Karen Lury
Biographic Data
| ID | 1602863 |
|---|---|
| NAME | Karen Lury |
| GIVEN NAMES | Karen |
| FAMILY NAME | Lury |
| SIGNATURE | LURY K |
| AFFILIATIONS | University of Glasgow |
| ORCID | 0000-0002-3634-6965 |
| VERIFIED | Yes |
| TOTAL WORKS | 16 |
| TOTAL CITATIONS | 24 |
| AUTHOR COUNT | 15 |
| EDITOR COUNT | 1 |
| FIRST PUBLICATION YEAR | 1995 |
| LATEST PUBLICATION YEAR | 2020 |
| H-INDEX | 3 |
In-between and beyond
This article explores the use of digital images as part of the adoption process. Based on a series of semi-structured interviews with adoptive parents, social workers and foster carers, it explores the responses of these stakeholders and reflects on the value and effect of digital images as they are employed when a child is placed for adoption. The research reveals how the kinds of information ‘moving images’ can offer become significant, not jus…
The Zoo and Screen Media
This book is the first critical anthology to examine the controversial history of the zoo by focusing on its close relationship with screen media histories and technologies. Individual chapters address the representation of zoological spaces in classical and contemporary Hollywood cinema, documentary and animation, amateur and avant-garde film, popular television and online media. The Zoo and Screen Media: Images of Exhibition and Encounter provi…
Zoo and Screen Media
Introduction
This special ‘television’ issue of Screen reaches publication at a particularly apposite moment: anglo television studies, at least, is currently caught up in heated debate, provoked in part by the rise of ‘quality television’ – a term referring almost entirely to high-end serial dramas, often of US origin. A brief list of exemplar programmes will be familiar to many – The Sopranos (HBO, 1999–2007), The Wire (HBO, 2002–08), Mad Men (AMC, 2007–15)…
Growing up and growing old with television
lives on the (fictional) Scottish Island of Struay. Every night, before she goes to sleep, she shines a torch from her bedroom window across the moonlit bay. From out of the darkness a small light twinkles in response, as one of Katie's grandmothers, 'Grannie Island', shines a light back to the young girl. Adapted from the books by Mairi Hedderwick (first published in 1984), Katie Morag (2013-) is a recent success for CBeebies, the digital presch…
Halfway Down the Stairs
This article will explore a number of so-called “family films”—amateur productions—made in Scotland between the 1930s and 1960s. The films, currently preserved in the Scottish Screen Archive, were made by many different nonprofessional filmmakers either working on their own or as part of a local amateur cine club. while these films share characteristics with the home movie, they should not be confused with this mode of production as these films a…
A High Wind in Jamaica
film adaptation of Richard Hughes's novel, A High Wind in Jamaica (1929), there is a key sequence in which Anthony Quinnplaying the irascible pirate captain, Chavezis tussling with a ten-year-old girl, Emily, played by the child
Children in an open world
In a series of non-Western films - Times and Winds, A Time for Drunken Horses, Turtles Can Fly and Buddha Collapsed out of Shame - contemporary child figures inhabit their world in a manner that demonstrates the child's resilience and their intimacy with the land. Drawing on non-representational theory (NRT) and relating this to feminist theories of affect and subjectivity, the article suggests that these films present child figures for whom mobi…
For crying out loud’
This article addresses the representation and mediation of the child-as-subject in British reality-television ‘parenting’ programmes, focusing on the BBC's ‘The House of Tiny Tearaways.’ It suggests that the programme produces a set of discourses — surveillance, exploitation, regulation, and transformation — and that these discourses mirror the current Labour government's initiatives in relation to children and childhood. The article asks whether…
Reflecting on 'Classic Television
A response to John Corner
John Corner's discussion of television criticism is characteristically wide-ranging. In this short response, I use his observations as a starting point from which to refute certain assumptions and anxieties that seem to me to unnecessarily inhibit television criticism in the academy. For me, the important question is not just what can television criticism do but how is television criticism different from other kinds of art criticism? What is it a…
The child in film and television
If the child and stories about childhood, like psychoanalysis, have acquired a quasi-religious significance – have become our most convincing essentialism – it is perhaps because children are, as their parents always say, impossible. They want more than they can have. And, at least to begin with, they are shameless about it
Chewing gum for the ears
Television is one of the earliest ways that children gain access to popular music. The child's early experience of both music and television does not necessarily separate out 'music alone' from his or her evolving musical appreciation. The co-operation of television and popular music encourage particular modes of attention and expression for the child as both viewer and listener. Movement, gesture, and the response of the body to the visual and a…
British Youth Television
This book examines the phenomenon of ‘yoof’ television programmes such as Network 7, The Word, The Big Breakfast, Snub TV, and Gamesmaster. Between 1987 and 1995 these and other related programmes formed part of a high-profile genre that in terms of both the personnel involved and their visual style continue to be influential in British television today. Examining these programmes the author reflects on the way in which the contemporary youth aud…
Inscribing and describing performers; Youth, gender and media technologies
You perform in it. It performs for you. It performs you. So the enigmas for the performer are of the order of "Where am I?" rather than "Who am I?" (Skirrow, 1986)
Turbulent Europe
Journal Article Turbulent Europe: conflict, identity and culture, EFTSC, London, 19–22 July 1994 Get access Karen Lury Karen Lury Search for other works by this author on: Oxford Academic Google Scholar Screen, Volume 36, Issue 1, Spring 1995, Pages 56–58, https://doi.org/10.1093/screen/36.1.56 Published: 01 March 1995
British Youth Television
This book examines the phenomenon of ‘yoof’ television programmes such as Network 7, The Word, The Big Breakfast, Snub TV, and Gamesmaster. Between 1987 and 1995 these and other related programmes formed part of a high-profile genre that in terms of both the personnel involved and their visual style continue to be influential in British television today. Examining these programmes the author reflects on the way in which the contemporary youth aud…
The child in film and television
If the child and stories about childhood, like psychoanalysis, have acquired a quasi-religious significance – have become our most convincing essentialism – it is perhaps because children are, as their parents always say, impossible. They want more than they can have. And, at least to begin with, they are shameless about it
Children in an open world
In a series of non-Western films - Times and Winds, A Time for Drunken Horses, Turtles Can Fly and Buddha Collapsed out of Shame - contemporary child figures inhabit their world in a manner that demonstrates the child's resilience and their intimacy with the land. Drawing on non-representational theory (NRT) and relating this to feminist theories of affect and subjectivity, the article suggests that these films present child figures for whom mobi…
Introduction
This special ‘television’ issue of Screen reaches publication at a particularly apposite moment: anglo television studies, at least, is currently caught up in heated debate, provoked in part by the rise of ‘quality television’ – a term referring almost entirely to high-end serial dramas, often of US origin. A brief list of exemplar programmes will be familiar to many – The Sopranos (HBO, 1999–2007), The Wire (HBO, 2002–08), Mad Men (AMC, 2007–15)…
Chewing gum for the ears
Television is one of the earliest ways that children gain access to popular music. The child's early experience of both music and television does not necessarily separate out 'music alone' from his or her evolving musical appreciation. The co-operation of television and popular music encourage particular modes of attention and expression for the child as both viewer and listener. Movement, gesture, and the response of the body to the visual and a…
Halfway Down the Stairs
This article will explore a number of so-called “family films”—amateur productions—made in Scotland between the 1930s and 1960s. The films, currently preserved in the Scottish Screen Archive, were made by many different nonprofessional filmmakers either working on their own or as part of a local amateur cine club. while these films share characteristics with the home movie, they should not be confused with this mode of production as these films a…
A response to John Corner
John Corner's discussion of television criticism is characteristically wide-ranging. In this short response, I use his observations as a starting point from which to refute certain assumptions and anxieties that seem to me to unnecessarily inhibit television criticism in the academy. For me, the important question is not just what can television criticism do but how is television criticism different from other kinds of art criticism? What is it a…
Inscribing and describing performers; Youth, gender and media technologies
You perform in it. It performs for you. It performs you. So the enigmas for the performer are of the order of "Where am I?" rather than "Who am I?" (Skirrow, 1986)
Turbulent Europe
Journal Article Turbulent Europe: conflict, identity and culture, EFTSC, London, 19–22 July 1994 Get access Karen Lury Karen Lury Search for other works by this author on: Oxford Academic Google Scholar Screen, Volume 36, Issue 1, Spring 1995, Pages 56–58, https://doi.org/10.1093/screen/36.1.56 Published: 01 March 1995
British Youth Television
This book examines the phenomenon of ‘yoof’ television programmes such as Network 7, The Word, The Big Breakfast, Snub TV, and Gamesmaster. Between 1987 and 1995 these and other related programmes formed part of a high-profile genre that in terms of both the personnel involved and their visual style continue to be influential in British television today. Examining these programmes the author reflects on the way in which the contemporary youth aud…
Chewing gum for the ears
Television is one of the earliest ways that children gain access to popular music. The child's early experience of both music and television does not necessarily separate out 'music alone' from his or her evolving musical appreciation. The co-operation of television and popular music encourage particular modes of attention and expression for the child as both viewer and listener. Movement, gesture, and the response of the body to the visual and a…
The child in film and television
If the child and stories about childhood, like psychoanalysis, have acquired a quasi-religious significance – have become our most convincing essentialism – it is perhaps because children are, as their parents always say, impossible. They want more than they can have. And, at least to begin with, they are shameless about it
A response to John Corner
John Corner's discussion of television criticism is characteristically wide-ranging. In this short response, I use his observations as a starting point from which to refute certain assumptions and anxieties that seem to me to unnecessarily inhibit television criticism in the academy. For me, the important question is not just what can television criticism do but how is television criticism different from other kinds of art criticism? What is it a…
For crying out loud’
This article addresses the representation and mediation of the child-as-subject in British reality-television ‘parenting’ programmes, focusing on the BBC's ‘The House of Tiny Tearaways.’ It suggests that the programme produces a set of discourses — surveillance, exploitation, regulation, and transformation — and that these discourses mirror the current Labour government's initiatives in relation to children and childhood. The article asks whether…
Reflecting on 'Classic Television
Children in an open world
In a series of non-Western films - Times and Winds, A Time for Drunken Horses, Turtles Can Fly and Buddha Collapsed out of Shame - contemporary child figures inhabit their world in a manner that demonstrates the child's resilience and their intimacy with the land. Drawing on non-representational theory (NRT) and relating this to feminist theories of affect and subjectivity, the article suggests that these films present child figures for whom mobi…
A High Wind in Jamaica
film adaptation of Richard Hughes's novel, A High Wind in Jamaica (1929), there is a key sequence in which Anthony Quinnplaying the irascible pirate captain, Chavezis tussling with a ten-year-old girl, Emily, played by the child
Halfway Down the Stairs
This article will explore a number of so-called “family films”—amateur productions—made in Scotland between the 1930s and 1960s. The films, currently preserved in the Scottish Screen Archive, were made by many different nonprofessional filmmakers either working on their own or as part of a local amateur cine club. while these films share characteristics with the home movie, they should not be confused with this mode of production as these films a…
The Zoo and Screen Media
This book is the first critical anthology to examine the controversial history of the zoo by focusing on its close relationship with screen media histories and technologies. Individual chapters address the representation of zoological spaces in classical and contemporary Hollywood cinema, documentary and animation, amateur and avant-garde film, popular television and online media. The Zoo and Screen Media: Images of Exhibition and Encounter provi…
Zoo and Screen Media
Introduction
This special ‘television’ issue of Screen reaches publication at a particularly apposite moment: anglo television studies, at least, is currently caught up in heated debate, provoked in part by the rise of ‘quality television’ – a term referring almost entirely to high-end serial dramas, often of US origin. A brief list of exemplar programmes will be familiar to many – The Sopranos (HBO, 1999–2007), The Wire (HBO, 2002–08), Mad Men (AMC, 2007–15)…
Growing up and growing old with television
lives on the (fictional) Scottish Island of Struay. Every night, before she goes to sleep, she shines a torch from her bedroom window across the moonlit bay. From out of the darkness a small light twinkles in response, as one of Katie's grandmothers, 'Grannie Island', shines a light back to the young girl. Adapted from the books by Mairi Hedderwick (first published in 1984), Katie Morag (2013-) is a recent success for CBeebies, the digital presch…
In-between and beyond
This article explores the use of digital images as part of the adoption process. Based on a series of semi-structured interviews with adoptive parents, social workers and foster carers, it explores the responses of these stakeholders and reflects on the value and effect of digital images as they are employed when a child is placed for adoption. The research reveals how the kinds of information ‘moving images’ can offer become significant, not jus…
Art (14 works) · Sociology (13 works) · Aesthetics (9 works) · Psychology (8 works) · Visual arts (8 works) · Media studies (7 works) · Political science (7 works) · Art history (5 works) · Computer Science (5 works) · Advertising (4 works)