Visual Culture in Britain最新文献

{"title":"A Woman Unknown to Herself","authors":"Joanne Tatham, Tom O'Sullivan","doi":"10.1080/14714787.2020.1721315","DOIUrl":"https://doi.org/10.1080/14714787.2020.1721315","url":null,"abstract":"This article is a fictional response to paintings, sketches and notebooks left behind by the painter Lil Neilson (1938–98) in her studio, The Watchie, after her death. The writing takes as its starting point the work that Neilson made in the last ten years of her life, when she returned to the coastal village of Catterline, Aberdeenshire. The title of the article is taken from a painting Neilson made in 1993–4. An extended, recomposed and adapted version of this text was published as an artists’ book, The Bitter Cup, in September 2019, commissioned by Book Works and Hospitalfield.","PeriodicalId":35078,"journal":{"name":"Visual Culture in Britain","volume":"21 1","pages":"113 - 98"},"PeriodicalIF":0.0,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14714787.2020.1721315","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42665415","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Finding Scotland’s Cinema Factor: From The Cinema in Education (1925) to The Film in the Classroom (1933)","authors":"J. Bohlmann","doi":"10.1080/14714787.2019.1687329","DOIUrl":"https://doi.org/10.1080/14714787.2019.1687329","url":null,"abstract":"This article discusses two experiments that aimed to establish the educational value of cinema: the 1925 Cinema Commission’s report The Cinema in Education, and The Film in the Classroom, an experiment carried out by Glasgow Corporation between 1932 and 1933. Both experiments were part of a discourse on educational cinema that recognized film as a powerful visual medium with a profound impact on how children learned about and interacted with the world around them. The experiments contributed to the fledging of the educational film movement of the 1930s without, however, mirroring the transition to sound occurring in cinemas at that time.","PeriodicalId":35078,"journal":{"name":"Visual Culture in Britain","volume":"20 1","pages":"221 - 238"},"PeriodicalIF":0.0,"publicationDate":"2019-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14714787.2019.1687329","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47008356","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Introduction: From Silent to Sound: Cinema in Scotland in the 1930s","authors":"Sarah Neely, Maria A. Vélez-Serna","doi":"10.1080/14714787.2019.1687330","DOIUrl":"https://doi.org/10.1080/14714787.2019.1687330","url":null,"abstract":"Like any other moment of industrial and institutional transformation, the transition from silent to sound cinema was less linear and inevitable than hindsight would suggest. There was nothing obvious about the emergence of the feature-length fiction film with its unbroken soundtrack of dialogue and music. This special issue uses a tight focus on a few hectic years, and on a peripheral region within a hegemonic power: Scotland, a film-hungry nation with an oversized filmic image. Scotland shared a language with, and exerted a strong diasporic influence on, Hollywood as a film metropolis and London as a seat of the global cinema trade. At the same time, its internal market was too small to sustain production beyond local actualities, so most of the fictional representations of Scottishness that appeared on Scotland’s screens were crafted elsewhere. In relation to the centres of production, Scotland was a marginal nation, but fantasy Scotlands proliferated in films produced in those dominant centres. The transition to sound, as a moment of consolidation but also of instability, presents an ideal opportunity to observe these contradictory forces of proximity and marginality at play. This special issue has a connection with two research projects funded by the Arts and Humanities Research Council – in not only its subject matter, but also its academic contributors. The Early Cinema in Scotland project, which involved Marı́a Vélez-Serna, one of this issue’s guest editors, as Research Assistant, ended in 2015 and produced an edited collection, as well as a number of other outputs, which sought to trace developments in production, exhibition, and distribution up to 1927. ‘British Silent Cinema and the Transition to Sound’, a project that ended in 2017, examined the arrival of sound cinema in Britain between the years of 1927 and 1933, focusing on a broad range of topics such as economics, employment, technology and infrastructure, as well as the shift in film form and style, including its impact on production, distribution, exhibition, reception and critique. Sarah Neely, the second guest editor of this issue, served as one of the project’s Co-Investigators, alongside John Izod, another contributor to this issue, in leading the project’s research, focusing on the period of transition in Scotland. The project will eventually include two book-length studies by two members of the project team, Geoff Brown and Laraine Porter, the project’s Principal Investigator, as well as a number of other publications, including two further special issues of academic journals: one already published in 2018 for Music, Sound and the Moving Image, and another forthcoming with the","PeriodicalId":35078,"journal":{"name":"Visual Culture in Britain","volume":"20 1","pages":"195 - 201"},"PeriodicalIF":0.0,"publicationDate":"2019-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14714787.2019.1687330","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41836369","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"A Balancing Act: Renee Houston – A Career in Film and the Variety Stage","authors":"Sam Gates","doi":"10.1080/14714787.2019.1686417","DOIUrl":"https://doi.org/10.1080/14714787.2019.1686417","url":null,"abstract":"Between the two great wars the British variety theatre and film developed a complex interrelationship in which performers negotiated new challenges: emerging technologies, strong management structures and fierce competition. Taking the career of Renee Houston (1902–80) as a case study, this article details her comedy double act with her sister (Billie) in drag. The Houston Sisters worked their way from local cine-variety to national fame on radio, the live stage and film, while Renee’s subsequent solo career mapped the trajectory of popular entertainment in a period which introduced modernism, talking pictures, radio broadcasting and greater freedom of expression for women.","PeriodicalId":35078,"journal":{"name":"Visual Culture in Britain","volume":"20 1","pages":"239 - 260"},"PeriodicalIF":0.0,"publicationDate":"2019-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14714787.2019.1686417","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46147738","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Sir Harry Lauder and the Scots Diaspora: Cementing Identity through Stage and Screen","authors":"Jonathan Ritchie","doi":"10.1080/14714787.2019.1688675","DOIUrl":"https://doi.org/10.1080/14714787.2019.1688675","url":null,"abstract":"Once the most famous Scotsman in the world, Sir Harry Lauder never managed to become a star of the silver screen. Despite this, his name and image still immediately signify Scottishness because of his successful and lengthy stage career. This article examines Lauder and the manner in which he helped to cement this specific identity for Scotsmen across the English-speaking world, tracing his forays from stage to screen in both silent and early sound cinema.","PeriodicalId":35078,"journal":{"name":"Visual Culture in Britain","volume":"20 1","pages":"278 - 295"},"PeriodicalIF":0.0,"publicationDate":"2019-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14714787.2019.1688675","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47814469","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Arthur Dulay and John Grierson: Fitting Drifters (1929)","authors":"J. Izod","doi":"10.1080/14714787.2019.1686416","DOIUrl":"https://doi.org/10.1080/14714787.2019.1686416","url":null,"abstract":"The moment when Grierson’s Drifters film was first screened to audiences at the end of 1929 coincided with the technological transition in British cinema from accompaniment by musicians playing live in the auditorium to the introduction of fully synchronized sound on film. Arthur Dulay’s ‘Musical Suggestions for Drifters’ furnish plain evidence of not only how complex the work of projectionists and their assistants could be, but also how, until the transition to recorded sound was complete, a variety of methods were deployed in different cinemas to add music and sound effects to pictures.","PeriodicalId":35078,"journal":{"name":"Visual Culture in Britain","volume":"20 1","pages":"261 - 277"},"PeriodicalIF":0.0,"publicationDate":"2019-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14714787.2019.1686416","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44096767","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"A Scottish Caricaturist in Philadelphia: William Charles, the War of 1812, and the Market for Caricature in America","authors":"Allison M. Stagg","doi":"10.1080/14714787.2019.1625720","DOIUrl":"https://doi.org/10.1080/14714787.2019.1625720","url":null,"abstract":"This article examines the little-known Scottish born caricaturist William Charles and focuses specifically on a period of great activity by Charles in America, between 1812 and 1815, during the War of 1812. Charles arrived in America in 1806, bringing with him caricatures prints from London and he soon introduced to an American market a new model for regularly publishing caricature prints.","PeriodicalId":35078,"journal":{"name":"Visual Culture in Britain","volume":"20 1","pages":"105 - 119"},"PeriodicalIF":0.0,"publicationDate":"2019-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14714787.2019.1625720","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46929300","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Britain in the Melbourne Punch","authors":"R. Scully","doi":"10.1080/14714787.2019.1615382","DOIUrl":"https://doi.org/10.1080/14714787.2019.1615382","url":null,"abstract":"This article explores the representation of Britain and the British by cartoonists in the Melbourne Punch. Just as in the London Punch, representative figures, together with caricatures of politicians and notables, were deployed in constant dialogue with the events of the day. Where Melbourne-based cartoonists used such characters critically, they did not position themselves as distinct or separate from a British identity, but integrated readers into a British world dependent upon networks of print culture and a shared sense of humour. The very form and function of the magazine (as well as its contents) therefore illuminate a proud sense of Britishness.","PeriodicalId":35078,"journal":{"name":"Visual Culture in Britain","volume":"20 1","pages":"152 - 171"},"PeriodicalIF":0.0,"publicationDate":"2019-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14714787.2019.1615382","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49375864","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Movement of Satirical Prints between London and Dublin in the Late 1820s: Daniel O’Connell and Catholic Emancipation","authors":"C. Hegenbarth","doi":"10.1080/14714787.2019.1615380","DOIUrl":"https://doi.org/10.1080/14714787.2019.1615380","url":null,"abstract":"This article examines the exchange of satirical printed images between London and Dublin in 1828–9. Through the close visual analysis of three prints, two published in London and one in Dublin, it addresses how these images responded to news, used humour as a mechanism for provoking shared laughter, and shaped debates on both sides of the Irish Sea about Daniel O’Connell (1775–1847) and Catholic emancipation. By analysing an emergent motif of movement of people (marching, processing, leading and following), it is shown that revolutionary implications were constructed in printed images, especially for power in, and governance of, the Union.","PeriodicalId":35078,"journal":{"name":"Visual Culture in Britain","volume":"20 1","pages":"120 - 134"},"PeriodicalIF":0.0,"publicationDate":"2019-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14714787.2019.1615380","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44544869","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"‘Bold Liberals Who Fought for the Cause of Freedom’: The German Reception of the Graphic Satires of James Gillray and Thomas Rowlandson at the Fin De Siècle (1895–1908)","authors":"M. Potter","doi":"10.1080/14714787.2019.1620122","DOIUrl":"https://doi.org/10.1080/14714787.2019.1620122","url":null,"abstract":"This article explores the reception of the work of James Gillray and Thomas Rowlandson in Germany in the long nineteenth century, within the contexts of evolving art historical studies and nationalist cultural policies during the period. The German-language art historical writings of fin-de-siècle critics (two from Germany – Richard Muther and Hans Wolfgang Singer – and two from the Low Countries – Charles Polydore de Mont and Jan Veth) demonstrate how these authors used historical examples of British graphic satire to promote modern liberal agendas of protest and internationalism in opposition to the narrow nationalism of the Prussian-led Kaiserreich (the German Empire, 1871–1918).","PeriodicalId":35078,"journal":{"name":"Visual Culture in Britain","volume":"20 1","pages":"172 - 193"},"PeriodicalIF":0.0,"publicationDate":"2019-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14714787.2019.1620122","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42109304","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}