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Harvard, MA: Harvard University Press.īenjamin, W. 1st published 1972 Chicago, IL: University of Chicago Press.īaudrillard, J. 1st published 1911 London: Penguin.īateson, G. (2004) Peter Pan: Peter and Wendy and Peter Pan in Kensington Gardens. Durham, NC: Duke University Press.īarrie, J.M. (2007) Meeting the Universe Halfway: Quantum Physics and the Entanglement of Matter and Meaning. Signs: Journal of Women in Culture and Society 28 (3): 801–831.īarad, K. ![]() (2003) Posthumanist performativity: Toward an understanding of how matter comes to matter. Online fact sheet:, accessed 2 September 2013.īachelard, G. Washington DC: American Psychiatric Publishing. ![]() SAM BROADCASTER PRO 2015.1 KEY MANUALToronto, Canada: University of Toronto Press.Īmerica’s Animal Hoarder: Horror at the Zoo (2012) Channel 4.First broadcast: 9 August.Īmerican Psychiatric Association (2013a) Diagnostic and Statistical Manual of Mental Disorders, Fifth Edition ( DSM-5®) Washington DC: American Psychiatric Publishing.Īmerican Psychiatric Association (2013b) Obsessive Compulsive and Related Disorders. (2013) A house of fiction: Domestic interiors and the commodity aesthetic. By extending the forensic logic of both clinical and popular psychology, it is argued that such framing amounts to securing forced confessions, where hoarders are left to bear total responsibility for a situation, which is, ultimately, a question of distributed agency between human and non-human entities.Īgnew, J.-C. It is argued, further, that the conspicuous neglect of things, that is, material objects, in the modelling of the hoarding ‘problem’ – the aetiology of Hoarding Disorder is cast in entirely human terms – serves to frame ‘hoarders’ as individually culpable. SAM BROADCASTER PRO 2015.1 KEY FULLThe contention here is that the commanding presence of the mirror as a clinical apparatus serves to eclipse a full consideration of the hoarding situation as one involving not only mental health professionals and clients, that is, ‘hoarders’, but also the materials of the heap – as the ‘hoard’ is read straightforwardly as a reflection of the hoarder’s mind. The performance of television's role has taken place through the relay, repetition, and remediation that adaptation implies, and also through the repudiation of adaptation.This article aims to disturb the received wisdom ‘tidy house, tidy mind’ by tracing its emergence and consolidation: from psychoanalysis to clinical psychology through to philosophy and reality television. Television adaptation has, paradoxically, operated as the ground to assert and debate what television could and should be, through a process of transforming pre-existing material. The analyses show that television has been a mixed form across its history, while often aiming to reject such intermediality and claim its own specificity as a medium. The article identifies and analyses the questions about what is proper to television that arise from the different forms that adaptations took. Here, film production techniques and technologies are adapted for television, alongside the routines of daily and weekly scheduling that characterize television broadcasting. The article also analyses adaptations of a later period, mainly filmed dramas for television that were broadcast in weekly serialized episodes, and shot on location to offer viewers a rich engagement with a realized fictional world. This form shares aspects of medial identity with broadcast radio and live television programmes, and with theatre. SAM BROADCASTER PRO 2015.1 KEY TVThey include early forms of live transmission of performance shot with multiple cameras, usually in a TV studio, with the aim of bringing an intimate and immediate experience to the viewer. The key examples discussed are dramatic adaptations made and screened in Britain. This article focuses on how histories of television construct narratives about what the medium is, how it changes, and how it works in relation to other media. SAM BROADCASTER PRO 2015.1 KEY MOVIEEventfulness situates the movie theater at the center of a specific, layered structure of time-a stretched sense of promotional anticipation and cultural nostalgia which climaxes during an ephemeral moment-and space-a discursive space of cultural buzz leading up to the event, a local experience community marked by fan participation, and an imagined global audience which takes shape through the synchronization of the event as it simulates "live" broadcasting and connects audiences in time. What is so eventful about an event movie's arrival to the multiplex, and how does this eventfulness function as both an industry strategy and audience experience? Synthesizing an analysis of trade discourses, promotional campaigns, and manually-curated box office data, this article considers how the concept of eventfulness emerged as a discursive construction and spatiotemporal formation used by the industry to promote moviegoing as more meaningful than other forms of media experience in today's "anywhere-anytime" and "on-demand" culture. ![]()
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