Ancillary academia: video shorts and the production of university paratexts

This article considers the production of media paratexts beyond the bounds of the entertainment industry. Specifically, it examines the development of video content strategy by universities, and the paratextual function that video shorts serve in the construction of institutional identity. Taking a production studies approach, the article expands the scope of paratextual analysis by exploring the development of video content by university marketers, and the role of promotional intermediaries in selling video expertise to the education market

TIME's past in the present: nostalgia and the black and white image

In 1995, the Hubble Space Telescope sent back to astronomers at the University of Arizona a series of vivid colour images of the Eagle Nebula, a dense formation of interstellar gas and dust the likes of which cradle newborn stars. As evidence that our perceptual universe, in every sense of the word, is defined by the representational powers of colour technology, the Hubble's “cosmic close-ups” are a clear case in point. Colour has become a standard representational form and hence the visual form. If so, what can be said of the recent popularity and proliferation of the black-and-white image? No self-respecting café-bar or discriminating home, it seems, can now do without a black and white print on the wall. Commercial photography and certain forms of advertising have found a new niche in black and white, and even sepia is staging a come-back. The popularity of the black-and-white image cannot be divorced from the commercial culture in which it circulates; it is a “look” and a marker of taste. Monochrome is a stylistic trend but a revealing one, especially if one considers the growing preoccupation in America with heritage and memory. Both Susan Sontag and Roland Barthes give black and white a status of authenticity judged in relation to past time “properly” captured. For Sontag, monochrome gives an image a sense of age, historical distance, and aura. She writes, “the cold intimacy of color seems to seal off the photograph from patina.” Likewise, Barthes comments on the artifice of colour, how it is a “coating applied later on to the original truth of black and white.” For both critics, monochrome is an aesthetic of the authentic figured around a basic quality of pastness

‘Show us your moves’: trade rituals of television marketing

The purpose of this paper is to examine the professional culture of television marketing in the UK, the sector of arts marketing responsible for the vast majority of programme trailers and channel promos seen on British television screens. In research approach, it draws on participant observation at Promax UK, the main trade conference and award ceremony of the television marketing community. Developing John Caldwell’s analysis of the cultural practices of worker groups, it uses Promax as site of study itself, exploring how a key trade gathering forges, legitimates and ritualizes the identity and practice of those involved in television marketing. Its findings show how Promax transmits industrial lore, not only about ‘how to do’ the job of television marketing but also ‘how to be’ in the professional field. If trade gatherings enable professional communities to express their own values to themselves, Promax members are constructed as ‘TV people’ rather than just ‘marketing people’; the creative work of television marketing is seen as akin to the creative work of television production, and positioned as part of the television industry. The value of the paper is the exploration of television marketing as a professional and creative discipline. This is especially relevant to marketing and media academics who have tended to overlook, or dismiss, the sector and skills of television promotion

TIME's past in the present: nostalgia and the black and white image

In 1995, the Hubble Space Telescope sent back to astronomers at the University of Arizona a series of vivid colour images of the Eagle Nebula, a dense formation of interstellar gas and dust the likes of which cradle newborn stars. As evidence that our perceptual universe, in every sense of the word, is defined by the representational powers of colour technology, the Hubble's “cosmic close-ups” are a clear case in point. Colour has become a standard representational form and hence the visual form. If so, what can be said of the recent popularity and proliferation of the black-and-white image? No self-respecting café-bar or discriminating home, it seems, can now do without a black and white print on the wall. Commercial photography and certain forms of advertising have found a new niche in black and white, and even sepia is staging a come-back. The popularity of the black-and-white image cannot be divorced from the commercial culture in which it circulates; it is a “look” and a marker of taste. Monochrome is a stylistic trend but a revealing one, especially if one considers the growing preoccupation in America with heritage and memory. Both Susan Sontag and Roland Barthes give black and white a status of authenticity judged in relation to past time “properly” captured. For Sontag, monochrome gives an image a sense of age, historical distance, and aura. She writes, “the cold intimacy of color seems to seal off the photograph from patina.” Likewise, Barthes comments on the artifice of colour, how it is a “coating applied later on to the original truth of black and white.” For both critics, monochrome is an aesthetic of the authentic figured around a basic quality of pastness

Pleasure and pedagogy: the consumption of DVD add-ons among Irish teenagers

This article addresses the issue of young people and media use in the digital age, more specifically the interconnection between new media pleasures and pedagogy as they relate to the consumption of DVD add-ons. Arguing against the view of new media as having predominantly detrimental effects on young people, the authors claim that new media can enable young people to develop media literacy skills and are of the view that media literacy strategies must be based on an understanding and legitimating of young people's use patterns and pleasures. The discussion is based on a pilot research project on the use patterns and pleasures of use with a sample of Irish teenagers. They found that DVDs were used predominantly in the home context, and that, while there was variability in use between the groups, overall they developed critical literacy skills and competences which were interwoven into their social life and projects of identity construction. The authors suggest that these findings could be used to develop DVDs and their add-on features as a learning resource in the more formal educational setting and they go on to outline the potential teaching benefits of their use across a range of pedagogical areas

Searching for non-Gaussianity in the VSA data

We have tested Very Small Array (VSA) observations of three regions of sky for the presence of non-Gaussianity, using high-order cumulants, Minkowski functionals, a wavelet-based test and a Bayesian joint power spectrum/non-Gaussianity analysis. We find the data from two regions to be consistent with Gaussianity. In the third region, we obtain a 96.7% detection of non-Gaussianity using the wavelet test. We perform simulations to characterise the tests, and conclude that this is consistent with expected residual point source contamination. There is therefore no evidence that this detection is of cosmological origin. Our simulations show that the tests would be sensitive to any residual point sources above the data's source subtraction level of 20 mJy. The tests are also sensitive to cosmic string networks at an rms fluctuation level of $105 \mu K$ (i.e. equivalent to the best-fit observed value). They are not sensitive to string-induced fluctuations if an equal rms of Gaussian CDM fluctuations is added, thereby reducing the fluctuations due to the strings network to $74 \mu K$ rms . We especially highlight the usefulness of non-Gaussianity testing in eliminating systematic effects from our data.Comment: Minor corrections; accepted for publication to MNRA

Deep CCD Surface Photometry of Galaxy Clusters I: Methods and Initial Studies of Intracluster Starlight

We report the initial results of a deep imaging survey of galaxy clusters. The primary goals of this survey are to quantify the amount of intracluster light as a function of cluster properties, and to quantify the frequency of tidal debris. We outline the techniques needed to perform such a survey, and we report findings for the first two galaxy clusters in the survey: Abell 1413, and MKW 7 . These clusters vary greatly in richness and structure. We show that our surface photometry reliably reaches to a surface brightness of \mu_v = 26.5 mags per arcsec. We find that both clusters show clear excesses over a best-fitting r^{1/4} profile: this was expected for Abell 1413, but not for MKW 7. Both clusters also show evidence of tidal debris in the form of plumes and arc-like structures, but no long tidal arcs were detected. We also find that the central cD galaxy in Abell 1413 is flattened at large radii, with an ellipticity of $\approx 0.8$, the largest measured ellipticity of any cD galaxy to date.Comment: 58 pages, 24 figures, accepted for publication in the Astrophysical Journal. Version has extremely low resolution figures to comply with 650k limit. High resolution version is available at http://burro.astr.cwru.edu/johnf/icl1.ps.gz Obtaining high resolution version is strongly reccomende

First results from the Very Small Array -- I. Observational methods

The Very Small Array (VSA) is a synthesis telescope designed to image faint structures in the cosmic microwave background on degree and sub-degree angular scales. The VSA has key differences from other CMB interferometers with the result that different systematic errors are expected. We have tested the operation of the VSA with a variety of blank-field and calibrator observations and cross-checked its calibration scale against independent measurements. We find that systematic effects can be suppressed below the thermal noise level in long observations; the overall calibration accuracy of the flux density scale is 3.5 percent and is limited by the external absolute calibration scale.Comment: 9 pages, 10 figures, MNRAS in press (Minor revisions