Metacommentary and Mythology

2019 ◽  
pp. 163-180
Author(s):  
Jonathan Bignell
Keyword(s):  
Hybrid Identity ◽  
Performance Style ◽  
Network Adaptation ◽  
National Differences ◽  
Similarities And Differences ◽  
And Performance ◽  
Production Company ◽  
Husband And Wife

The chapter focuses on the comedy drama Episodes (2011–2018), made by the British production company Hat Trick for the BBC and Showtime. A British husband and wife duo of screenwriters work on a US network adaptation of their hit UK comedy show, which is “Americanized,” and they fight for their creative authority and their marriage. Episodes has a hybrid identity in terms of form, format, and genre, expressed in decisions including setting, casting, and performance style. Each of these can be read as a commentary on the similarities and differences between American and British television cultures, alongside the narrative’s thematization of cultural and national differences. Episodes talks about transatlantic television and self-consciously performs it, asking whether a program or a person can be transatlantic by making a joke of it. The chapter argues that Episodes is a metacommentary on deeply embedded myths about the TV of each nation.

The tough Westerner

2021 ◽  
pp. 127-146
Author(s):  
Gillian Kelly
Keyword(s):  
World War Ii ◽  
Social Context ◽  
Real Life ◽  
World War ◽  
Career Trajectory ◽  
Performance Style ◽  
Major Curve ◽  
Star Image ◽  
And Performance

This chapter explores Power’s work within the Western genre. When Power was cast in the title role of Hollywood’s first ‘A Western’ of the 1930s: Jesse James (Henry King) in 1939 it marked the first major curve in Power’s career trajectory. When it became Twentieth Century-Fox’s biggest hit of the year this proved that audiences were ready to accept Power in more masculine roles at the close of the decade. Released in the period directly preceding America’s entry into World War II, the film was integral in developing a much-needed shift in Power’s screen masculinity, appearance and performance style, reflecting the shifting industrial and social context in which it was made. In advancing his star image away from a womaniser, and instead placing it within an overtly homosocial environment, Power was able to convincingly demonstrate male bonding and leadership through a tougher masculinity which was essential for both the historical timeframe and Power’s own upcoming real-life war service. Despite the film’s huge success, it was another 12 years before Power starred in another Western, and made just four in overall: Jesse James, Rawhide (Henry Hathaway, 1951), Pony Soldier (Joseph M. Newman, 1952) and The Mississippi Gambler (Rudolph Maté, 1953).

scholarly journals Piping Sung: Women, Canntaireachd and the Role of the Tradition-Bearer

2013 ◽  
Vol 36 ◽  
pp. 45
Author(s):  
Joshua Dickson
Keyword(s):  
Twentieth Century ◽  
19Th Century ◽  
Performance Practice ◽  
Flexible Tool ◽  
Performance Style ◽  
Field Recordings ◽  
And Performance ◽  
The 19Th Century

Canntaireachd (pronounced ‘counter-achk’), Gaelic for ‘chanting’, is a complex oral notation used by Scottish pipers for centuries to teach repertoire and performance style in the courtly, ceremonial ceòl mór idiom. Its popular historiography since the 19th century suggests it was fixed and highly formulaic in structure and therefore formal (as befitting its connection to ceòl mór), its use the preserve of the studied elite. However, field recordings of pipers and other tradition-bearers collected and archived since the 1950s in the School of Scottish Studies present a vast trove of evidence suggesting that canntaireachd as a living, vocal medium was (and remains) a dynamic and flexible tool, adapted and refined to personal tastes by each musician; and that it was (is) widely used as well in the transmission of the vernacular ceòl beag idiom - pipe music for dancing and marching. In this paper, I offer some remarks on the nature of canntaireachd, followed by a review of the role of women in the transmission and performance of Highland, and specifically Hebridean, bagpipe music, including the use of canntaireachd as a surrogate performance practice. There follows a case study of Mary Morrison, a woman of twentieth century Barra upbringing, who specialised in performing canntaireachd; concluding with a discussion on what her singing of pipe music has to say about her knowledge of piping and the nature of her role as, arguably, a piping tradition-bearer.

scholarly journals CHANGES IN SUBSTITUTION OF BANK LOANS AND EU SUBSIDIES IN POLISH BUSINESSES

2021 ◽  
pp. 5-18
Author(s):  
Paulina Filip
Keyword(s):  
Logit Model ◽  
Balance Sheet ◽  
State Aid ◽  
The State ◽  
Bank Loans ◽  
Bank Loan ◽  
Statistical Relationship ◽  
Cross Sectional ◽  
Similarities And Differences ◽  
And Performance

The aim of the article was to determine the degree of bank loan replacement by Polish businesses after profiting from EU help. The identification of similarities and differences was made amonggroups of enterprises that benefit or not from the state aid in the EU’s successive financial perspectives, over the years 2007-2017. Changes in companies’ assets and performance, andvariables referring to the financial effectiveness, were analyzed. The logit model was used in order to define characteristics that have influence on the significance of determinants of financing withpublic subsidies. The cross-sectional nature of data allows for identification of a positive statistical relationship between subsidies and bank loans in medium-sized enterprises. In the course of the study it was established that companies receiving the state aid reduced their share of bank credits on balance sheet totals, as well as indebtedness in total. Over a period of time, thesubsidizing has increased the importance and scope of using bank loans. State aid resources were used as a complementary source of capital for enterprises.

‘I want James Deen to Deen me with his Deen’: the multi-layered stardom of James Deen

2017 ◽  
pp. 261-278 ◽  
Author(s):  
Clarissa Smith ◽  
Sarah Taylor-Harman
Keyword(s):  
Social Media ◽  
Film Performance ◽  
Performance Style ◽  
And Performance ◽  
Use Of Social Media ◽  
Charity Work ◽  
Alternative Economy

This chapter examines the alternative economy of porn stardom through the career and performances of James Deen. It draws attention to the previously un-acknowledged acting and performance involved in doing sex for the camera, and analyses Deen’s multi-layered performance style in his pornographic scenes. It also looks at Deen’s effort to expand his stardom outside his film performance which is little valued, by discussing his involvement in adult industry activism and various charity work, and his use of social media and engagement with his fans as a way to supplement or correct his onscreen persona.

scholarly journals ENTREPRENEURIAL MOTIVATIONS AS DRIVERS OF EXPERT CREATIVITY

2017 ◽  
Vol 21 (05) ◽  
pp. 1740005 ◽  
Author(s):  
ANNA-MAIJA NISULA ◽  
HEIDI OLANDER ◽  
KAISA HENTTONEN
Keyword(s):  
Survey Data ◽  
Creative Performance ◽  
Entrepreneurial Motivation ◽  
Innovative Company ◽  
Innovative Work ◽  
Entrepreneurial Motivations ◽  
Similarities And Differences ◽  
And Performance

Even if creativity is an essential part of innovative work, surprisingly, little is known about the creativity of employee-experts and entrepreneur-experts. Awareness of the motivations that enhance creativity are important for any innovative company, because entrepreneurial motivations are likely to drive innovative individuals’ creativity and performance. We take the entrepreneurial motivation dimensions of achievement, materialism, flexibility and power into examination. We argue that there are differences in the motivations of employee-experts and entrepreneur-experts in relation to their creative performance. We use survey data from 423 expert respondents to analyse the relationships between these different motivations and creative performance. Our results indicate that there are both similarities and differences between the employee-experts and entrepreneur-experts in terms of their drivers of creativity. Entrepreneur creativity is driven by the motivations of materialism, achievement and power; for entrepreneurs, flexibility is not important. Meanwhile, employee-expert creativity is driven by achievement and power motivations; for this group, neither flexibility nor materialism are not important.

The Théâtre du Soleil, Part Two: the Road to Cambodia

1986 ◽  
Vol 2 (7) ◽  
pp. 203-212
Author(s):  
Adrian Kiernander
Keyword(s):  
Subject Matter ◽  
Performance Style ◽  
Popular Theatre ◽  
The Road ◽  
Theatre Company ◽  
History Of ◽  
Ariane Mnouchkine ◽  
And Performance

One theatre company alone in France, since the end of Vilar's Théâtre National Populaire, continues to make us consider the relationships between theatre and life, the place of theatre in society, its ability to modify the order of things in some way. It is the Théâtre du Soleil, guided by Ariane Mnouchkine.THE SEARCH for a contemporary popular theatre which has occupied the Théâtre du Soleil almost since its foundation 22 years ago has led the company at various times into innovations in both subject matter and performance style. Their latest production, The Terrible but Unfinished History of Norodom Sihanouk, King of Combodia, breaks new ground in both areas.

scholarly journals Cohesion and Performance for Female and Male Sport Teams

2015 ◽  
Vol 29 (2) ◽  
pp. 97-109 ◽  
Author(s):  
Mark Eys ◽  
M. Blair Evans ◽  
Luc J. Martin ◽  
Jeannine Ohlert ◽  
Svenja A. Wolf ◽  
...  
Keyword(s):  
Gender Differences ◽  
Best Practices ◽  
Meta Analysis ◽  
Male And Female ◽  
Semistructured Interviews ◽  
Sport Teams ◽  
Similarities And Differences ◽  
And Performance ◽  
The Relationship ◽  
Group Involvement

A previous meta-analysis examining the relationship between cohesion and performance (Carron, Colman, Wheeler, & Stevens, 2002) revealed that this relationship was significantly stronger for female teams as compared with male teams. The purpose of the current study was to explore perceptions of the cohesion-performance relationship by coaches who have led teams of both genders. Semistructured interviews were employed with Canadian and German coaches with previous experience leading both male and female sport teams. The information obtained through the interviews yielded a number of categories pertaining to potential similarities and differences within female and male sport teams including: (a) the nature of cohesion (e.g., direction of the cohesion-performance relationship), (b) antecedents of cohesion (e.g., approaches to conflict), and (c) the management of cohesion (e.g., developing social cohesion). Overall, the results offer testable propositions regarding gender differences and group involvement in a sport context as well as informing best practices such that teams can attain optimal performance.

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