Centre for Cultural and Creative Research (CCCR)
Visiting Speakers
CCCR is pleased to welcome the following Visiting Speakers for 2011/12:
Thursday 15 November 2012
Mary Jo Lodge, Lafayette College, USA
Bursting into Song and Other Perils of the Musical...
Mary Jo Lodge is Associate Professor of English at Lafayette College, USA and an award-winning theatre director and choreographer. Her publications include: Knocked Up, Not Knocked Out: Xena: Warrior Princess, Pregnant Action Hero.” In Heroes of Film, Comics and American Culture. Ed. Lisa DeTora. Jefferson, NC: McFarland, 2009. 218-33; “Special Theatrical Event: Every Good Boy Deserves Favour.”Studies in Musical Theatre 3.2 (2009), 213-18; “The Rise of the Female Director/Choreographer on Broadway.” In Women in American Musical Theatre. Ed. Bud Coleman and Judith A. Sebesta. Jefferson, NC: McFarland, 2008. 221-43; “Beyond ‘Jumping the Shark’: The New Television Musical.” Studies in Musical Theatre 1.3 (2008), 293-305.
Tuesday 06 November 2012
Introduced by Dr Justin Smith, University of Portsmouth
Screening of "Wish You Were Here"
Portsmouth Film Society
A raucous debut for director David Leland and star Emily Lloyd, this British classic won awards at Cannes and the BAFTAs. In a staid seaside town in the 50s, young Lynda's outrageous behavior shocks the locals. Showing as part of The University of Portsmouth School of Creative Arts, Film & Media's project on 30 years of Channel 4 Films.
Single :£6.50 Student: £3.50 and you can use your pass cards as well.
Tuesday 23 October 2012
Professor William A. Everett, University of Missouri, Kansas City, USA
“Reflexivity, Orientalism and Antiquity: Creating Musical Comedy at Daly's Theatre, 1894-99”
William Everett is one of the leading American scholars of musical theatre. Among other publications he has written the definitive biographies of Sigmund Romberg (2007) and Rudolph Friml (2008) and is co-author of two important reference works The Cambridge Companion to the Musical (2002/2008) and The Historical Dictionary of the Broadway Musical (2008). His talk relates some of his latest research involving the musicals played at Daly's London theatres in the 1890s.
Wednesday 25 April 2012
Professor Steve Neale, University of Exeter
“What we know and what we don’t know about the Classical Hollywood Cinema”
Prof. Neale will be discussing aspects of "so-called" Classical Hollywood Cinema, noting some factors, aspects and practices that have rarely been discussed. He will also suggest that the key to Classical Hollywood Style was not determined or solely marked by classical editing, but by its attempt to address an audience undifferentiated by age or class and nationality.
Wednesday 21 March 2012
Professor Jeanette Steemers, University of Westminster
“A Tale of Two Types of Content: Children’s Television and Entertainment Formats Between the Global and Local”
Children’s television and entertainment formats represent two different faces of European television production and its place within a global market. On the one hand there is the business of formats, which has been lauded as a European success story, bringing global reality entertainment formats to the heart of the US. On the other hand there is children’s television, which struggles to produce home-grown content in a sector dominated by US transnationals (Nickelodeon, Disney, Cartoon Network. Why is there such a gulf between the two? To find some answers this paper looks at the forces that shape these two different markets for content, and suggests how European players might secure better outcomes both at home and globally.
Wednesday 22 February 2012
Dr Yannis Tzioumakis, University of Liverpool
“The Complications of Independence: Specialty Filmmaking in the Age of Studio Divisions”
Expanding on work I have done on the history of American independent cinema elsewhere (Tzioumakis 2006), my presentation will focus on the changing discourse of independent cinema in theUSapproximately over the last 30 years. Specifically, it will offer a periodisation of contemporary American independent cinema arguing about the existence of three distinct periods: the “independent” (appr. 1979-1989); the “indie” (appr 1989-1996/7) and “indiewood” (appr. 1998/9-to date), with each of these periods characterised by a distinct wave of studio specialty film divisions.
These periods have been marked by developments within the sector, including: the emergence and decline of independent distributors at historically specific times; the changing nature of the classics divisions (from studio subsidiaries specialising in distributing non-US art films in the 1980s to specialty labels producing and distributing “niche” films in the 1990s and 2000s); the increasing commercialisation of the sector and its negotiated place within a global entertainment economy; the move to complex finance deals; and finally the gradual questioning of the usefulness of the term “independent” by the industry and by the filmmakers themselves. In this respect, this paper will also explore the usefulness of the less ideologically charged label “specialty filmmaking” in critical approaches to what has been known as American independent cinema.
Yannis Tzioumakis is Lecturer in Media and Communication at the University of Liverpool. His research specializes in independent filmmaking and the business of entertainment. His books include: American Independent Cinema: An Introduction (2006); The Spanish Prisoner (2009); and Hollywood’s Indies: Classics Divisions, Specialty Label and the American Film Market (2012) (all for Edinburgh University Press), while he is also co-editing the ‘American Indies’ series for the same publisher. Yannis has also co-edited the volume Greek Cinema: Texts, Forms, Identities (2011, Intellect) and is currently working on two collections: The Time of Our Lives: Dirty Dancing and Popular Culture for Wayne State University Press and American Independent Cinema: Indie, Indiewood and beyond for Routledge.