Leave enough time between watching the workshop and filming the video to allow you to practice with friends and family members.
“Derivative Media: The Financialization of Film, Television, and Popular Music, 2004-2016.” University of California, Los Angeles. This dissertation traces the entrance of the financial industries – particularly private equity firms, corporate venture capital, and institutional investors – along with their corresponding financial logic and labor, into the film, television, and music industries from 2004-2016.
Mitchell has famously noted that we are in the midst of a “pictorial turn,” and images are playing an increasingly important role in digital and multimodal communication.
I argue that the relationship between the two media is more dynamic, and can be better understood by applying ’s concept of dissociation, which Chaim Perelman and Lucie Olbrechts-Tyteca developed to demonstrate how the interaction of differently valued concepts can construct new meaning.
In addition to charting this historical and industrial shift, this project analyzes the corresponding textual transformation, in which cultural products behave according to financial logic, becoming sites of capital formation where references, homages, and product placements form internal economies.
The concept of ‘derivative media’ I employ to capture this phenomenon contains a double meaning: increasingly, the production process of popular culture ‘derives’ new content from old (sequels, adaptations, franchises, remakes, references, homages, sampling, etc), just as the economic logic behind contemporary textuality behaves like a ‘derivative,’ a financial instrument to hedge risk.Drawing on analysis of in-depth interviews with students and tutors, it makes practical recommendations for how to resource, staff and support the implementation and continuation of the AV/DME and/or dissertation. The paper feeds back from both students and staff on the running of an initial AV/DME workshop and finds that the Film School Newport is suited to running the AV/DME and suggests a framework for its support. The audiovisual/digital media dissertation", Journal of Applied Research in Higher Education, Vol. The paper provides a clear and original framework for teaching, supporting and assessing the AV/DME. This framework can be disseminated beyond the University of Wales Newport, and can be used to teach the AV/DME in further contexts and to wider groups of students. Methodologically, moves through historical events and textual representation in two ways: chronologically with an attention to archival materials through the antebellum era (beginning with the specters that emerge with the Panic of 1837) and interpretively across the readings of a literary specter (as a space of lack and potential, as exchange, as transformation, and as the presence of absence).As a failed body and, therefore, a flawed embodiment of economic existence, the literary specter proves a powerful representation of antebellum social and financial uncertainties.”“Sexual delinquency marked midcentury cinematic representations of adolescent girls in 1940s, 50, and early 60s.The emergence and image of the postwar, sexually autonomous teen girl finally began to see expression in mainstream melodramas of the late 50s, and teen girl stars such as Sandra Dee and Natalie Wood created new, “post-delinquent” star images wherein “good girls” could still be sexually experienced.This new image was a significant departure from the widespread belief that the sexually active teen girl was a fundamentally delinquent threat to the nuclear family, and offered a liberal counterpoint to more conservative teen girl prototypes like Hayley Mills, which continued to have cultural currency.”“This dissertation joins a vibrant conversation in the social sciences about the challenging nature of care labor as well as feminist discussions about the role of the daughter in Victorian culture.Drawing from the history of adolescence and the context of midcentury female juvenile delinquency, I argue that studios and teen girl stars struggled for decades with publicity, censorship, and social expectations regarding the sexual license of teenage girls.Until the late 1950s, exploitation films and B movies exploited teen sex and pregnancy while mainstream Hollywood ignored those issues, struggling to promote teen girl stars by tightly controlling their private lives but depriving fan magazines of the gossip and scandals that normally fueled the machinery of stardom.