussed, with particular reference to the series' use of music and the ways this both contributes to the authenticity of the programme and became a barrier to its home media release.
    • I’m (Not) A Girl: Animating Experiences of Girlhood in Bob’s Burgers

      Barnett, Katie; University of Chester (Intellect, 2019-03-01)
      Discourses of girlhood increasingly acknowledge its mutability, with the ‘girl’ as a complex image that cannot adequately be conceptualized by age or biology alone. Likewise, theories of animation often foreground its disruptive potential. Taking an interdisciplinary approach that encompasses girlhood studies, animation studies, and screen studies, this article analyses the representation of the two main girl characters, Tina and Louise Belcher, in the animated sitcom Bob’s Burgers (2011–present). Taking this concept of mutability as its central focus, it argues that animation is an ideal medium for representing girlhood, given its disruptive potential and non-linear capacities, whereby characters are often frozen in time. With no commitment to aging its young female characters, Bob’s Burgers is instead able to construct a landscape of girlhood that allows for endless reversal, contradiction and overlap in the experiences of Tina and Louise, whose existence as animations reveals girlhood as a liminal space in which girls can be one thing and the other – gullible and intelligent, vulnerable and strong, sexual and innocent – without negating their multifarious experiences.