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The chapter analyses the historical mediatization of the FIFA World Cup focusing on the rhetoric of technological advancement in the televised coverage of the competition as the premier single-sport global mega-event. The chapter also critically analyses the view that televised sport is being undermined by the rise of the Internet and social media, rather arguing that television remains central to the new media digital ecology. This analysis is supported by recent evidence in the coverage of ...
First paragraph: LOCAL AND GLOBAL DOMAINS: ‘SCOTTISH’ FILM AND TELEVISION? The concepts of ‘Scottish’ film and ‘Scottish’ television provoke challenging questions about what constitutes the national dimension in culture. Attributions of national character bring complications, about history, society and culture, as well as economics, politics and psychology. This is why they tend to produce debate or dissent more often than consensus. Film and television extend further an older argument about ...
First paragraph: Avant-garde practices in Scotland have often been overshadowed by the dominance of a strong documentary tradition, and discussions of Scottish filmmaking are generally concerned with debates around national identity. These tendencies work to obscure the achievements of a number of important local filmmakers linked to the international avant-garde. This chapter will explore the work of two such figures: Orcadian poet, painter and filmmaker, Margaret Tait (1918-1999) and Scots-...
First paragraph: Daniel Foe was born into a family of a successful tradesman in 1660. As a young man he went into business too, dealing at various times in meat, hosiery, wine, tobacco, perfume, horses and bricks, often with disastrous results such as bankruptcy and imprisonment in 1692 and 1703. Defoe married in 1684 and was the father of at least six children, one of whom became a journalist, although without notable success. Foe added the prefix De to his name in 1695, perhaps, as some hav...
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