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This thesis examines the literary deployment of the visual in the work of H. D. (Hilda Doolittle). Beginning with a discussion of the early poetry of Sca Garden (1916) and the essay Notes on Thought and Vision (1919), 1 argue that H. D. 's categorisation as an Imagist poet has effaced the political and aesthetic possibilities opened up by her prose and later work. H. D. *s representation of 'womb vision' in Notes on Thought and Vision can be seen to anticipate the notion of' the 'creating spectator' in the theoretical writings of the Soviet film director. Sergei Eisenstein. Thus, by considering Sea Garden alongside developments in early cinema, I re-evaluate the image in H. D. *s early work, and locate her poetics not as 'static" but as kinetic. H. D. was also directly involved in film-making and in the writing of film criticism. Chapter Two explores how her engagement with the moving image is inscribed into the autobiographical novel Her, written in 1917. Examining Her alongside the silent film Borderline (1930), which H. D. helped to produce, this chapter explores issues of sexual and racial difference which are foregrounded through the formal devices employed in both texts. Chapter Three examines Tile Gýfi, which was written during the Second World War, in the light of H. D. 's contributions to the film journal Close Up (1927-33). This reading not only illuminatcs the political and ideological implications of H. D. 's use of the visual, it explores the intersections between literary and visual cultures at the beginning of the twentieth century. Accounts of cinema are largely absent from the history of literary Modernism and the thesis therefore goes some way towards a revisionist analysis of the period. Chapter Four extends the paradigm of the visual in H. D. 's work still further, analysing her memoirs Tribute To Freud (1956) and the unpublished Mqiic Ring (1943-44) in the light of her involvement with spiritualism. Both these texts encode a critique of the scientific 'gaze' exemplified by psychoanalysis and offer possibilities for an alternative model of 'seeing' which is predicated upon spiritual, or visionary, experience. Returning to the discourse of the cinema in Chapter Five, I contextualise my reading of Helen in EDIpt (1961 ) within debates about synchronised sound in early cinema. I also explore H. D. 's construction of female subjectivity and corporeality in Helen in the light of recent feminist film theory. In many ways H. D. 's work anticipates the preoccupations of recent feminist thinkers such as Luce Irigaray, H616ne Cixous and Judith Butler. These writers - along with recent feminist film theorists like Mary Ann Doane and Laura n Mulvey - provide a theoretical underpinning for the thesis. Such an approach permits a questioning of H. D. 's perceived position as a 'Modernist' poet. Furthermore, in the light of postmodern preoccupations with process, fluidity and flux, it is possible to see how dominant configurations of gender and sexuality are. through H. D. 's work, deliberately, and consistently, unsettled.

This paper presents an extended analysis of my two recent feature documentaries, RFK Must Die: The Assassination of Bobby Kennedy (2008) and Children of the Revolution (2010), which seek to challenge state narratives and demystify the lives and actions of three central characters – Robert Kennedy’s convicted assassin Sirhan Sirhan, the German terrorist Ulrike Meinhof and Japanese Red Army leader Fusako Shigenobu. I explore key issues that arose during the production of these films, and the strategies a documentary filmmaker can use to re-investigate and re-present the lives of political subversives, using Pierre Bourdieu’s ‘field theory’ and Frederic Jameson’s ‘three levels of narrative’ as my theoretical framework. With RFK Must Die, I stress the primacy of the research and writing of documentaries in their power to challenge conventional wisdom and examine the interplay between historian, filmmaker and investigator in finding an alternative history. I explore the historiography of both Kennedy assassinations and the historical reliance on independent filmmakers to re-examine the state’s evidence and present the case for the defence. I also explore what issues affect credible witness testimony and what audiovisual evidence can tell us about a crime scene. I explore two key elements of Children of the Revolution: the decision to tell the stories of Meinhof and Shigenobu ‘through the eyes of their daughters’ and the use of archive concerning their revolutionary movements. I present a case study of my working relationship with Meinhof’s daughter, Bettina Röhl, analysing the complex issues of trust, identity and authorship that arose in telling Meinhof’s story from another person’s perspective. I also discuss the critical misalignment between the cost of archive and the budgets and prices paid for documentaries, and analyse the hypothesis of the recent Hargreaves Report (2011) that the audiovisual archive sector ‘is not fit for purpose for the digital age’.

This book chapter indicates a further application of theories of multimodal communication applied to naturally occurring text, in this instance to documentary film making. Instead of producing a model of genre the intention here was to perform a descriptive analysis of composition in the documentary form as a whole and applied to a specific film, Godfrey Reggio¿s Koyanisquatsi. The analysis here was intended to establish further low-level spatial attributes that could be applied to visual and multimodal texts. Framing is a particularly powerful yet often transparent feature of multimodal texts and this chapter was an attempt to develop a rigorous application of many aspects of composition to the critical analysis of film. This is another natural progression from the previous publication as the intention here was to embed the use of framing as a technique in the construction of multimodal texts, such as film, within the critical discourse of representation in film. In doing so the chapter draws from many different `flavours¿ of semiotic theory, from theories of visual design, linguistics, and theories of `spectacle¿. This book chapter is one of the first extended applications of framing from the perspective of multimodality to the documentary film genre. It also brings together important critical approaches to film into a unified theory of representation in the documentary form.

This thesis examines how cinema engages with changing surveillance practices, and the hypothesised paradigm shift from discipline to control. The first part of the thesis outlines those changes in terms of three crucial areas in any discussion of surveillance – the organisation of the body, space and time. Since its publication in the 1970s, Michel Foucault’s Discipline and Punish has been a continuous influence on much social theory. However, recent developments in surveillance practices suggest that the Foucauldian model of discipline may no longer be the most appropriate theoretical framework within which to discuss contemporary modes of surveillance. In Postscript on Control Societies, written in 1990, Gilles Deleuze offers a possible new paradigm (the control society) through which to explore emerging trends in surveillance practices, often linked to the increasing use of digital technologies. While the paradigm of control does not simply replace that of discipline, it does help us to understand the development and amelioration of disciplinary structures. The second part of the thesis offers an original perspective on ongoing debates in surveillance studies concerning discipline and control, by investigating how this shift is articulated and reflected upon in a diverse range of films (from mainstream productions such as Enemy of the State to avant-garde ‘essays’ such as Harun Farocki’s Ich glaubte Gefangene zu sehen) which explicitly engage with changes in surveillance practice. It focuses specifically on the cinematic representation of the body, space and time in the context of the hypothesised transition from discipline to control, and addresses a series of important questions for cinema’s engagement with surveillance: can cinema, with its reliance on the visual image, address the emerging surveillance society which is increasingly invisible and, if so, what strategies does cinema use to achieve this; and, what is the implication of such strategies for the cinematic spectator? In conclusion, the thesis reflects on how cinema shapes our understanding of the emerging surveillance society.

<p>Project networks are gaining importance for many project based organizations nowadays. Project based organizations carry non-routine and complex tasks by temporarily employing various specialists, allow more flexibility and are ideally suited for managing complexity and dynamic external environment. For managing a project based organization it is not only essential to have good know-how about the tasks involved but also to have good knowledge of potential project members and project partners. This leads to an increased interdependency among projects and focuses on the importance of project networks. In order to initiate a project a PBO mobilizes its network to bring potential project participants together.</p><p>Film making represents the pure form of project based organization since companies in this industry are formed in order to pursue specific project outcomes and are dismantled once project is completed. Organizations in the movie industry are highly dependent on project networks mobilization to carry out their project tasks. Since the mechanism of such mobilization process still remains unclear the main focus of this research is on how networks are mobilized in project based organization such as film making during the pre-production stage to carry out a specific project.</p><p>For the purposes of the research primary data was obtained as a result of semi-structured interviews with ten people involved in the film industry in Sweden. A mixture of specific and open-ended questions allowed receiving practical insight of film initiation process and narrating industry participants’ experiences on network mobilization for a film project.</p><p>During the study several factors were revealed that contribute to network mobilization process during the pre-production stage of film making as well as main activities of film making pre-production stage were discovered. The model was develop that combines the factors and pre-production stage activities to see which factors drive network mobilization for realizing each activity in this stage. The developed model permitted to analyze in details each factor and to reveal the degree of its influence on the pre-production stage in general. Results of the study show that network mobilization process is explained by several discovered factors and almost all of them help to mobilize the network to carry out each of the four activities in the pre-production stage to making a film.</p><p>The study concludes that since the identified factors contribute to network mobilization for realization of almost all of the activities in the pre-production stage of a movie project then they contribute to general network mobilization process in the preproduction stage for carrying out a movie project. The discovered factors facilitate the network mobilization process and help producers to attach potential participants to their projects.</p>

Project networks are gaining importance for many project based organizations nowadays. Project based organizations carry non-routine and complex tasks by temporarily employing various specialists, allow more flexibility and are ideally suited for managing complexity and dynamic external environment. For managing a project based organization it is not only essential to have good know-how about the tasks involved but also to have good knowledge of potential project members and project partners. This leads to an increased interdependency among projects and focuses on the importance of project networks. In order to initiate a project a PBO mobilizes its network to bring potential project participants together. Film making represents the pure form of project based organization since companies in this industry are formed in order to pursue specific project outcomes and are dismantled once project is completed. Organizations in the movie industry are highly dependent on project networks mobilization to carry out their project tasks. Since the mechanism of such mobilization process still remains unclear the main focus of this research is on how networks are mobilized in project based organization such as film making during the pre-production stage to carry out a specific project. For the purposes of the research primary data was obtained as a result of semi-structured interviews with ten people involved in the film industry in Sweden. A mixture of specific and open-ended questions allowed receiving practical insight of film initiation process and narrating industry participants’ experiences on network mobilization for a film project. During the study several factors were revealed that contribute to network mobilization process during the pre-production stage of film making as well as main activities of film making pre-production stage were discovered. The model was develop that combines the factors and pre-production stage activities to see which factors drive network mobilization for realizing each activity in this stage. The developed model permitted to analyze in details each factor and to reveal the degree of its influence on the pre-production stage in general. Results of the study show that network mobilization process is explained by several discovered factors and almost all of them help to mobilize the network to carry out each of the four activities in the pre-production stage to making a film. The study concludes that since the identified factors contribute to network mobilization for realization of almost all of the activities in the pre-production stage of a movie project then they contribute to general network mobilization process in the preproduction stage for carrying out a movie project. The discovered factors facilitate the network mobilization process and help producers to attach potential participants to their projects.

This report attempts to trace a path through my time in higher education, from an undergraduate degree in English to the completion of my Master's degree in Media studies. The report will focus on examining how school has differed from my expectations, and how my difficulties and struggles therein led me through various class models and modes of learning. In the course of retelling the projects and studies I worked on, I will compare different methods of pedagogy, from the typical grad school class to the free-form space of the ACTLab. I close by reflecting on how a report on my own time here at UT might be useful to others unsure of how grad school is supposed to go, much I was when I started out. / text

Yes / Film-making is an effective way of engaging people with dementia and improving their well-being. Andrea Capstick and colleagues explain how ‘participatory video’ gave one group an opportunity to tell their own story in film.