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Researching the Digitization of Crime and Safety: Ethical & Methodological Considerations of Digital Ethnography
25 May 2023
The digital is not exceptional, rather it is a fundamental and deeply integrated part of everyday life. The digital is human; assertions to the contrary hark back to ancient fears about technological advances removing us from our humanity, dating as far back as Plato and his concerns about writing (Phaedrus). Often what is touted to… continue reading.
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Transforming Middlemarch – What digital technologies can reveal about the creative process of literary adaptation
25 May 2023
What goes into turning a literary classic into popular TV drama? That was the question that inspired an interdisciplinary team of researchers based at De Montfort University Leicester who have created what is believed to be the first genetic edition of a screen adaptation. The fifteen-month Arts and Humanities Research Council (AHRC) funded project in… continue reading.
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Diversity or Divergence: Plurality, Definitions, and the Digital Humanities
25 May 2023
In his 2011 overview, The Computational Turn: Thinking About the Digital Humanities, David Berry described a so-called “third wave” of Digital Humanities [DH]. “Computational approaches” he said, “facilitate disciplinary hybridity that leads to a post-disciplinary university -- which can be deeply unsettling to traditional academic knowledge”. Over a decade on from this statement, a new… continue reading.
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Editors' Note: 40 Years of Channel 4
7 December 2022
Welcome to ViewFinder Issue 121: 40 Years of Channel 4 This term we are marking the 40th anniversary of Channel 4. At the time of its first transmission Channel 4 was committed to providing an alternative to existing British television; a cultural mission that was embodied in its programming for minority groups, and in its… continue reading.
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Long Lost Movies: Old Films on Channel 4
7 December 2022
In this article, I will be mainly concerned not with Channel 4 as a producer or distributor of theatrical movies, but as an exhibitor of films on television. While charged with the need to be innovative, experimental and to provide a real alternative to the existing TV channels, the channel was also obligated to cater… continue reading.
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A Call for Solidarity-Focused Programming
7 December 2022
Channel 4’s Disability Code and the Representation of Tourette Syndrome in Britain’s Tourette’s Mystery - Scarlett Moffatt Investigates Introduction and Context Channel 4 has a history of broadcasting documentary-series that feature social minority groups, and in recent years there has been significant documentary coverage surrounding the theme of disability aired by the broadcaster, from Crip… continue reading.
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Visions of Other Cinemas: International Film and the Early Days of Channel 4
7 December 2022
Imagine turning on your television set (or whichever platform you happen to watch on) and coming across a season of films from Vietnam with expert introductions, a documentary about the history of Hong Kong cinema featuring clips from rare films and interviews with local filmmakers, or a report from a film festival in Burkina Faso… continue reading.
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Cinema Action and Channel 4
7 December 2022
Television at the Intersection of Radical Politics and Independent Film This article draws upon oral histories and archival analyses conducted as research for my MA dissertation on Cinema Action. I would like to thank all the participants for their invaluable help in producing this research. The late 1960s and early 1970s saw the growth of… continue reading.
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‘4 All the UK’: The Policies and Politics of Relocation
7 December 2022
Under the mantra ‘4 All the UK’, Channel 4 completed a much-publicised relocation out of London in 2018-19, opening a new headquarters in Leeds and two ‘creative hubs’ in Bristol and Glasgow. Channel 4’s CEO, Alex Mahon, heralded the move as ‘the largest structural shake-up in Channel 4’s history’, claiming that these regional centres made… continue reading.
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Channel 4 and its Remit: Defining Difference
7 December 2022
Channel 4 was launched in November 1982 to entertain, educate and experiment (in the form and content of programmes), and to appeal to tastes and interests not catered for by ITV - these principles were enshrined in its ‘remit’, under the terms of the 1980 Broadcasting Act. It was immediately duped Channel Bore or Snore… continue reading.