Sarita Malik
- Published in print:
- 2017
- Published Online:
- May 2018
- ISBN:
- 9781526100986
- eISBN:
- 9781526132185
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9781526100986.003.0005
- Subject:
- Film, Television and Radio, Film
This chapter contributes to the debates around television drama and black representation that are presented in this book collection. It focuses on Shoot the Messenger (STM) (BBC2, 2006), which was ...
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This chapter contributes to the debates around television drama and black representation that are presented in this book collection. It focuses on Shoot the Messenger (STM) (BBC2, 2006), which was heavily promoted by the BBC as a ‘bold’ and ‘thought-provoking’ television drama. The one-off ninety-minute BBC Drama production focuses on the psychological journey of a Black schoolteacher, Joe Pascale (portrayed by David Oyelowo), accused of assaulting a Black male pupil. This chapter discusses how stylistically, STM’s non-realist techniques, non-linear form and overt constructedness depart from the traditional modes of social realism that have prevailed in Black British television drama. Moreover, it breaks with British television drama traditions in terms of production, having an almost totally Black cast and written and produced by two Black women: Sharon Foster and Ngozi Onwurah respectively.Less
This chapter contributes to the debates around television drama and black representation that are presented in this book collection. It focuses on Shoot the Messenger (STM) (BBC2, 2006), which was heavily promoted by the BBC as a ‘bold’ and ‘thought-provoking’ television drama. The one-off ninety-minute BBC Drama production focuses on the psychological journey of a Black schoolteacher, Joe Pascale (portrayed by David Oyelowo), accused of assaulting a Black male pupil. This chapter discusses how stylistically, STM’s non-realist techniques, non-linear form and overt constructedness depart from the traditional modes of social realism that have prevailed in Black British television drama. Moreover, it breaks with British television drama traditions in terms of production, having an almost totally Black cast and written and produced by two Black women: Sharon Foster and Ngozi Onwurah respectively.
John Corrigan
- Published in print:
- 2013
- Published Online:
- April 2017
- ISBN:
- 9780252038051
- eISBN:
- 9780252095320
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252038051.003.0008
- Subject:
- History, Cultural History
This chapter is an overview of emotions history in the context of religious studies. It remarks on several kinds of inquiry—including those having to do with popular and official religion; embodiment ...
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This chapter is an overview of emotions history in the context of religious studies. It remarks on several kinds of inquiry—including those having to do with popular and official religion; embodiment and objectification; words, knowledge, and feelings; religious meaning; and prospects. As intellectual history of a certain sort, the nearness of emotion to religion in the historical study of ethical thought models the ongoing influence of Christian language and the assumptions of emotional universality that are inscribed on that language. The ongoing resistance to claims for the constructedness of emotion in historical religious settings is less doctrinaire than it was in the mid to late twentieth century, but there is a strong impulse to take religious statements of emotion at face value. The result is some ongoing cultural tension between the scholarly querying of emotion and Christian-inflected thinking about religion.Less
This chapter is an overview of emotions history in the context of religious studies. It remarks on several kinds of inquiry—including those having to do with popular and official religion; embodiment and objectification; words, knowledge, and feelings; religious meaning; and prospects. As intellectual history of a certain sort, the nearness of emotion to religion in the historical study of ethical thought models the ongoing influence of Christian language and the assumptions of emotional universality that are inscribed on that language. The ongoing resistance to claims for the constructedness of emotion in historical religious settings is less doctrinaire than it was in the mid to late twentieth century, but there is a strong impulse to take religious statements of emotion at face value. The result is some ongoing cultural tension between the scholarly querying of emotion and Christian-inflected thinking about religion.
George Rodosthenous
- Published in print:
- 2013
- Published Online:
- April 2014
- ISBN:
- 9780199997152
- eISBN:
- 9780199348572
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199997152.003.0003
- Subject:
- Music, Popular, Dance
This chapter discusses the director’s approach of re-locating the songs and giving them a new context within the narrative of the piece. It focuses on the gender reversals that Taymor introduced in ...
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This chapter discusses the director’s approach of re-locating the songs and giving them a new context within the narrative of the piece. It focuses on the gender reversals that Taymor introduced in the performance of Beatles songs in Across the Universe (2007), and explores the performativity of songs that are remediated, re-gendered and relocated into a new dramaturgical context. The analysis is completed by considering the more spectacle-based scenes of the film, and suggesting how reading them in new meta-theatrical contexts creates a hyper-reality that contributes to the complex and textured dramaturgy of the work. Selected songs/scenes from the musical is discussed in detail to exemplify the challenge to integration of technologized dance, puppetry, liveness and constructedness.Less
This chapter discusses the director’s approach of re-locating the songs and giving them a new context within the narrative of the piece. It focuses on the gender reversals that Taymor introduced in the performance of Beatles songs in Across the Universe (2007), and explores the performativity of songs that are remediated, re-gendered and relocated into a new dramaturgical context. The analysis is completed by considering the more spectacle-based scenes of the film, and suggesting how reading them in new meta-theatrical contexts creates a hyper-reality that contributes to the complex and textured dramaturgy of the work. Selected songs/scenes from the musical is discussed in detail to exemplify the challenge to integration of technologized dance, puppetry, liveness and constructedness.
