The deaf community in the UK has undergone major changes in recent years, which has uprooted it from its traditional foundations, the deaf club and deaf residential school. This article examines the effect of the closure of the deaf club in Bristol, a city in the South West of England, which resulted in the loss of an important community place and spaces for deaf people in the city. Focusing on a community event celebrating Bristol’s deaf heritage organised by the research team which utilised archive materials, including archived actuality footage, this article draws on interview data elicited from participants in that event to explore the meanings connected to space and place in both past and present by the deaf community in Bristol. Concepts of the rhizome and the smooth and striated spaces of Deleuze and Guattari were found to be useful models with which to engage with the contemporary struggles of the deaf community for community recognition and organisation. We also suggest an online mapping application which enables the practice of rhizomatic cartography could be a way forward in preserving the deaf heritage and history of the city
This article aims to address the ways in which working-class and lower-middle- class British women used silent-era fan magazines as a space for articulating their role within the development of a female film culture. The article focuses on letter pages that formed a key site for female contribution to British fan magazines across the silent era. In contributing to these pages, women found a space to debate and discuss the appeal and significance of particular female representations within film culture. Using detailed archival research tracing the content of a specific magazine, Picturegoer, across a 15-year period (1913–28), the article will show the dominance of particular types of female representation in both fan and "official" magazine discourses, analyzing the ways in which British women used these images to work through national tensions regarding modern femininity and traditional ideas of female propriety and restraint
In this paper, I want to talk today about the role that the star archive plays in framing, illuminating and obscuring histories of gendered labour, focusing specifically on the transatlantic star Vivien Leigh and her dispersed archival collections. This is a good moment for thinking about Leigh, as Keith Lodwick discussed earlier in the conference. Her star image has been very prominent lately, with the acquisition of a new Leigh archive by the V&A in 2013 (open to the public as of 2014). In the same year, events celebrating her centenary saw renewed press and public attention, and Kendra Bean published a beautiful new illustrated biography. Even more recently, her face has been adorning the walls (interior and exterior) of the British Library as the poster girl for their 'Shakespeare in Ten Acts' exhibition. Extracts from the V&A archive are also currently on tour around the UK in the 'Public Faces, Private Lives' exhibition, hosted in York this past winter. Leigh's archives are nationally and internationally dispersed. Materials related to her
Existing accounts of Elinor Glyn's career have emphasised her substantial impact on early Hollywood. In contrast, relatively little attention has been paid to her less successful efforts to break into the UK film industry in the early sound period. This article addresses this underexplored period, focusing on Glyn's use of sound in her two British films, KnowingMen (Elinor Glyn, Elinor Glyn Productions Ltd., 1930) and The Price of Things (Elinor Glyn, Elinor Glyn Productions Ltd., 1930). The article argues that Glyn's British production practices reveal a unique strategy for reformulating her authorial stardom through the medium of the 'talkie'. It explores how Glyn sought to exploit the specifically national qualities of the recorded English voice amidst a turbulent period in UK film production. The article contextualises this strategy in relation to Glyn's business and personal archives, which evidence her attempts to refine her own speaking voice, alongside those of the screen stars whose careers she sought to develop for recorded sound. It suggests that the sound film was marked out as an important, exploitable new tool for Glyn within a broader context of debates about voice, recorded sound and nationality in UK culture at this time. This enabled her to portray a distinctively national brand identity through her new film work and surrounding publicity, in contrast to her appearances in American silent films. The article will show that recorded sound further allowed Glyn to performatively foreground her role as author-director through speaking cameos. This is analysed in relation to wider evidence of her practice, where she reflected on the performative qualities of the spoken voice in her writing and interviews, and made use of radio, newsreel and live performance to perfect and refine her own skills in recitation and oration.2
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