scholarly journals In her own voice

2017 ◽  
Vol 10 (2) ◽  
pp. 19-31
Author(s):  
Susan Liddy
Keyword(s):  
International Research ◽  
Film Industry ◽  
Empirical Work ◽  
Point Of View ◽  
Perceived Barriers ◽  
Work Practices ◽  
Film And Television ◽  
Irish Context ◽  
Irish Film ◽  
Employment Equality

International research highlights a paucity of female screenwriters and directors in contemporary cinema. The consequences, in terms of employment equality and on-screen representations, have been well documented. However, few studies interrogate the film industry from the point-of-view of the female practitioners themselves.  Certainly, these issues have not been comprehensively explored in an Irish context; something which this paper, as part of a wider study on Irish women screenwriters and writer/directors, sets out to address.  An analysis of three in-depth, exploratory interviews with produced female writers of film and television is presented here. The purpose of the interviews is to tease out the experiences, work practices, perceived barriers and narrative preoccupations of this underrepresented group. Although generalizations cannot be made on the basis of three interviews, many of the views expressed by these practitioners correspond to theoretical and empirical work emerging in the field.  Other insights shed new light on aspects of women’s creative labour in the Irish film industry.  

Eleonora Duse: An Actress-Manager for the Italian Film Industry in the 1910s

2018 ◽  
Vol 45 (1) ◽  
pp. 81-95
Author(s):  
Maria Pia Pagani
Keyword(s):  
Nobel Prize ◽  
Film Industry ◽  
Silent Film ◽  
White Hair ◽  
Point Of View ◽  
Artistic Creation ◽  
Box Office ◽  
Original Case ◽  
Italian Film

From a historiographical point of view, the Italian diva Eleonora Duse (1858–1924) as an actress-manager offers an original case study in relation to her only film performance in Cenere ( Ashes, 1916). This is a film adapted from the eponymous novel by Grazia Deledda (Nobel Prize for Literature in 1926). In the 1910s, when Duse decided to work in the Italian film industry, she was a celebrity and her name was a guarantee of success for the Ambrosio Company in Turin. The film producers wanted to use her celebrity in order to ensure success at the box office. As an actress-manager with a long and acclaimed international career in the theatre, Duse knew this mechanism very well, but her position was contrary to their expectations. In fact, she aimed to present herself as an anti-diva, with her wrinkle-furrowed face and white hair, proposing a fascinating artistic creation based on the ‘mother roles’ that she had created for the theatre. This paper explores new elements concerning the position of Duse as an actress-manager for the Italian film industry in the 1910s. It is focused on her strategy of reiterating her stage success in playing a mother. On film, she did not want to be an instrument used for commercial purposes, and she did not want to create a common popular diva film. With Cenere, Duse's capability as an actress-manager can be seen in her creation of this non-conventional, poetic role for the silent film industry in wartime Italy.

scholarly journals Inclusive second level Religious Education in Ireland today: what do teachers say?

2021 ◽  
Author(s):  
Amalee Meehan ◽  
Derek A. Laffan
Keyword(s):  
Young People ◽  
Religious Education ◽  
International Research ◽  
Catholic Schools ◽  
Census Data ◽  
Religious Practice ◽  
Knowledge Gap ◽  
Irish Context ◽  
Religious Landscape ◽  
Inclusion Results

AbstractThe Irish religious landscape is changing. Census data reveal that the percentage of those who identify as Catholic is in steady decline, while the proportion of those with no religion continues to rise. Christian religious practice in Ireland is also decreasing, especially among young people. Catholic schools, once the dominant provider of second level education, are now in a minority. This changing landscape has influenced Religious Education in second level schools. It is now an optional subject, and the historic tradition of denominational, confessional Religious Education has given way to an approach designed to be inclusive of students of all faith and none. Yet the surrounding discourse is unsupported by the perspectives of Religious Education teachers. This study attempts to address this knowledge gap by investigating their views and experiences, particularly with regard to inclusion. Results indicate that teachers are concerned about ‘religious students’. Whereas new to the Irish context, this reflects international research which suggests that in a rapidly secularising society, those who continue to practise any faith, especially the once-majority faith, are vulnerable. Findings signpost evidence of this, with RE teachers most concerned about the bullying of Catholic students and least concerned about the bullying of atheists.

scholarly journals Spatial Modeling of Voter Choice: The Survey of Theoretical and Empirical Approach

2021 ◽  
Vol 17 (2) ◽  
pp. 127-164
Author(s):  
Lada Kuletskaya ◽  
Keyword(s):  
Research Methodology ◽  
Spatial Modeling ◽  
Mutual Influence ◽  
Empirical Work ◽  
Spatial Models ◽  
Point Of View ◽  
Factors Affecting ◽  
Directional Model ◽  
Electoral Choice ◽  
Voter Choice

As for today, political elections are the key form of people’s participation in the formation of the state in all democratic countries, which is why theoretical works in the field of spatial modeling of voter choice appeared relatively long ago and played a major role in the development of both further theoretical and empirical research in this area. In this survey we firstly give a brief overview of the history of the formation of spatial modeling in relation to election results and political preferences of individuals from the point of view of research methodology, based on the classical theoretical ‘proximity model’ and ‘directional model’, where rational individuals determine their political positions and compare them with the positions of candidates. Secondly, we explain the appearance of the studies of the mutual influence of voters living in neighboring territories on each other as one of the factors that determine the voters’ political positions and, accordingly, the final choice of a candidate. We also point out the authors’ different explanations of the reasons for the appearance of such mutual influence of voters and other factors affecting voters living in neighboring territories (also called as ‘contextual effects’) and emphasize the importance of taking them into account in the studies of electoral preferences. A separate chapter in this paper presents the systematization and description of the main empirical approaches to spatial modeling of electoral choice: at the beginning, we present the basic econometric spatial models (used by the authors regardless of the subject of the study), and then we describe the empirical work in the field of voter choice, depending on the hypotheses, focusing on the research methodology and the data used. In conclusion, we define the main directions for the research development and the vector of further practical work in this area. This paper will help researchers understand existing fundamental works, evaluate current approaches to the modeling of electoral choice, and improve theoretical or empirical spatial analysis

‘Be Me’: I-Vampire/I-Zombie

2016 ◽  
Author(s):  
Stacey Abbott
Keyword(s):  
Point Of View ◽  
The Self ◽  
First Person ◽  
Film And Television ◽  
Cultural Anxiety ◽  
New Meanings ◽  
Byronic Hero ◽  
Narrative Format ◽  
The Right ◽  
Subsequent Rise

This chapter examines the adoption and development of the first person narrative format within vampire, and more recently zombie, film and television. It considers how this trope has contributed to the rise of the sympathetic/romantic vampire figure from the Byronic hero within Polidori’s The Vampyre to Interview with the Vampire and Byzantium and the subsequent rise of the sympathetic zombie. This chapter questions if this first person point of view empties the vampire and zombie of symbolic agency, or manipulates the genre to explore new meanings. It considers how the genres of the vampire and the zombie are increasingly interconnected, moving away from themes of apocalypse and cultural anxiety to explore questions of identity and the self within a changing world, effectively queering the vampire and zombie for new audiences.Case studies include Let the Right One In, Byzantium, Only Lovers Left Alive, Warm Bodies, Colin, and In the Flesh.

scholarly journals Gay the right way? Roles and routines of Irish media production among gay and lesbian workers

2020 ◽  
Vol 35 (4) ◽  
pp. 355-369 ◽  
Author(s):  
Anne O’Brien ◽  
Páraic Kerrigan
Keyword(s):  
Sexual Identity ◽  
Career Progression ◽  
Gay And Lesbian ◽  
Production Data ◽  
Structured Interviews ◽  
Television Production ◽  
Sexual Identities ◽  
Film And Television ◽  
Irish Film ◽  
The Right

This article explores how gay and lesbian identities are incorporated, or not, into the roles and routines of Irish film and television production. Data were gathered in 2018–2019 through semi-structured interviews with a purposive, snowball sample of 10 people who work in the Irish industries. The key findings are that for gay and lesbian workers their minority sexual identity impacts on the roles that they are likely to be included and excluded from. Sexuality also affects their promotion prospects and their career progression. Similarly, in terms of routines of production, gay and lesbian workers are associated with certain genres, based on stereotypical assumptions about their sexual identities by their hetero-managers and colleagues. In short, Irish gay and lesbian media workers articulated an overarching tension between the heteronormativity of the industry and the queerness of the gay and lesbian media worker. Some workers respond to that tension by adopting a homonormative approach to work while others attempt to forge a queer way of producing.

Das Filmförderungsgesetz und seine Ansätze zur Steigerung der Eigenkapitalbasis deutscher Kinospielfilmproduzenten

2019 ◽  
Author(s):  
Maria Kairies
Keyword(s):  
Film Industry ◽  
Equity Capital ◽  
Point Of View ◽  
Economic Conditions ◽  
Second Step ◽  
Film Production

How can film producers succeed in forming equity capital on the basis of the Filmfördergesetz (Film Funding Act)? The author examines this question, which is highly relevant for the film industry, taking into account the general economic conditions of film production. The previous approaches to strengthening the equity capital base, which are part of the Act, will be analysed before, in a second step, concrete solutions for a restructuring of the Filmfördergesetz will be worked out and evaluated from an economic and legal point of view. These include the introduction of a revenue corridor, the deletion of the own share and the formulation of minimum contract conditions. The work thus makes an up-to-date contribution to the discourse between producers, funding bodies and the legislator with regard to the forthcoming amendment of the Filmfördergesetz.

scholarly journals “And the BAFTA goes to […]”: the assurance role of the auditor in the film awards ceremony

2014 ◽  
Vol 27 (5) ◽  
pp. 778-808 ◽  
Author(s):  
Ingrid Jeacle
Keyword(s):  
Impression Management ◽  
Film Industry ◽  
Content Type ◽  
Audit Firm ◽  
Film And Television ◽  
Audit Firms ◽  
Assurance Services ◽  
Analysis Of Results ◽  
Increasing Demand

Purpose – The purpose of this paper is to examine the role of the Official Scrutineer in the annual film awards ceremony of the British Academy of Film and Television Arts (BAFTA), a role currently occupied by the audit firm Deloitte. The case of BAFTA provides an illustrative example of the increasing demand for discretionary assurance services from audit firms (Free et al., 2009), which in turn is reflective of Power's (1997) “audit society”. It showcases the power of audit as a legitimating tool. The paper seeks to understand the role of the auditor as assurance provider by drawing upon Goffman's (1959) dramaturgical framework. Viewing the auditor as “performer” and a range of interested stakeholders (BAFTA voting members, sponsors, award winners and industry commentators) as the “audience”, this theoretical lens facilitates insights into the nature of assurance provision. Design/methodology/approach – The paper gathers interview data from within the case organization (BAFTA), it's Official Scrutineers (Deloitte), BAFTA voting members, sponsors, award winners and film industry commentators. Findings – Drawing on Goffman's (1959) work on impression management to inform its theoretical argumentation, the analysis of results from 36 interviews indicates that Deloitte are highly effective in delivering a successful performance to their audience; they convey a very convincing impression of trust and assurance. The paper therefore suggests the importance of performance ritual in the auditor's role as assurance provider. Additionally, it argues that such a performance may be particularly effective, in the eyes of the audience, when played by a well known audit firm. Originality/value – The paper highlights the expanding territorial scope of assurance provision by audit firms. By focusing on a glamorous media event, it also furthers an understanding of the role of accounting within the domain of popular culture.

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