The chapter addresses: What Is a Motion Picture?; What Is an Instructional Video?; What Is the Role of Instructional Video in Education and Training?; Are Instructional Videos Effective? And How Can We Design Effective Instructional Videos?

This chapter examines Elizabeth Bowen’s relationship to audiovisual art forms. Given Bowen’s own relative lack of interest in film, one may wonder why adaptation should be included in an overall analysis of her work and its impact. One argument is largely commercial: be it through television, film, or radio, dramatisations of Bowen’s works contribute to increased public scrutiny of her fiction. For those already familiar with Bowen’s fiction, adaptations revitalise readings of her fiction. How her texts correspond to traditions and tropes of other media tells us much about the interplay of genres – from novel of manners and social satire to spy story or historical fiction – as they manifest themselves in the traditions of those media. Ultimately, an adaptation is also an interpretation and analysis of its source text. This examination of adaptations focuses on The Last September and The Heat of the Day, two of Bowen’s most-read works. These adaptations are the best known and most accessible audiovisual adaptations of her fiction.

Chapter 4 considers how race and racism were presented in post-war television and film. Much of this chapter focuses on blacking-up practices on television, the success of The Black and White Minstrel Show with white audiences, and its defence by white producers, audiences and the press, when Black audiences in Britain protested against it in 1967 through the Campaign Against Racial Discrimination (CARD). It also traces the post-war life of the empire film content discussed in Chapter 2, when these films were consistently broadcast on both the BBC and ITV before the watershed and at ‘family viewing times’. The chapter also examines the broader enduring popularity of blacking-up practices on screen in the post-war period.

Chapter 2 outlines what ultimately made it to the screen when presenting racialised people, places and themes to British audiences from 1900 to the end of World War II. It concentrates on the thinking behind the production of the popular empire feature films, documentaries about empire and home movies of blacked-up Britons in the early twentieth century by white Britons such as John Grierson at the Empire Marketing Board and GPO Film Units, and William Sellers, director of the Colonial Film Unit during World War II. The chapter further outlines the ‘counter-storytelling’ that audiences of colour offered when encountering this material in film screenings in both Europe and the colonies and their varied responses to the racism on screen, including laughter.

In 1969, Franco Zeffirelli invited Cohen to Italy to discuss scoring his film Brother Sun, Sister Moon. The collaboration did not advance, but in 1971 German director Rainer Fassbinder used Cohen’s songs for Beware the Holy Whore. A few years later, Robert Altman chose to use four songs from Cohen’s first album for the soundtrack of McCabe and Mrs. Miller (1971), for which Cohen also wrote some new material that Altman did not use. Since then, Cohen’s songs have been used in over 300 films and TV episodes. Roger Young’s Kiss the Sky (1998) includes eight Cohen songs on the soundtrack, and the film echoes themes that run throughout Cohen’s work. Sarah Polley’s Take This Waltz (2011) was inspired by Cohen’s song. “Hallelujah” has been used prominently in numerous films and television episodes, including Shrek, The West Wing, and Saturday Night Live. Cohen was also directly involved in the production of several films, including I Am a Hotel (1983), which features the surreal interactions of several sets of lovers at a hotel. This chapter explores the relationship of Cohen’s music and lyrics to these films and assess their role in his career.

Cultural exchange was another critically important mechanism for influencing popular emotions. This chapter looks at Sino-North Korean exchanges in theater, film, and the arts. It argues that these exchanges reached large audiences in both countries while inculcating official emotions.

A survey of drama and performance in the period 1975-1980, with emphasis on the innovative plays and experimental productions that appeared in New York in 1976, along with consideration of surrounding developments in visual art, literature, film, and music, and attention to the politics of these transitional years.

A comprehensive examination of the plays and prose of Adrienne Kennedy, with particular focus on two works she premiered in 1976: A Rat’ s Mass / Procession in Shout, an operatic adaptation of her early play A Rat’ s Mass, composed and directed by the jazz composer and pianist Cecil Taylor; and A Movie Star Has to Star in Black and White, a play derived from Kennedy’s fascination with Hollywood film and her memory of her brother’s devastating car accident. The chapter also explores Kennedy’s experiments in visual art, with particular attention to her own and her mother’s scrapbooks, her assemblage of photographed objects ("Cherished Objects from the Past"), her use of quotation, and the mixed-media nature of her manuscripts.

The Introduction provides background on Iran and on the author, including the motivations for the book and the writing process. The book is based on ten years of fieldwork in Iran conducted from the 1990s until 2007; the Introduction explains how a study of the politics of daily life became the prism for inquiring into contemporary issues of power, freedom, and agency. For nonspecialist readers, an overview of Iran’s twentieth-century political and social history offers context. For all readers, the chapter offers a case study of an interpretative method, centered on the experience of watching an Iranian film in Chicago, and speaking about it with Iranian women in Tehran.

Cinema as a mirror of postrevolutionary cultural negotiations. After the revolution, Iranian cinema becomes a shared format for national self-representation. Despite censorship and practical constraints, filmmaking developed a coded but locally recognizable language to explore tensions around class, region, gender, history, and politics. Acquiescing to censorship requirement that women actors never unveil, even when represented in private alone or with other women, filmmakers and audiences found themselves undermining the dramatic artifice of the cinematic fourth wall, the convention of invisible, passive dramatic observation taken for granted in modern filmmaking. Instead, audiences became collaborators of cultural meaning, acknowledging cinematic artifice and the possibilities of symbolic representation. Canny directors involved their viewers as conscious partners in a community of interpretation, pushing the limits of cultural critique. These self-reflexive Iranian films provide the most accurate format for reflecting on postrevolutionary national and political developments, making postrevolutionary Iranian cinema a mirror for national subjectivity and society.

In the late 1960s and early 1970s, Pierre Boulez collaborated as a commentator and conductor on a series of challenging and distinctive BBC Television programmes about twentieth-century music. This chapter discusses the range of Boulez’s appearances on British television but focuses principally on this group of visually innovative broadcasts that combine musical analysis and performance to illuminate the creative processes of composers including Debussy, Berg, Schoenberg and Webern. Boulez’s own compositions, including ‘Improvisation II sur Mallarmé’ and Le Marteau sans maître, are also imaginatively visualised, with highly distinctive camerawork and cutting-edge graphics. Created initially for the television studio and later as individual film documentaries, these broadcasts often exploit the full potential of the medium of the time. Little seen since their initial transmission, these programmes remain provocative creative resources for all those engaged with combining music and moving images.