Making The Trouble with Love and Sex

Drawn from Life ◽

10.3366/edinburgh/9780748694112.003.0012 ◽

2018 ◽

pp. 191-205

Author(s):

Jonathan Hodgson

Keyword(s):

Body Language ◽

Full Length ◽

Audience Response ◽

Audience Engagement ◽

Guidance Service ◽

Post Production

This chapter is an autobiographical and critically reflective account of both the making and reception of the first full-length animated documentary made for British television, The Trouble with Love and Sex (2011). The chapter is written by the film’s director, Jonathan Hodgson. The chapter discusses Hodgson’s pre-production concerns regarding animation’s capacity to effectively and engagingly convey subtle nuances of body language on display within emotionally and psychologically complex and challenging spaces (the counselling rooms of Relate, a professional marriage guidance service). The chapter also discusses the highly positive audience response to the finished work, arguing that animated documentary aesthetics and form in fact allowed for notably non-prejudicial, non-judgemental forms of audience engagement with the film’s protagonists. The chapter also discusses at length the pre-production, production, and post-production methodology employed Hodgson and his key collaborators during the making of their film.

Download Full-text

Seeing justice done: Courtroom filming and the deceptions of transparency

Crime Media Culture An International Journal ◽

10.1177/1741659019883764 ◽

2019 ◽

pp. 174165901988376

Author(s):

Sarah Moore ◽

Alex Clayton ◽

Hector Murphy

Keyword(s):

Criminal Justice ◽

Public Trust ◽

Audience Response ◽

Audience Engagement ◽

The Public ◽

Norms And Values ◽

Different Types ◽

Depth Study ◽

Different Levels ◽

Insight Into

There has been a global shift towards courtroom broadcasting in a bid to extend the public gallery into a virtual realm. Such initiatives tend to be based on the idea that transmitting the courtroom boosts transparency and with it public trust in criminal justice. This is an untested ambition. Moreover, the idea that filming opens a window onto the courtroom comes up against the reality that any transmission entails translation, involving choices and compromises. Based on an in-depth study of courtroom filming and audience response, this article identifies two globally dominant stylistic modes and analyses their meaning and reception. We found that different stylistic modes prompt different types of audience engagement and allow for different levels of comprehension. The analysis therefore provides an insight into how courtroom footage is consumed by the viewing public. It also contributes to our understanding of the norms and values of institutional transparency.

Download Full-text

May Irwin

10.5406/illinois/9780252040658.001.0001 ◽

2016 ◽

Cited By ~ 1

Author(s):

Sharon Ammen

Keyword(s):

Body Weight ◽

Real Estate ◽

American Music ◽

Full Length ◽

Dominant Male ◽

Audience Response ◽

Political Activities ◽

Political Activist ◽

Long Life ◽

Character Work

Before Sophie Tucker “corked up” to entertain her audiences with ragtime songs in “Negro dialect” and before Fanny Brice stumbled into the footlights in her rendition of the “Dying Swan,” the reigning queen of comedy and song on the American stage was May Irwin. A performer in both vaudeville and the legitimate stage, Irwin was also known as an accomplished homemaker and loving mother, a political activist, a real estate tycoon, and a prolific writer of articles, composer of songs, and author of a popular cookbook. This book is the first full-length study of Irwin and focuses on the strategies she used to remain successful, both personally and publicly, throughout a long life. Her success far exceeded those of her contemporaries, even though she was involved in often controversial political activities such as suffragism and pacifism. As a female comic, she made fun of the dominant male culture by anchoring her more radical views with domestic feminism.Using her body weight as a source of self-deprecating humor, she nevertheless retained an aura of attractiveness. One of the first celebrity chefs, she filled her cookbook with jokes and songs. Irwin is identified closely with the birth of the “coon” song and may have been forgotten because of the racism associated with what was undeniably popular American music from the 1890s through the 1920s. The author delves into the audience response to Irwin’s performances, both in her coon shouting and in her character work in musical farce.

Download Full-text

Rethinking the Documentary Audience: Reimagining the New Zealand Wars

Media International Australia ◽

10.1177/1329878x0210400109 ◽

2002 ◽

Vol 104 (1) ◽

pp. 67-79 ◽

Cited By ~ 2

Author(s):

Lisa Perrott

Keyword(s):

New Zealand ◽

Textual Analysis ◽

Social Processes ◽

Audience Response ◽

Audience Research ◽

Audience Engagement ◽

Intellectual Activity ◽

Making Sense ◽

The Social ◽

Different Types

Narratives of war and history are central to the development of nationhood. Within the distinctive context of New Zealand decolonisation, The New Zealand Wars documentary series offers a revised version of a formative moment in New Zealand history. This paper draws upon textual analysis and audience research to explore the potential of this series to function as a catalyst within the process of decolonisation. The television broadcast of this five-part series has arguably played a role in evoking a reimagining of the New Zealand ‘nation’, and in opening a space for public debate. This recently invigorated debate can be characterised by the negotiation of a number of discourses of ‘race’, ‘culture’ and ‘nationhood’. While examples of this public negotiation illustrate the social and intellectual activity involved in the process of making sense of a documentary text, a closer examination of audience response to this series reveals an especially emotional, even ‘mimetic’, dimension of engagement. The few available examples of documentary audience research have tended to focus on intellectual and social processes of negotiating meaning. Through a discussion of passionate responses to The New Zealand Wars series, this paper posits an argument for extending the traditional conceptualisation of documentary audience engagement beyond the intellectual, to include a visceral dimension. Rather than viewing these different types of activity as diametrically opposed, they are considered here to be interconnected elements within a dialogical and experiential encounter between the viewer and the documentary text.

Download Full-text

Public Speaking Tools

EDIS ◽

10.32473/edis-wc117-2011 ◽

2011 ◽

Vol 2011 (8) ◽

Author(s):

Ricky Telg

Keyword(s):

Agricultural Education ◽

Public Speaking ◽

Body Language ◽

Visual Aids ◽

Audience Engagement ◽

Public Speech ◽

Fact Sheet

When making a public speech, there are various tools at your disposal: vocal delivery, body language, visual aids, audience engagement, and the method of delivery. This 3-page fact sheet provides some suggestions about how to make good use of these tools. Written by Ricky Telg, and published by the UF Department of Agricultural Education and Communication, August 2011. https://edis.ifas.ufl.edu/wc117

Download Full-text

In Situ Localization of PPAR Gamma and Uncoupling Protein in Mouse Embryo Sections Using Digoxigenin-Labeled Riboprobes

Proceedings, annual meeting, Electron Microscopy Society of America ◽

10.1017/s0424820100162624 ◽

1996 ◽

Vol 54 ◽

pp. 32-33

Author(s):

C. Jennermann ◽

S. A. Kliewer ◽

D. C. Morris

Keyword(s):

Alkaline Phosphatase ◽

Room Temperature ◽

Uncoupling Protein ◽

Ppar Gamma ◽

Nuclear Hormone Receptor ◽

Full Length ◽

Northern Analysis ◽

Peroxisome Proliferator

Peroxisome proliferator-activated receptor gamma (PPARg) is a member of the nuclear hormone receptor superfamily and has been shown in vitro to regulate genes involved in lipid metabolism and adipocyte differentiation. By Northern analysis, we and other researchers have shown that expression of this receptor predominates in adipose tissue in adult mice, and appears first in whole-embryo mRNA at 13.5 days postconception. In situ hybridization was used to find out in which developing tissues PPARg is specifically expressed.Digoxigenin-labeled riboprobes were generated using the Genius™ 4 RNA Labeling Kit from Boehringer Mannheim. Full length PPAR gamma, obtained by PCR from mouse liver cDNA, was inserted into pBluescript SK and used as template for the transcription reaction. Probes of average size 200 base pairs were made by partial alkaline hydrolysis of the full length transcripts. The in situ hybridization assays were performed as described previously with some modifications. Frozen sections (10 μm thick) of day 18 mouse embryos were cut, fixed with 4% paraformaldehyde and acetylated with 0.25% acetic anhydride in 1.0M triethanolamine buffer. The sections were incubated for 2 hours at room temperature in pre-hybridization buffer, and were then hybridized with a probe concentration of 200μg per ml at 70° C, overnight in a humidified chamber. Following stringent washes in SSC buffers, the immunological detection steps were performed at room temperature. The alkaline phosphatase labeled, anti-digoxigenin antibody and detection buffers were purchased from Boehringer Mannheim. The sections were treated with a blocking buffer for one hour and incubated with antibody solution at a 1:5000 dilution for 2 hours, both at room temperature. Colored precipitate was formed by exposure to the alkaline phosphatase substrate nitrobluetetrazoliumchloride/ bromo-chloroindlylphosphate.

Download Full-text