The article discusses the adaptation of the Poirot novel Appointment with Death, comparing the original novel with the respective adaptations for television, the cinema, and the theatre. While all adaptations share certain elements with the original source, it is shown that the motion picture starring Peter Ustinov remains most faithful to the novel despite changing some plot details and Ustinov’s performance that is unlike Christie’s original vision of the detective’s appearance. On the other hand, the television series – though retaining the general plot structure – deviates significantly from the novel in many ways, including adding new characters, altering the entire backstories, and altering the murderer’s motifs and approach. Eventually, the theatre version (adapted by Christie herself) is a radical rework of the novel by eliminating the Poirot character completely from the story as well as changing the murderer’s identity.

Viele zeitgenössische Institutionen (Theater, Festivals, Biennalen, Kunsthallen, Museen, etc.) haben sich seit Mitte der 1990er Jahre wieder verstärkt experimentellen Formen zugewandt, sowie einen Theorie und Praxis verzahnten Diskurs gefördert. Wie aber sieht es in der Realität mit einer kontinuierlichen Programmarbeit in diesem Bereich aus? Gehören diese Formate und programmatischen Überschriften lediglich zu einer aufgeklärten Gesellschaft des Spektakels, die nach mehr Abwechslung verlangt oder existieren substantielle und kulturpolitische Langzeitperspektiven?

This study explores how Scottish people feel about representations of Scottishness in contemporary television comedy. The thesis is in two related parts, articulating an exploration of genre, comedy and Scottish television texts with the theory, methodology and analysis of empirical audience research. The thesis begins by exploring how current television comedy is poorly served by critical literature beyond notions of genre although this field of study too fails to indicate significant contemporary permeabilities between comedy sub-genres, and between comedy and other kinds of leisure shows. The second chapter explores historical approaches to Scottish cultural criticism and literary myths (Tartanry, Kailyardism, Caledonian anti-syzygy, Clydesidism) and sets these against contemporary mythologising by individual Scottish comedy practitioners. The second half of the thesis marks a shift from textual studies toward audience research, and in particular develops a discussion about the problematics of researching comedy and audiences qualitatively. The first part of the second half is a literature survey of selected examples of audience research which is translated from theory and epistemology, to methodology and technique in the next section which comprises a discussion of the model for the empirical data collection. The next section presents data from a quantitative survey and qualitative focus-group discussions. The last part of the second section interprets the data through triangulation although this is limited by lack of comparable critical materials. The whole attempts to explore concepts of national identity in Scottish television comedy with audiences, but also develops the additional problematic of empirical quantitative research and comedy themes.

The trajectorv of this thesis is set out like a journey upon which encounters are staged between two films. film theor), and philosophers. such as Slavoj Zizek. Gilles Deletize, and Maurice Merleau-Ponty. An encounter with a moment of image suspension. a cut to the blank screen- in Tacita Dean's film, Disappearance atSea (1996). motivates the beginning of this journey's narrative. My reading of this moment counters the way that suspended film moments have been discussed in terms of non-narrative in 1970s film theory and in the contemporary psychoanalýlic filin theory of Slavoj Zizek. Using Gilles Deleuze's notion of narrativization as a process of serialization. I argue that the supposedly non-narrative moment is coextensive with the spectator's dis/continuity in time as opposed to Slavoj Zizek's static suspension or film theory's distanciation. A performative text based on Disappearance at Sea, which I refer to as a 'montage text' and for which precedence is found in Roland Barthes' writing, acts as an interlude that runs in tandem to the main theoretical trajectory. The generativity of absence that emerges from these encounters, both theoretical and poetic. is heightened in the second half of the thesis by the appearance of another 'montage text' based on Chantal Akerrnan's News From Home (1976). In this text. I reconfigure the negativity of historical readings of absence in Neus From Home where it was related to the impossible question of a woman's desire. In my reconfiguration, absence. rather than suspending time. generates a temporalized space and a spatialized time in which the spectator performs the dis/continuity of narrative duration. In the theoretical trajectory of this movement, Gilles Deleuze is hybridized with aspects of Merleau-Ponty's phenomenology, my argument being that the sublime infinity of Deleuzian serialization requires a relation to embodiment in order for it to be useftil in considering the spectator's relation to the two film encounters with absence. I read this hybridization in terms of a feminine mode of the sublime, which suggests the possibility of the real rather than its negation in representation and contributes to current thinking in feminist philosophy, particularly the work of Elizabeth Grosz.

This thesis traces the history of the presentation of art music performance on BBC television including concerts, operas and ballets and analyses the ways found to present them. The background to the initial programming policies on BBC Television is analysed with reference to the art music activities on BBC Radio before 1936. The novel methods of televising art music are described: there were no precedents for live multi-camera shooting. Until the creation of commercial television in 1955, BBC Television broadcast about two hours of art music performance each week. From 1955 to 1963 the output of art music performance halved and the influence of Lionel Salter, Head of Music Productions, BBC Television, is traced. The creation of BBC-2 led to a revival in art music programmes and the contribution of Humphrey Burton, Head of Music and Arts, BBC Television, to restoring the amount of art music performance is considered. Early scripts and archived programmes have enabled critical evaluation to be undertaken. This analysis has shown that the first producers of art music programmes regarded their main function as giving viewers the feeling that they were watching performances from the 'best seat in the house': the concept of the objective 'relay'. As musically trained producers emerged, there was a gradual change from the relay to that of involving the viewers as unseen participants in the performances. It is shown that art music performance programmes became the subjective interpretations of the producers involved. Salter said that only musically trained producers who could fluently read music would be capable of fully communicating its structure in television programmes. The truth behind this maxim is fully investigated and the conclusion drawn is that successful presentation of art music performance on television is easier for musically trained producers but a few others without musical qualifications have shown themselves capable of producing equally satisfactory and authoritative programmes.

Der Artikel untersucht einen Werbespot von David Lynch für die Playstation 2 und ordnet ihn in das Universum der Lynch’schen Texte, das Lynchville, ein. Zunächst werden dazu einige regelmäßig wiederkehrende Motive aus dem Werk Lynchs vorgestellt. Es folgt eine eingehende Analyse des Werbespots, in der zahlreiche Parallelen zu den bekannten Filmen des Œuvres aufgezeigt werden. Abschließend wird kurz der Frage nachgegangen, inwiefern der Begriff „auteur“ in dieser wohl kommerziellsten aller filmischen Ausdrucksformen überhaupt anwendbar ist. Der Artikel kommt zu dem Ergebnis, dass es Lynch in diesem Werbespot gelingt, eine persönliche Visiondurchscheinen zu lassen – und dass die Karte des Lynchville deshalb um einen neuen Ort ergänzt werden muss. / The article analyzes a television-commercial, which David Lynch shot for the launch of Playstation 2. It tries to introduce that commercial into the universe of well known Lynch-Movies, the Lynchville. At first, some of the recurrent motives in Lynch’s work will be discussed. Then the commercial will be analyzed, especially regarding any parallels to Lynch’s Œuvre. Finally, the question will shortly be discussed whether in this most commercial form of filmmaking the term “auteur” can still apply. The article comes to the conclusion, that Lynch succeeds in maintaining his personal vision – and that therefore the map of Lynchville has to be expanded.

Der Artikel beschäftigt sich mit der Geschichtlichkeit der performativen Künste der 1960er und 1970er Jahre.

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