Monthly Archives: July 2016

Digital Innovation: tradition and potential in the history of cinema

Posted on by
Reply

Jessica Crosby is a PhD Student in Newcastle University School of Arts and Cultures. Her PhD is in Media and Cultural Studies, and considers the millennial generation’s engagement in a digital dialogue with popular culture. Here, she explains what Social Renewal means to her, with particular reference to the theme of Digital Innovation.

Chairs in a cinema

How has digital technology changed cinema?

To me, social renewal means taking the old alongside the new. We’ve experienced such rapid digital innovation in such a small space of time that our cultural and social landscape has been dramatically changed; whether for the good or the bad, it’s clear that we need some new definitions for our current cultural state, as well as careful consideration of just what has been altered. My own research is an exploratory study of the contemporary film audience, and the ways in which active audience practices can be manifested by interaction on social networking sites. This work must involve an appreciation of the traditions and critical history of the cinema, which as a long-standing cultural institution has had a significant role to play in our day-to-day lives. However, it cannot be denied that the nature of our viewing experiences has changed, facilitated by innovations in mobile and entertainment technology, and the act of being ‘audience’ has become an altogether more transitive, collaborative, and immersive affair. I consider these changes in light of traditional definitions of film audiences, in order to establish the progression of our film viewing habits.

The act of being ‘audience’ has become an altogether more transitive, collaborative, and immersive affair.

Emerging findings from ethnographical study have already demonstrated some interesting trends in online audience interaction, including practices of ‘ownership’ over extended aspects of the film narrative, which brings forward some interesting questions about audience agency and power. These trends speak to larger issues with audience agency in film, which has long functioned on a background of textual pleasure and passivity. What I feel is most significant about this topic however, and indeed what is significant about the focus of social renewal overall, is the attention given to digital ‘inclusivity’. This is an acknowledgement that digital innovation does not function as merely an advancement of older technology, cultural institutions or practices, but as a relationship between traditional elements and future potentials. During my time at Newcastle University I have come across a number of fellow researchers and students, as well as institutions and societies, that have shared the same sense of excitement when discussing the possibilities of digital inclusivity.

Digital innovation does not function as merely an advancement of older technology, cultural institutions or practices, but as a relationship between traditional elements and future potentials.

I have been lucky in that my PhD journey so far has introduced me to a lot of like-minds, both in my own field and without, who have been positive in discussing the ‘potential’ for digital and technological innovation in the cultural field. Though there are apparent consequences to technological growth, the communicative function of digital tech is – in my experience – most often encouraged, particularly when considered also as an academic or networking tool. For example, social media, mobile technology and networking have all figured widely in discussions on research impact, a subject that was at the heart of the recent Humanities and Social Sciences research showcase, for which I was on the organisation committee. It was clear when speaking about individual (and collaborative) impact, the potential for expanding impact both within and beyond the academic sphere was very closely tied to concepts of inclusion, exchange, communication and social policy, making platforms such as social media an invaluable asset.

Whilst the case for digital advancement is by no means cut and dry, and there are factors of transformation in this regard which need careful and close consideration, it seems clear to me that the functionalities of digital technology have opened the floor for close discussion on social interaction and design. This discussion must make room for what has already been established in this field, as well as possible innovations and developments. Taking stock seems a simple act, but it is necessary in times of such rapid change. The work done in the Institute for Social Renewal, as in other sectors of the university, shows clearly the relationship between digital interactivity and cultural enterprise, as well as the more innovative possibilities of a relationship between tradition and potential.

Jessica Crosby, PhD student in Newcastle School of Arts and Cultures

The past in the present: a Reflection on music in the English reformation

Posted on by
Reply

This blog piece is the latest in our New Voices in Social Renewal series and is by Daisy Gibbs, PHD student at Newcastle University and provides a fascinating insight into the music from an evocative period of history.

Photo of singers in Newcastle Universtiy event, featuring early music.

Simon Veit-Wilson Photography

When someone asks me what I study I usually say something like ‘Music in the English Reformation’. It may not be wholly true but people do tend to know what it means! In fact, I’m studying the music collections of Elizabethan amateurs, compiled after England officially became a Protestant country in 1559 but at a time of continuing religious change, negotiation and unrest. These collections survive in dozens of manuscripts scattered in libraries across the country, many of them copied by identifiable individuals. I’m using several case-studies to find out how and where they acquired their music and what encouraged them to choose the pieces that they did.

Helping me in my search is the fact that most of these books don’t just contain music. Many also contain marginal notes, drawings, and even poetry, and their combination of music and paratext carries a huge amount of information. Some copyists seem to have been motivated by concerns which today are all too ominously familiar: a jingoistic pride in Britishness and British art; an ‘island mentality’, and a consequent need to compete with the older and more established music industry of Europe. There are even a couple of references, in the manuscripts of the Oxford don Robert Dow, to ‘our race’, defining the British people not by citizenship but by blood. Sometimes moments like these just make you want to close the books, stop reading, and hope it all goes away. But at other times, even if we know next to nothing about the people who copied the music, we can sympathise with them, because their concerns were the same as ours are now. Among their number we find friends gathering after dinner to entertain themselves with wine and singing, students and schoolchildren copying music to learn before their next lesson, connoisseurs annotating their books with which pieces they thought the best and – in a couple of cases – rather ill-informed criticism.

But that’s not all. Some of the most intriguing books to survive are those which contain music written for Catholic church services, before the accession of Elizabeth I – music which it was now treasonous to perform in public. At this time Roman Catholics were reviled and persecuted: it was illegal even to be a Catholic priest in England and as the reign progressed, the fines for non-attendance at Church of England services were ramped up and up. Some Catholic families lived in constant fear. And yet. Although some of the copyists we can identify were Catholics, others were right at the heart of the conformist establishment, including a schoolteacher, John Sadler, and a singer in the Chapel Royal, John Baldwin. Their books show a love and appreciation for the cultural legacy of Catholicism. Though they might have strongly disagreed with what it stood for, these people could still understand its beauty and value. Even today – especially today – at a time when many are becoming increasingly intolerant of difference, we can learn from such open-mindedness.

My research will not put an end to extremism and it’s not trying to. But, in our study of these Elizabethan musicians, my colleagues and I are uncovering what must surely offer hope in times of change: a deep appreciation of a very different and at times hostile culture, its artistry and sophistication; a quiet love of the past without finding any need to revive or relive it; and the recognition that, however trying the times, those human constants of good music and good company can always provide us with an anchor of sorts; as it were, the calm in the eye of the storm.

Daisy Gibbs, student, Newcastle University