Visual Culture in Britain最新文献

{"title":"Introduction: Scotch on the Box: Television Drama in Scotland, 1952–1990","authors":"J. Murray","doi":"10.1080/14714787.2017.1439481","DOIUrl":"https://doi.org/10.1080/14714787.2017.1439481","url":null,"abstract":"Despite its position as possibly the most ubiquitous of all post-Second World War popular cultural media forms, and the wealth of existing scholarship on multiple aspects of British TV drama, television occupies a surprisingly marginal position within the study of modern Scottish culture. Despite being a markedly younger (and, in terms of cumulative production volume, a markedly smaller) indigenous representational tradition, Scottish cinema has attracted several monograph and anthology publications since the appearance of the pioneering Scotch Reels: Scotland in Cinema and Television in 1982. Scottish television drama, however, still awaits the publication of any book solely dedicated to it as a subject. This special issue of Visual Culture in Britain therefore aims to highlight Scottish television drama’s considerable cultural and scholarly importance and encourage enhanced levels of academic research in this area. Tellingly enough, given television’s traditionally sidelined status within Scottish cultural studies, this special issue derives its inspiration from the AHRC-funded project, ‘The History of Forgotten Television Drama in the UK’, based at Royal Holloway, University of London. That project ran from September 2013 until June 2017 and placed a specific emphasis upon the critical and historical investigation of television drama from the British nations and regions. As a part of the project, a conference entitled ‘Television Drama: The Forgotten, the Lost and the Neglected’ took place at the University of London in April 2015 and included a panel devoted to Scottish television drama. All the papers from that panel are included in this special issue, along with other work undertaken as part of the ‘Forgotten TV Drama’ research project. John Cook’s essay plays a vital scene-setting function for this special issue. Cook casts light on the historical origins of television drama production in Scotland by exploring the careers of key figures such as James MacTaggart (1928–74) and Pharic Maclaren (1923–80). Through a comprehensive account of those men’s local and BBC network activities, Cook shows both how and why enhanced historical understanding of one televisual tradition also results in better comprehension of others. Specifically, Cook’s analysis pinpoints the dense, mutually informing connections between the history of television drama produced from and/or about Scotland and the evolving (and frequently contentious) debates about drama’s place within the BBC’s UK-wide public service remit between the mid 1960s and early 1990s. Cook’s detailed historical account also possesses ample contemporary relevance. His work reminds readers that the idea of devolved and distinctive television production","PeriodicalId":35078,"journal":{"name":"Visual Culture in Britain","volume":"18 1","pages":"321 - 324"},"PeriodicalIF":0.0,"publicationDate":"2017-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14714787.2017.1439481","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47610144","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":"‘Def-i-nitely Back’: Subversion of Kailyard and Clydeside in Charles Endell Esquire","authors":"D. McNaughton","doi":"10.1080/14714787.2017.1396914","DOIUrl":"https://doi.org/10.1080/14714787.2017.1396914","url":null,"abstract":"This article examines a significant, but neglected, Glasgow-set STV drama serial from 1979, Charles Endell Esquire. The article examines the way in which Charles Endell Esquire exploits and subverts classic tropes of Scottish identity to construct a liminal narrative and generic space between comedy and drama, subverting the stereotypical models of Kailyard and Clydesideism. Using the idea of ‘place-myth’, the article examines the ways in which the series’ use of location filming sets up a structuring paradigm between tradition and modernity within the city of Glasgow, and between gritty urban Glasgow Clydesideism and the rural Kailyard of the Scottish countryside.","PeriodicalId":35078,"journal":{"name":"Visual Culture in Britain","volume":"18 1","pages":"362 - 377"},"PeriodicalIF":0.0,"publicationDate":"2017-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14714787.2017.1396914","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43740519","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":"Alliteration, America and Authorship: The Television Drama of John Byrne","authors":"J. Murray","doi":"10.1080/14714787.2018.1439768","DOIUrl":"https://doi.org/10.1080/14714787.2018.1439768","url":null,"abstract":"Creative polymath John Byrne enjoys a secure and substantial international reputation within the graphic and theatrical arts, and as a seminal figure within late-twentieth and early-twenty-first century Scottish culture. Yet Byrne’s sustained engagement with screenwriting and screen directing practices between the late 1980s and late 1990s constitutes a critically under-examined aspect of his career to date. Moreover, such neglect is also symptomatic of a wider lack of attention paid to television within the study of modern Scottish culture. This article casts light on an important aspect of, and period within, Byrne’s creativity to date. In doing so, it also seeks to offer an illustrative demonstration of television drama’s relevance to the questions of changing identity politics – national, subnational and supranational – that have dominated Scottish cultural studies in recent decades. The article achieves those aims through extended textual analysis of Byrne’s two best-known screen works, the television serials Tutti Frutti (1987) and Your Cheatin’ Heart (1990). It identifies and discusses a range of common thematic preoccupations (the influence of American culturewithin post-Second World War Scotland; changing patterns of Scottish gender identities) and authorialapproaches (intense linguistic experimentation; use of popular cultural intertexts to impart narrativestructure and substance) shared by the two works. In this way, the article establishes both some of the idiosyncratic defining terms of Byrne’s televisual practice and some of the reasons why these have rendered him such an important figure within Scottish culture since the late 1970s.","PeriodicalId":35078,"journal":{"name":"Visual Culture in Britain","volume":"94 2","pages":"378 - 400"},"PeriodicalIF":0.0,"publicationDate":"2017-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14714787.2018.1439768","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41296770","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":"Modern Painters, Old Masters: The Art of Imitation from the Pre-Raphaelites to the First World War, by Elizabeth Prettejohn, New Haven, CN and London: Yale University Press, 2017, pp. 288, £45, Hardback","authors":"A. Lepine","doi":"10.1080/14714787.2017.1363520","DOIUrl":"https://doi.org/10.1080/14714787.2017.1363520","url":null,"abstract":"In 1895, the painter and critic (and cousin of the writer, Robert Louis Stevenson) R.A.M. Stevenson published a book in which he explored Velásquez as a truly modern artist. Stevenson interpreted Velásquez’s technique through the lens of Impressionism, and referenced his fin-desiècle contemporaries as Impressionist revivalists. In the midst of Elizabeth Prettejohn’s discussion of the significance of Spanish Old Masters for Frederic Leighton in both his Royal Academy lectures and many of his most substantial paintings, Stevenson’s views signal Prettejohn’s own focus on how time, memory, imitation, and influence are at work in British art history. She notes that for Stevenson, ‘Impressionism as an artistic movement is thus projected back to Velásquez as its initiator, and its modern manifestation becomes a “revival”, like the Pre-Raphaelite revival of early Renaissance painting, rather than a modernist break with the past’ (183). This insight invites new readings of late nineteenth-century historicism, fruitfully complicating narratives of modernism that characterize the art-historical scholarly landscape on both sides of the English Channel. By exploring questions of reference, allusion, and the deployment of the history of art as a flexible tool in the production of new paintings, it is not only possible but deeply right to probe what links might truly exist between Lawrence Alma-Tadema, John Singer Sargent, and Pablo Picasso. For artists, as well as for nineteenth-century curators, scholars, and collectors, it was essential and truly modern to establish meaningful relationships with Old Masters as no less than anachronic partners in innovative paintings that delivered truly new messages regarding subjects as diverse as love, God, literature, archaeology, and colour. Prettejohn’s Modern Painters, Old Masters contends that, from the midnineteenth century until well into the twentieth, British art’s relationships with Old Master European painting were a precious resource for the production of radically original work. From Ford Madox Brown to William Orpen, artists turned again and again to the glorious riches of the Italian Renaissance and to Spanish early modernism, many of which were readily accessible for lengthy and nuanced study in a growing array of regional public art galleries and national collections, as well as in prints and watercolour studies (230). Quoting David Hume’s Georgian rhetorical question, ‘Must we throw aside the pictures of our ancestors, because of their ruffs and farthingales?’ at the outset of her project, Prettejohn responds with a firm and appealing negative. For the artists","PeriodicalId":35078,"journal":{"name":"Visual Culture in Britain","volume":"18 1","pages":"410 - 413"},"PeriodicalIF":0.0,"publicationDate":"2017-08-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14714787.2017.1363520","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46133195","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":"Workshop: Making Beyond the Post-Medium Condition","authors":"C. Ellison","doi":"10.1080/14714787.2017.1353438","DOIUrl":"https://doi.org/10.1080/14714787.2017.1353438","url":null,"abstract":"Current trends within Art create tensions in educational institutions between historical forces, logistical challenges, traditional codes of practice, budgetary limitations and inherited objects. The following performative study examines the artists’ relationship to medium within this complicated environment. The material emerges from workshops carried out with students in art school spaces across Britain; conceptual workshops that consider the current status of technical workshops in this awkward territory where industrial, craft, and avant-garde modes of making overlap. Through engagement with tools found within Art institutions -some abandoned, some unfamiliar, some ubiquitous- it attempts to visualise aspects of the myriad perceptions that the current student/future artist has of the notion of medium. Referring to the condition described by Rosalind Krauss that emerged from the cross-pollination of medium-specific disciplines in Art and its education in the late 20th century, a ‘post-medium’ approach is adopted to discover new potential of tools. While acknowledging the dominant legacy of the Bauhaus, there is a questioning here of how we consider material practice, and its mastery, after conceptualism, after institutional critique, and after the tech revolution that has divorced many modes of making from material engagement. \u0000 \u0000The study’s own methodology is itself under analysis; an improvised mode of making that draws on theory, performance, conversation, image and sound manipulation, appropriation, collage and documentary. It is part of a body of work that attempts to confront the future of supporting material practice in Art School beyond the Post-Medium Condition.","PeriodicalId":35078,"journal":{"name":"Visual Culture in Britain","volume":"18 1","pages":"133 - 162"},"PeriodicalIF":0.0,"publicationDate":"2017-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14714787.2017.1353438","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44289682","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":"Pictures-Within-Pictures in Nineteenth-Century Britain by Catherine Roach","authors":"J. Codell","doi":"10.1080/14714787.2017.1329060","DOIUrl":"https://doi.org/10.1080/14714787.2017.1329060","url":null,"abstract":"Catherine Roach has written a fascinating account of an equally fascinating genre that has largely escaped scholarly attention: paintings that are set in exhibition sites and contain rendered repli...","PeriodicalId":35078,"journal":{"name":"Visual Culture in Britain","volume":"18 1","pages":"315 - 317"},"PeriodicalIF":0.0,"publicationDate":"2017-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14714787.2017.1329060","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45094468","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":"‘To Give Fear a Face’: Memory and Fear in Paula Rego’s Early Work","authors":"L. Oliveira","doi":"10.1080/14714787.2017.1349551","DOIUrl":"https://doi.org/10.1080/14714787.2017.1349551","url":null,"abstract":"This article follows Paula Rego’s first experiments in figuration from the late 1950s on, and analyses how the motifs suggested by her Portuguese background and particular conceptions of British art, such as Herbert Read’s ‘geometry of fear’, were connected. Rego’s exploration of unconscious and automatic resources in this period’s paintings and drawings signalled a direct relationship between subjectivity and creative practice. In this process of converting personal references into visual forms, her artistic training at the Slade and the intellectual, cultural and artistic framework that her experience in London provided clearly pointed to a certain plastic direction.","PeriodicalId":35078,"journal":{"name":"Visual Culture in Britain","volume":"18 1","pages":"274 - 291"},"PeriodicalIF":0.0,"publicationDate":"2017-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14714787.2017.1349551","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42773199","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":"Pre-Raphaelite Primitivism and the Periodical Press: Florence Claxton’s The Choice of Paris","authors":"J. Horrocks","doi":"10.1080/14714787.2017.1328286","DOIUrl":"https://doi.org/10.1080/14714787.2017.1328286","url":null,"abstract":"A pastiche of Pre-Raphaelite art and aesthetic principles, Florence Claxton’s The Choice of Paris: An Idyll affirms the criticism of the Pre-Raphaelite Brotherhood (PRB) voiced in Victorian England’s art-periodical press. Relying heavily on these periodical descriptions of Pre-Raphaelitism, the painting thus makes visible a textual discourse as much as a visual one. Central to this discourse is a culturally specific conception of artistic primitivism that appears in periodical reviews of Pre-Raphaelite art, one that conflates disparate notions of chronological and cultural primitivism in order to express in words an aesthetic idea conceived and executed in graphic form. Heavily dependent upon the textual – indeed, taking the shape it does because of the textual – Claxton’s Choice of Paris demonstrates, in this way, the complexly mediated means by which Pre-Raphaelitism circulated in print in mid-nineteenth-century Britain and beyond.","PeriodicalId":35078,"journal":{"name":"Visual Culture in Britain","volume":"18 1","pages":"217 - 246"},"PeriodicalIF":0.0,"publicationDate":"2017-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14714787.2017.1328286","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41890509","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":"Rethinking Black Art as a Category of Experience","authors":"R. Arya","doi":"10.1080/14714787.2017.1328986","DOIUrl":"https://doi.org/10.1080/14714787.2017.1328986","url":null,"abstract":"Black art was a widely used category in the late 1970s and 1980s to describe the artwork of British people of South Asian, African or African-Caribbean descent. There are numerous problems associated with the collective labelling of such a group, not least because of the lack of stability as to what the term refers. This article addresses the inherent problems with this category and proffers alternative ways of thinking about Black art in terms that encompass broader identity issues. The concept of diaspora aesthetics, for instance, is presented as a more satisfactory alternative that resists the claim that culture develops along ‘ethnically absolute lines’, to use a phrase by Paul Gilroy, and instead encompasses the lived realities of identity positions as well as the heterogeneity of cultural experience.","PeriodicalId":35078,"journal":{"name":"Visual Culture in Britain","volume":"18 1","pages":"163 - 175"},"PeriodicalIF":0.0,"publicationDate":"2017-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14714787.2017.1328986","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42178270","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":"Mythopoesis or Fiction as Mode of Existence: Three Case Studies from Contemporary Art","authors":"Simon D. O'Sullivan","doi":"10.1080/14714787.2017.1355746","DOIUrl":"https://doi.org/10.1080/14714787.2017.1355746","url":null,"abstract":"This article explores a trend in some British contemporary art towards ‘fictioning’, when this names not only the blurring of the reality/fiction boundary, but also, more generally, the material instantiation – or performance – of fictions within the real. It attends to three practices of this fiction as mode of existence: sequencing and nesting (Mike Nelson); the deployment ‘fabulous images’ and intercessors (Brian Catling); and more occult technologies and an idea of the ‘invented life’ (Bonnie Camplin). The article also attends to the mythopoetic or ‘world-making’ aspect of these practices and the way this can involve recourse to other times, past and future. Mythopoesis also involves a sense of collective enunciation and, with that, a concomitant disruption of the more dominant fiction of the self.","PeriodicalId":35078,"journal":{"name":"Visual Culture in Britain","volume":"18 1","pages":"292 - 311"},"PeriodicalIF":0.0,"publicationDate":"2017-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14714787.2017.1355746","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45318481","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}