The gendered impact of caring responsibilities on parents' experiences of working in the film and television Caring responsibilities are often cited as a key reason for continuing gendered inequalities across the film and television sector (Wreyford, 2018; Wing-Fai et al, 2015; Creative Scotland, 2016; Raising Films, 2016). However, there is little detailed analysis of precisely how caring responsibilities impact upon parents' experiences of work in this field. Further, in a context in which ...
First paragraph: Like any other moment of industrial and institutional transformation, the transition from silent to sound cinema was less linear and inevitable than hindsight would suggest. There was nothing obvious about the emergence of the feature-length fiction film with its unbroken soundtrack of dialogue and music. This special issue uses a tight focus on a few hectic years, and on a peripheral region within a hegemonic power: Scotland, a film-hungry nation with an oversized filmic ima...
This thesis explores the production and exhibition of the filmpoem using practice-based and film-phenomenological methodologies. The filmpoem is a synthesised art form combining poetry and experimental cinematic techniques to create a non-narrative experience. This sub-genre of experimental cinema is a personal form of filmmaking that aims to evoke intimacy with the subject matter. The structure of the thesis is divided into two, to reflect the dual methods and to bring focus to the intersubj...
Born in Turin, Italy, Niccolò Bruna is an independent filmmaker and producer who has been experimenting with the expressive tools of documentary-film since attending the EICTV (Escuela Internacional de Cine y Television) in Cuba in 1999. He moved to Barcelona in 2014 adding his name to the Italian phenomenon known as the ‘fuga dei cervelli’ (a “brain drain” that saw thousands of well-educated, creative and innovative Italian people leave the country because of a lack of opportunities, poor wo...
Academic studies of male homosexuality in horror film and television have often been focused on gay masculinity as sub-textual and symbolic and have often discussed the threat that queer, gay and lesbian sexualities pose to an assumed heterosexual spectator. Scholars including Robin Wood, Carol Clover, Richard Dyer, Ellis Hanson and Harry M. Benshoff1 have found that much of its representation has been symbolic or implicit, whereby homosexuality must be teased out of its place in the shadows ...
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