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‘You never knew that, that I could do that’

Enchanting David Bowie : Space/Time/Body/Memory

Bloomsbury Academic, 2015

Book chapter

...Unannounced on his sixty-sixth birthday, 8 January 2013, David Bowie released Where Are We Now? via iTunes and on the same day the accompanying film by the multimedia and installation artist Tony Oursler appeared on Bowie’s official...
...Introduction In this chapter I focus on one song among all of David Bowie’s music that is singularly – and idiosyncratically – both political and emotional; his hit ‘Young Americans’, written in 1974 and released on the album of the same...
...Introduction: ‘Don’t you w[o]ander sometimes’ On his Low (1977) profile, where the celluloid Bowie has been flattened out by George Underwood’s cover art, only his ear seems to have corporeal depth, alert and cocked to one side, an emblem...

2004 (Bowie vs Mashup)

Christopher Moore

Christopher Moore is Lecturer in Media and Communication at Deakin University, Australia. His main areas of interest are Games Studies, Digital Humanities and Online Persona, and he recently co-edited the collectionZombies in the Academy: Living Death in Higher Education (2013). Author affiliation details are correct at time of print publication.

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Enchanting David Bowie : Space/Time/Body/Memory

Bloomsbury Academic, 2015

Book chapter

...Introduction The aim of this chapter is to revisit the ‘mashup’ competition David Bowie conducted as part of the promotional strategies for the North American leg of his ‘A Reality Tour’ in early 2004. In order to understand Bowie...

Keeping Space Fantastic: The Transformative Journey of Major Tom

Enchanting David Bowie : Space/Time/Body/Memory

Bloomsbury Academic, 2015

Book chapter

...What really mattered as an artist . . . was not what you did but what you were, and Bowie became a blank canvas on which consumers write their dreams.I have been ‘freak[ing] out in a moonage daydream’, my entire conscious life. My earliest...

Pop(-up)ular Culture at the Seaside: The British Pleasure Pier as Screening Space

Live Cinema : Cultures, Economies, Aesthetics

Bloomsbury Academic, 2017

Book chapter

...Introduction This chapter explores a set of enquiries situated at the intersections of cinema-as-event, community cinema and the current cultural development of ‘re-purposing’ seaside piers as community spaces. Drawing on empirical...

Document

Simon Brown

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Simon Brown is Director of Studies for Film and Television at Kingston University. His work has been published in the journals Film History, Film Studies, Science Fiction Film and Television, Early Popular Visual Culture and Critical Studies in Television. He is co-editor of Color and the Moving Image: History, Theory, Aesthetics, Archive (2012) (with Sarah Street and Liz Watkins) and author of the Technical Appendix in Sarah Street’s Colour Films in Britain: The Negotiation of Innovation 1900–55 (2012). Author affiliation details are correct at time of print publication.

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Sarah Street

Sarah Street Professor of Film at the University of Bristol. She is the author of a number of books on British cinema, including Colour Films in Britain: The Negotiation of Innovation 1900–55 (2012), and is co-editor of Color and the Moving Image: History, Theory, Aesthetics, Archive (2012) (with Simon Brown and Liz Watkins), publications which, in addition to this volume, resulted from a research project funded by the AHRC. Sarah Street is co-editor of Screen and the Journal of British Cinema and Television. Author affiliation details are correct at time of print publication.

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and

Liz Watkins

Liz Watkins Lecturer at the University of Leeds. She has been published in a number of film journals, including Parallax, Paragraph and the British Journal of Cinema and Television. She is co-editor of Color and the Moving Image: History, Theory, Aesthetics, Archive (2012) (with Simon Brown and Sarah Street). Author affiliation details are correct at time of print publication.

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British Colour Cinema : Practices and Theories

British Film Institute, 2013

Book chapter

...Precautions taken to protect the films in the National Film Library against fire and decomposition were described by Harold G. Brown, film preservative officer of the library, at last week’s joint meeting of the BKS and the BFA.Introducing...

Interview

British Colour Cinema : Practices and Theories

British Film Institute, 2013

Book chapter

...Kieron Webb is film conservation manager at the BFI National Film Archive. He joined the archive in 2000 and later became technical projects officer, working with João S. de Oliveira. Webb has worked on the photochemical and digital...

Interview

British Colour Cinema : Practices and Theories

British Film Institute, 2013

Book chapter

...Dr Paolo Cherchi Usai is senior curator of the Motion Picture Department at George Eastman House in Rochester, New York, and director of the L. Jeffrey Selznick School of Film Preservation, which he established in 1996. He is also curator...

‘Carnaby Street, 10 a.m.’: KateModern and the Ephemeral Dynamics of Online Drama

Ephemeral Media : Transitory Screen Culture from Television to YouTube

British Film Institute, 2011

Book chapter

...Film and television are temporal media. Unlike ‘static’ storytelling forms such as painting or photography, they are experienced through time, constantly changing alongside the lived experience of their viewer. They are, in essence, defined...