Wednesday 2 November 2016, 5.00PM
TFTV RESEARCH SEMINAR SERIES
AUTUMN TERM PROGRAMME
Simulacinema is a term which I am proposing to describe a new phenomenon in which an audience simultaneously experiences both the space of the filmic diegesis or the cinematic spectacle, and the attendant, but crucially, simulated space of its production. Simulacinematic spaces are characterised by the uncanny sense of inhabiting two conflicting ontological spaces, whilst also embodying two diametrically opposed subjectivities. Simulacinematics refers to the aesthetic and affective qualities of these spaces which merge film style and visual cinematic codes with production aesthetics.
In this presentation, I draw on three different case studies where the collapse between the ontologies of cinematic production and reception are experienced by the audience: on the set of film locations in major cities (with particular reference to Transformers: Age of Extinction and Suicide Squad); in home cinema environments via second screen applications (with particular reference to Prometheus); and in immersive theatrical cinema experiences (drawing on the examples of Secret Cinema’s Back to the Future event, and Forbidden Zone by 59 Productions).
The paper tracks this emergent phenomena made possible by new digital technologies and maps the complex processes of assimilation through which the audience are brought in to these different arenas of simulacinematic space.
Biography: Dr Sarah Atkinson is Senior Lecturer in Digital Cultures at King’s College London. Her work is located in digital audience and transmedia studies and is focused upon emergent narrative forms, and new modes of audience access and engagement.
This paper reflects on an AHRC-funded project that allowed me to apply Brechtian directing approaches to a play that appears to resist them. I will consider what a Brechtian theatre seeks to explore in terms of its political ends, and how it can be reconciled with a play that offers little social or political material. Using documentation of the final production, I will discuss the relationship between Brechtian theory and theatrical practice, point to the concrete problems we faced in realizing the politico-philosophical aims of the project and how we sought to address them.
Biography: Professor David Barnett is Professor of Theatre at University of York. He works mostly on German theatre, with a particular interest in the Brechtian tradition of making theatre politically. He has also written widely on postdramatic and experimental theatre, play texts and directing.
The debate as to whether scientific or technological change proceeds by sudden paradigm shifts or by gradual evolutionary change has been vigorously conducted for more than fifty years. Thanks chiefly to the work of management theorist Clayton Christensen, the concept of disruptive change has recently been embraced as an orthodoxy and is increasingly seen as a neoliberal virtue. It will be argued that digital transformations are characterised by long-term continuities and that the extent and character of digital disruption is exaggerated. The continuities between the digital and industrial worlds are deeper than has been allowed. Moreover, it will be suggested that the study of early industrialisation provides insights into the digital world.
Biography: Professor Andrew Prescott is Professor of Digital Humanities at the University of Glasgow and the AHRC Theme Leadership Fellow for
In the 1960s the ‘double bill’ programming format began to lose its dominance in British cinemas, for various reasons. This paper will look at how cinema programming changed in this decade from four different viewpoints, taking into account the perspectives of the cinema audiences, the exhibitors, the distributors and, lastly, the film producers. Drawing on archive research undertaken as part of the AHRC ‘Transformation and Tradition in Sixties British Cinema’ project, this presentation will aim to provoke discussion around this neglected area of film history, and in doing so provide an insight into the changing structure of the British film industry in the 1960s.
Biography: Dr Laura Mayne is a Post-Doctoral Research Associate on the AHRC-funded ‘Transformation and Tradition in Sixties British Cinema’ project, based at the University of York. Her research specialism is in post-war British cinema with an emphasis on industrial histories, institutional practices and production cultures.
Further Details can be obtained from Dr Jenna Ng
Location: TFTV/109 Department of Theatre, Film and Television