GarvanNotes: Difference between revisions
No edit summary |
No edit summary |
||
| Line 1: | Line 1: | ||
Achievable aims ahead of next meeting= | Achievable aims ahead of next meeting (12-1-23)= fillout prison chapter, make more granular reading. Bridge to next chapter (the column) | ||
Achievable aims ahead of next meeting: Next draft of Chapter 1 to Steve by Wed | Achievable aims ahead of next meeting: Next draft of Chapter 1 to Steve by Wed (11-1-23) | ||
Previous feedback: | |||
The mode of address is sound but there needs to more precision and substance around | The mode of address is sound but there needs to more precision and substance around | ||
Revision as of 16:47, 8 December 2022
Achievable aims ahead of next meeting (12-1-23)= fillout prison chapter, make more granular reading. Bridge to next chapter (the column)
Achievable aims ahead of next meeting: Next draft of Chapter 1 to Steve by Wed (11-1-23)
Previous feedback:
The mode of address is sound but there needs to more precision and substance around
- the prison as an instrument of colonial power
- How specifically the prison is translated into a media commodity. What happens at the prison (museum)- this suggests a method for other texts.
- of Ireland as a media commodity
What happens here?: 1) Location is decontextualised - but what remains? the semiotics serve a purpose in the context of the film 2) Location substituted the location becomes "the place where X was shot"- it is meta. 3) it engenders further media products such as = city film location tours . New Zealand - lord of the rings- London-Edinburgh, Harry Potter; Northern Ireland Game of Thrones. Real places become references to fictitious places.
How is this different from Joyce and the tower in Dublin? Material relation to history and place.
Places become part of media history.
- more reflection on the semiotics in Paddington; what is being shown; what is it signing?