School of Culture and Communication - Research Publications
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ItemRealising Middle-earth: production design and film technology(Manchester University Press, 2008)Miniatures, bigatures, digital mattes, 3D animation, costume, set and prop design, forced perspective, location and studio shoots all contributed to the creation of Middle-earth. The panoply of visual effects LOTR uses to build Middle-earth’s image has become familiar, not just from the films but also from television specials, websites, DVD appendices and commentaries, and the remarkable travelling Exhibition. Armour, prosthetics, stunt and miniature doubles, animal wranglers, blue screen, and the Massive intelligent agents are part of our language now. Weta Workshop and Weta Digital, with their army of collaborators did more than visualise the most-read – and most-imagined – book of the twentieth century. They realised the script, made real the fictional world where the narrative would take place. The challenge of realisation is in some sense the challenge of cinema itself – the French even use the word réalisation to describe filmmaking. Realising Middle-earth is both a technical challenge and a special kind of problem in realism, the aesthetic field dealing with depictions of reality (as in documentary) and the illusion of reality (as in dramatic fiction). Most complicated of all is the realisation of a world whose highest technology, the explosive device in the culvert of the Deeping Wall, is portrayed as the work of Saruman’s dark arts. Tolkien’s hatred of industrialisation comes through in the firepits of Isengard. Yet the films depend on the use of and innovation in new media technologies, and much of our viewing pleasure comes from appreciating the craft that has gone into them. We watch entranced by a double magic: the fascination of illusion, and the fascination of how it has been achieved.
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ItemRacialized 'othering': the representation of asylum seekers in news media(Open University Press, 2005)An incident occurred off Australian territorial waters on 26 August 2001 that had significant consequences in the Australian parliamentary elections held that year. A Norwegian ship, the Tampa, rescued 433 survivors, mostly asylum seekers, from a sinking Indonesian ferry and took them to Christmas Island , part of Australian territory. Categorizing the rescued passengers of the Tampa as 'boatpeople' and 'illegal immigrants', the ruling Liberal Party sought to appeal to sections of the electorate by having Australian Special Forces board the ship in an attempt to stop the passengers from disembarking on Christmas Island - and thus being in a position to apply for asylum. What is of interest to our present concerns, however, is the role of the press in what subsequently came to be referred to as the Tampa affair. Some of the popular newspapers carried stories which reproduced the language of the government, as indicated in the headline in the front page of the Herald Sun on 31 August 2001: 'BACK OFF: Howard rejects UN call to take illegals'.
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ItemEthnicity, national culture(s) and the interpretation of television(Open University Press, 2000)Much of the academic debates concerning 'race', ethnicity and the media have been around issues of representation, power and identity, the constraints restricting minority broadcasting, and the aesthetics of resistance. While these provide various interrogations of the notions of 'race' and ethnicity, and are necessary interventions into the politics and economics of media representations and their hegemonic role in society, this chapter shifts the focus, attempting to explore a few of the current debates regarding both media and 'race' from the perspective of the audience, through the discussion of two studies which examine the interpretations of television programmes by ethnically and/or culturally diverse audiences. We will encounter, en route, the pertinence of 'tradition' in the explanations of understanding and interpretation in philosophical hermeneutics; developments in post-colonial studies and their relevance to notions of 'race' and ethnicity in the international context; and finally, a plea towards the need to revise the questions regarding the nature of cultural imperialism.
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ItemDocumentary meanings and interpretive contexts: observations on Indian 'repertoires'(Arnold, 1998)My main concern in this chapter is to elaborate on a particular aspect of a larger project examining the interpretation of environmental documentaries by audiences in India and Britain, the empirical part of which was designed to illustrate/substantiate theoretical interventions aiming to rectify a perceived lacuna in the attempts in communication research to make a connection between the socially culturally situated audiences and their interpretive practices. In this chapter, I isolate for closer inspection a specific strand from the web of data, with the intention of demonstrating both the presence of different interpretive repertoires in India, as well as the role of higher education as a relevant factor in the creation of these repertoires. This chapter examines the possible links between cultural contexts and the reception of documentaries, and interrogates en route the idea of culture as context. What is postulated here is a conceptualization of context based on phenomenological hermeneutics, which it is argued, accommodates the complexity and diversity of collectivities within 'national cultures'.
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ItemDigital filming and special effects(British Film Institute, 2002)It is curious that digital photography should have spawned a respectable critical literature, while digital cinematography has, as yet, generated very little theoretical work that deals specifically with film. Two possible reasons come to mind. First, digital cinema approaches more closely the culture of animation than lens-based cinematography. And second, the darkroom has always been a key factor in photographic practice, whereas in cinema, postproduction has traditionally been understood as the editing process, rather than the developing and printing of the film strip. I raise this curiosity, which in all likelihood will be a brief and passing phase, only because it raises another conundrum. Traditionally, studies of cinema history have always devoted a chapter to pre-cinematic devices (phenakistoscopes,thaumatropes and so on) and especially to the chronophotography of Eadweard Muybridge, Etienne-Jules Marey and their contemporaries (the most influential, although now controversial, account is Ceram, 1965). Like other contemporary scholars, I rather distrust this continuity model of cinematic development. The quickest way to describe the difference between chronophotography and cinematography is to point out that the unit ofchronophotography is the still frame, but that of cinema is three frames: the one just past, the current one and the one coming up. Crudely put, chronophotography was an analytical medium: cinema is synthetic. This is why chronophotography rather than cinema became the tool of choice for Taylorism and ‘scientific management’.
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ItemSoftware industry, religious nationalism, and social movements in India: aspects of globalization?(Garamond Press, 2002)Most theories of globalization have as their point of reference experiences in the developed world, thereby confining the debates to time-space compression or distanciation for example, or to quarrels about whether the world is becoming homogenous or heterogeneous. Such theoretical efforts are indicative of both the reoccupations of metropolitan academia, and also the lack of a cohesive theoretical thrust from the leftist intellectuals which takes into account developments in contemporary forms of global capitalism. The sometimes contradictory ways in which the diverse effects globalization are experienced or utilized in different parts of the developed world have come to academic and theoretical attention only very recently. Considering that the majority of the established canon of literature on the subject has been written by academics in the West, this is perhaps not surprising. However as indicated in the assumption that globalization is merely an extension of Western norms of modernity to the developing world, the almost total absence of any attempt to tackle the longstanding relationship between the West and the rest is worth noting, as is the similar neglect of social movements in several parts of the contemporary world which question the values underpinning aspects of globalization, and by doing so challenge the legitimacy of Western dominance.
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ItemThe public and the private: John Berger's writing on photography and memory(ANU Canberra School of Art Gallery, 2000)John Berger's writings on photography belong mostly to the 1970s. Like Susan Sontag and Roland Barthes, Berger is an advocate of realism, although in neither a naive nor a simplistic fashion. I argue that Berger's writing on photography stands out firstly because of its refusal of a blanket response. Instead, the pivot of his analysis is ambiguity: on one level, the ambiguity of photographic meaning, but also the ambiguity of photographic practice due to the social and political contradictions in which the camera is embedded. This refusal to homogenise the entire field is important, because it allowed Berger to remain attentive, at a moment when many were not, to the different registers of photographic usage.
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ItemWalls of light: immaterial architectures(Centre for Contemporary Photography, 2002)Alex Proyas’ film Dark City (1997) begins when a man wakes up to find he is sharing a room with a woman who has been brutally murdered. His memory is hazy, fragmented. He can’t remember what happened. He can’t remember his own name. The film conjures a compendium of noir elements: seedy hotels, shadowy streets, a string of dead women, hard-boiled cops, a hero accused of murder, a torch singer heroine, all set in what seems to be the noir heyday of the 1940s. The plot, as with so many noir tales, revolves around a search for memory and identity. Underneath the surface of everyday life lurks a massive conspiracy. Someone - a group of strangers - is after him. They want to kill him, but no one believes it. His quest for personal identity becomes a journey into the underbelly of the city, an exposure of its double life. Dark City keeps faith with the noir tradition in which urban alienation is cloaked with sexual overtones and redemption from the night-world is the task of an individual man. The most interesting aspect of the film is the way its striking visual design marries the possibilities of digital imaging in cinema to an urban fable in which brute materialism is explored as a narrative conceit. The city is explicitly figured as a pseudo-sociological experiment run by aliens, and a science fiction story is augmented by science fiction modes of perception - photo-realistic images which warp and morph before our eyes in “real time”. Liquid architecture is born.