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Book ChapterDOI

Art/Music/Video.com

26 Sep 2007-pp 83-110
About: The article was published on 2007-09-26. It has received 17 citations till now.
Citations
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Book ChapterDOI
25 Sep 2007

15 citations

Journal ArticleDOI
TL;DR: Cunningham remains a troubling, elusive figure within British visual culture as mentioned in this paper, and his seemingly slow work rate has been a frustration for fans and commentators, particularly those who hoped he would channel his interests and talents into a full-length ‘feature’ film project.
Abstract: Twenty years after he came to prominence via a series of provocative, ground-breaking music videos, Chris Cunningham remains a troubling, elusive figure within British visual culture. His output – which includes short films, advertisements, art gallery commissions, installations, music production and a touring multi-screen live performance – is relatively slim, and his seemingly slow work rate (and tendency to leave projects uncompleted or unreleased) has been a frustration for fans and commentators, particularly those who hoped he would channel his interests and talents into a full-length ‘feature’ film project. There has been a diverse critical response to his musical sensitivity, his associations with UK electronica culture – and the Warp label in particular – his working relationship with Aphex Twin, his importance within the history of the pop video and his deployment of transgressive, suggestive imagery involving mutated, traumatised or robotic bodies. However, this article makes a claim for placing...

4 citations

References
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MonographDOI
01 Jan 1996
TL;DR: Ang as mentioned in this paper argues that it is possible to study audience pleasures and popular television in a way that is not naively populist and examines how the makers and marketers of television attempt to mould their audience and looks at the often unexpected ways in which the viewers actively engage with the programmes they watch Living Room Wars highlights the inherent contradictions of a 'politics of pleasure' of television consumption.
Abstract: Living Room Wars brings together Ien Ang's recent writings on television audiences, and , in response to recent criticisms of cultural studies, argues that it is possible to study audience pleasures and popular television in a way that is not naively populist Ang examines how the makers and marketers of television attempt to mould their audience and looks at the often unexpected ways in which the viewers actively engage with the programmes they watch Living Room Wars highlights the inherent contradictions of a 'politics of pleasure' of television consumption: Ang moves beyond the trditional forcus on textual meanings to explore the structural and historical representations fo television audiences as an integral part of modern culture Her wide-ranging and illuminating discussion takes in the battle between television and its audiences; the politics of empirical audience research; new technologies and the tactics of television consumption; ethnography and radical contextualism in audience studies; television fiction and women's fantasy; feminist desire and female pleasure in media consumption, and the transnational media system

867 citations

Book ChapterDOI
01 Jan 1982
TL;DR: In this article, the notion of discourse is defined as a notion of limits, and the overall discourse relation is regarded as a limiting function, one that establishes a bounded arena of shared expectations as to meaning.
Abstract: The meaning of a photograph, like that of any other entity, is inevitably subject to cultural definition. The task here is to define and engage critically something we might call the ‘photographic discourse’. A discourse can be defined as an arena of information exchange, that is, as a system of relations between parties engaged in communicative activity. In a very important sense the notion of discourse is a notion of limits. That is, the overall discourse relation could be regarded as a limiting function, one that establishes a bounded arena of shared expectations as to meaning. It is this limiting function that determines the very possibility of meaning. To raise the issue of limits, of the closure affected from within any given discourse situation, is to situate oneself outside, in a fundamentally metacritical relation, to the criticism sanctioned by the logic of the discourse.

284 citations

Journal ArticleDOI
01 Jun 1976-Language
TL;DR: In the lexical field of English adjectives referring to sensory experience, there has been a continuing semantic change so regular, so enduring, and so inclusive that its description may be the strongest generalization in diachronic semantics reported for English or any other language.
Abstract: The century-old failure of historical linguistics to discover regularities of semantic change comparable to those in phonological change, as described by Grassmann or Grimm, has forced us to entertain as 'semantic laws' proposals that express mere tendencies, or are so restricted to a particular time, language, or narrow inventory, that the 'law' is indistinguishable from a description of a discrete historical event. But in the lexical field of English adjectives referring to sensory experience, there has been a continuing semantic change so regular, so enduring, and so inclusive that its description may be the strongest generalization in diachronic semantics reported for English or any other language. On the basis of very similar evidence from IndoEuropean cognates and from Japanese, the possibility exists that the regularity described here might characterize more than just these languages. It qualifies as a testable hypothesis in regard to future semantic change in any language.*

244 citations

Journal ArticleDOI
TL;DR: The spectacular burgeoning of music videos poses many intriguing questions about the form and its institutional setting, as well as the relations between video and dreaming as discussed by the authors, and the relationship between music videos and dreaming.
Abstract: The spectacular burgeoning of music videos poses many intriguing questions about the form and its institutional setting, as well as the relations between video and dreaming.

97 citations