Media, Communication and Performing Arts

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The Slum Chronotope and Imaginaries of Spatial Justice in Philippine Urban Cinema
(2017) Macapagal, Katrina
This dissertation proposes that Philippine independent urban cinema reveals imaginaries of spatial justice. The works approached as Philippine urban cinema are independently produced and internationally circulated films that heavily feature or reference Philippine slums as setting, with narratives that centre on the lives of the urban poor. The theory of spatial justice as defined by leading urban theorists argues that social justice has spatio-temporal dimensions. Grounded on this foundational premise, this study approaches Philippine urban cinema in its capacity to foreground and represent the complexities of social justice as contextualised in Philippine urban conditions, with local and global trajectories. Alongside the theory of spatial justice, the dissertation draws from Mikhail Bakhtin’s theory of the “chronotope” (literally meaning time-space) to formulate a theory of the “slum chronotope” as a foundational concept for analysing the ways by which films are able to imagine issues of spatial justice, with emphasis on character configuration and narrative formation. The chapters are structured according to genres and modalities, where other chronotopes that dialogue with the slum chronotope are identified and examined. In the comingof- age chapter, the study locates “chronotopes of passage”; in the melodrama chapter, the study locates “affective chronotopes” configured by the spatial practice of walking; in the Manila noir chapter, the study locates “chronotopes of mobility”; and in the final chapter, the study locates “chronotopes of in/visibility” in the Overseas Filipino Worker genre. This study offers a novel interdisciplinary framework for analysing Philippine urban cinema, and in the process, makes a case for Philippine urban history as crucial grounds for understanding the global urbanisation of poverty.
SCREENING SCOTLAND’S STORIES: Film Adaptations in Twenty-First-Century Scottish Cinema
(2017) Munro, Robert
This thesis surveys book to film adaptations in Scottish cinema in the period 2000-2015. It is the first examination of this practice in a Scottish context which also analyses the operations of Creative Scotland, the public arts body responsible for funding and promoting screen production in Scotland. This thesis asks two central questions: what are the processes by which film adaptations are produced in Scottish cinema? And: do contemporary film adaptations in Scottish cinema engage materially and thematically with ‘the nation’? I do this to test whether or not film adaptation is particularly well suited to speak to a national cultural imaginary. I map out a corpus of film texts produced in the first fifteen years of the twenty-first century, and analyse a selection of those texts in the second half of the thesis. I consider the extent to which industrial and thematic discourses of ‘Scottishness’ are engaged with through and by these films. The understanding of these films as ‘Scottish’, and what that means for both their production and reception, nationally and globally, will be discussed. I argue that the importance of national branding in the production of film remains a crucial component of the global film industry, into which Scottish cinema aims for viability. I categorise my four case studies within the categories of arthouse and popular cinema, in order to better understand the ways in which these films are marketed to, and received by, local and global audiences. Furthermore, this thesis uses these film adaptations to consider the discourses prevalent in Scottish culture in the twenty-first century, by examining those pre-existing texts which are selected for cinematic adaptation. How does the success of prior adaptations shape the range of future texts, and therefore what is deemed viable in Scottish cinema? What recurring representative tendencies are to be found in those film adaptations? How do they relate to the socio-political discourses of their era? This thesis attempts to answers those questions, and in doing so examines how particular discourses are mobilised throughout industrial processes of production, distribution and exhibition, and are readable within the film texts themselves.
An examination of the filmmaking methods of Kenneth Branagh in his directorial film work on Thor, Jack Ryan: Shadow Recruit and Cinderella with specific reference to his status as auteur
(2017) Hamzah, Sahar
This thesis examines the methods that director Sir Kenneth Branagh employs in his approach to directing his films and questions whether the consistency of methods adopted by Branagh across the scope of his films and their recurring themes support the status of Branagh as an auteur. Much scholarly attention has been given to Branagh’s Shakespeare films, yet there is a deficit of such attention to his later work. Using personal and published interviews, empirical evidence of the films, and text-to-text analysis, the thesis focuses upon analysis of his later films Thor, Jack Ryan: Shadow Recruit, and Cinderella. The thesis takes an approach based upon the criteria of Sarris (2008) and Leitch (2008) to determine whether Branagh could be classified as auteur based upon his directorial oeuvre. In doing so, the thesis identifies the key components of Branagh’s methods and style and investigates his rehearsal techniques, research into the history and intertextuality of his projects, relationships with actors, and whether he uses elements of mise-en-scène as cues to reveal intertextuality. The thesis discusses Branagh’s role in semiotic coding in his films, informed by the concept of selective perception, wherein viewers tend to recognise elements in media which align with their expectations (Klapper 1960). It argues that memory of the hypotexts plays a key role in film adaptations (Ellis 1982), that their ability to evoke recall is a means of communication (Grant 2002) which can be achieved through the use of elements of mise-en-scène, (Geraghty 2008) and that the viewer and director are collaborators in producing meaning in film (Wollen 1972). This study contributes to the field of adaptation by adding scholarly literature on the films of Branagh in his post-Shakespeare era and to the subjects of auteurship and audience recall achieved through use of camera technique, intertextuality and mise-en-scène.
Webfilm theory
(Queen Margaret University, 2007) Kurtzke, Simone
Since its inception in 1989, the World Wide Web has grown as a medium for publishing first text, then images, audio, and finally, moving images including short films. While most new media forms, in particular, hypertext, have received scholarly attention, research into moving image on the Internet had been limited. The thesis therefore set out to investigate webfilms, a form of short film on the WWW and the Internet, over a period of 9 years (1997-2005). The thesis was theoretically embedded in questions regarding new media as new field of research, since the increasing visibility of new media had resulted in the emergence of the discipline of 'new media studies'. This context raised issues regarding the configuration of new media studies within the existing academic disciplines of media and cultural studies, which were explored in depth in the literature review. The case studies of the thesis explored and analysed webfilms from a vantage point of actor-network theory, since this was arguably the most appropriate methodology to a research object considerably influenced by technological factors. The focus was on the conditions of webfilm production, distribution, and exhibition, and the evolution of webfilm discourse and culture. The aim was to seek answers to the question 'How didwebfilm arise as (new) form of film?' In the process of research, a number of issues were raised including the changing definition and changing forms of webfilms, the convergence of media, and the complex interdependency of humans and their computers. The research re-evaluates the relationship between human and non-human factors in media production and presents a fresh approach by focusing on the network as unit of analysis. The thesis as a whole not only provides new information on the evolution of webfilm as a form of film, but also illustrates how the network interaction of humans and nonhumans lies at the heart of contemporary new media and convergence culture.
The Corbicula Cycle : postmodernism and identity in on the edge, throught the night, and in the shade
(Queen Margaret University, 2007) Leddy, David
This practice-based research is based around the creation of a triptych of performances entitled The Corbicula Cycle. The three performance pieces are: On The Edge, Through The Night and In The Shade. The aim of the practice is to take the supposedly 'low' artistic forms of the murder-mystery, Cinderella narrative, blackface minstrelsy and drag cabaret and interpenetrate them with theoretical content from postmodernism and identity politics whilst combining formal elements of dramatic writing and performance art practice. The emphasis of both the research and the research outcomes is a practical one. The DVDs and playscripts represent the core of the submission, with this thesis serving to support and contextualise the practice. Thus the contribution of this work is demonstrated not through new theoretical findings but through new artistic findings in the three performances. In terms of postmodernism, the research focuses on intertextuality; deconstruction; simulacra and simulation; split and shifting subjectivity; parody, pastiche, irony and the mixing of the genres. In relation to identity politics, the piece takes a postmodern view, covering cultural theories relating to gender, sexuality, class and race. The overarching objective in combining these different knowledge paradigms is to create a series of open, polysemantic texts which can be read in different ways by different viewers. Thus, it is hoped that the pieces can be shown successfully outside of an academic context and be open to readers other than an 'expert-spectator' audience of academics and artists. None of these artistic or theoretical constructions is innovative in itself. However, this research represents a modest contribution to knowledge through the subtly new ways it combines the paradigms of cultural theory, dramatic new writing and performance art with the generic artistic models of the murder-mystery, the Cinderella narrative, drag cabaret and blackface minstrelsy. It also provides substantial new insights through critical reflection upon process and products, exploring the play between artistic aims, principles of composition and audience response.
Female identity and the British female ensemble drama 1995-1998
(Queen Margaret University, 2007) Ball, Victoria
This thesis focuses upon a distinctive form of 'feminine-gendered' fiction, that of the British female ensemble drama, that has proliferated across televisual schedules since the late 1970s and which has received little academic attention. Although not a discrete genre, the female ensemble drama is nevertheless identifiable as a distinctive form of 'feminine-gendered' fiction that is largely written and/or produced by women, which diegetically focuses on particular communities of female characters and which is predominantly aimed at female audiences. The purpose of this text-based analysis of the female ensemble drama is to engage with a central concern of feminist television criticism, that of the gendered identity of this particular media form and the constructions of gender within it given its association with women at these three sites of production, text and audience. While I provide a historical overview of the development of this form of drama in relation to its textual precedents I isolate a particular moment in the history of this form of drama, that of the late 1990s, for closer analysis. Firstly I isolate the late 1990s to provide knowledge and understanding of the way in which the 'feminine' identity of this form of drama has contributed to its academic neglect within this socio-cultural period. Secondly I provide a close textual analysis of the constructions of 'women' within three female ensemble dramas in order to engage with and explore the textual negotiations they embody surrounding discourses of feminism and post feminism, de- and re-traditionalization in this particular period. While these themes have begun to be addressed in feminist television criticism they have largely been explored in relation to constructions of femininity in American dramas. This analysis then, allows for an exploration of these discourses in relation to a regional form of British drama. It is through investigating the academic neglect of this form of drama; providing a historical, thematic and aesthetic overview of the female ensemble drama as well as a detailed analysis of three of the female ensemble dramas of the 1990s that I contribute knowledge and understanding of this particular regional form of 'feminine-gendered' fiction to the field of Feminist Television Studies.
Community development in cyberspace: a case study of a community network
(Queen Margaret University, 2001) Malina, Anna
This thesis investigates the background, emergence, use and significance of a community based information network, the Craigmillar Community Information Service (CCIS), in Edinburgh, Scotland, to assess its relationship with community development and note also the local network's relationship over time with the community, the city and society. Desk research, i.e. reviews of literature and examination of various documents combined with information gained in the field helped to weave contextual, conceptual and theoretical frameworks to assist in analysis. Data was gathered in the field by means of qualitative interviews with City of Edinburgh (CEC) officials, system developers and CCIS users. Additional data was collected and checks were subsequently made as a result of routine observations of CCIS operating within their base in Craigmillar; and also via virtual observations of on-line structure and content over time. Local media reports and an assessment of regeneration delivery services in Craigmillar, commissioned by CEC also provided insights in the analysis. The main objective was to collect data that would accurately reflect the true nature and significance of the CCIS system. A qualitative methodology was employed in this study. Desk research began in mid 1995, and on-line and real-time observations in 1996. Interviews were carried out in the field during 1997 and early 1998. In the final chapter of this thesis, conclusions emerging from analysis of the data are offered as a means of developing deeper understanding of CCIS and community development in cyberspace. Overall, it is hoped to extend general knowledge of community networks, and broaden understanding of the developing field of social informatics. In light of conclusions drawn, theoretical frameworks are reviewed in the final chapter and potential is outlined for further research into the evolving roles of community-based initiatives situated elsewhere, their socio-technical relations and their significance in different societal settings.
The profession of public relations In Saudi Arabia: a socio-cultural perspective
(Queen Margaret University, Edinburgh, 2017) Almahraj, Yazeed
This thesis examines public relations in Saudi Arabia as an occupational group. The thesis investigates the knowledge public relations practitioners possess, and how Saudi culture and public communication factors affect public relations practitioners. The thesis offers insights into the cultural background of the country, public communication and public relations practice in Saudi Arabia. Moreover, it provides an analysis of theories of the profession and the relationship between the profession and public relations occupation. For the purposes of this research, in-depth unstructured interviews were used to collect data from 27 practitioners. A constructivist paradigm was utilised to examine the Saudi practitioners' perceptions of knowledge, culture, public communication. Moreover, the thesis has followed a socio-cultural approach and theories of the profession to investigate the empirical data. The thesis has several contributions to knowledge. Firstly, it brings an understanding of the role of the state in the process of professionalization. Using Vygotsky's theories the thesis has found that educational institutions influence PR practice and this results in lack of progress and limited opportunities for change, learning and career movement. Secondly, the thesis found that there is disconnection between theories that are taught in universities with PR programmes and PR practices. The thesis found that there is a problematic nature of abstract knowledge, which determines the disconnection between communication theories and PR practice. Moreover, there is a disconnection between the practice immersed in culture and that cultural practices are stronger than professional practice. Finally, the thesis has contributed to the literature by finding out that ethics in Western countries are regarded as something that is developed by a professional body in a way that relates to society, however in Saudi Arabia the Muslim values and ethics are implemented directly in the work context and ethics is not developed by a professional body.
“It’s Complicated”: Facebook and Political Participation in Italy and the UK
(Queen Margaret University, Edinburgh, 2015) Casteltrione, Isidoropaolo
Drawing from an extensive and unique data set acquired by combining a cross-national comparative approach and a mixed methods methodology, this thesis examines the contributions of Facebook to citizens' political participation in Italy and the UK. In the last decade there has been a proliferation of academic studies investigating the links between digital technologies and citizens' political participation, with an increasing number of publications focusing on social networking websites (SNSs). Within this specific sub-field, research has produced contrasting evidence. Some scholars stress the positive impact of the Internet and SNSs on political participation (i.e., optimists), while others minimise their mobilising power, emphasising their tendency to reinforce existing participatory trends (i.e., normalisers) or highlighting their limited or even negative influence on political participation (i.e., pessimists). The present research differs from the majority of investigations in this area in three ways. Firstly, the data for this study were gathered mostly in a non-electoral period and thus the contributions of Facebook to citizens' political participation were assessed independently of the electoral process, which usually occasions a rise in political participation. In addition, this research tackled two conceptual weaknesses characterising many Internet and political participation studies: the failure to consider political participation as a multidimensional phenomenon and the over-generalised approach to Internet and SNS usages. It did so by differentiating between political communication and political mobilisation activities, and three Facebook non-political usages, i.e., information, interpersonal communication, and social recreation. Thirdly, in response to the lack of cross-national comparative studies in this subject area, the contributions of Facebook to citizens' political participation were examined in the different contexts of Italy and the United Kingdom. This thesis makes four main contributions to the field of political communication, and more specifically to the strand of research examining the impact of digital technologies on political participation. The first contribution is the Particularised Model of Facebook Political Participation. The model identifies a number of factors mediating the links between Facebook and political participation, demonstrating the relevance of both external, context-related factors related to the British and Italian media and political landscapes, and more personal, subjective ones such as self-presentation, pre-existing levels of political engagement, and the nature and size of the Facebook network. Secondly, this study sheds light on the ways that Facebook functions as a political platform, establishing that dynamics typical of both new and traditional media are in action on this SNS, and that Facebook holds the capacity to activate a virtuous circle, thereby generating an information-led mobilisation. The third contribution is the Dual Routes of Exposure Model which offers clarification on the alleged tendency of digital technologies to promote selective exposure and, consequently, political fragmentation and polarisation, and shows that Facebook can operate as a potential antidote to such trends. The fourth contribution is to the polarised debate between optimists, normalisers, and pessimist, with the present research further highlighting the sterility of such a debate and indicating potentially fruitful approaches for the development of the field.
Does anybody like being disabled? A critical exploration of impairment, identity, media and everyday experience in a disabling society.
(Queen Margaret University, 2010) Cameron, Colin
I offer a critical exploration of tensions experienced by disabled people in the construction of positive identities in everyday contexts in which self-understanding is shaped both by social structural relations of inequality and unique individual experience. The empirical evidence I use to develop and support my thesis involves data I have generated using a variety of data collection tools, through a series of interviews, conversations and observations carried out with sixteen disabled people across Scotland and England. I argue that while certain barriers to participation in ordinary community life may be being removed, perceptions of impairment as something ‘wrong’ with the bodies of disabled people remain embedded in dominant disability discourse. There is a structural purpose underlying the continued representation of impairment as misfortune, involving the ascription of a negative role – the disabled role – to those whose bodily configurations pose a challenge to requirements of conformity. Drawing on insights generated in my research, and building on an idea originally proposed by John Swain and Sally French in 2000, I have developed a clarified affirmative model of disability. This I intend as a tool to be used by people with impairments in making sense of the disabling social relations they encounter in everyday contexts, to be used alongside the social model in gaining knowledge to unsettle mainstream assumptions which can only recognise impairment as personal tragedy.

Media, Communication and Performing Arts

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