Suchergebnisse

Intro -- Title Page -- Contents -- Dedication -- Preface to the new edition -- Prologue:: A tale of two schools -- Part I: 'You can't say that' - walking on eggshells -- Part II: Creating the Snowflake Generation -- Part III: Letter to a generation -- Copyright.

From 1989 to 1998, the artist Sadie Benning created nine video artworks using a Fisher-Price PXL-2000 camera, which records to audiocassette. The resulting video format is known as Pixelvision. This essay, written by video archivists, reviews the history of these works through the lens of audiovisual media preservation, and emerges from research and a series of interviews with the artist and other stakeholders. It aims to create a foundation for a collection assessment of Benning's early video works, and explores the feasibility of preserving them. With this in mind, the essay traces the creative and technical processes involved in the production, exhibition, conservation, and distribution of such precarious media works, and discusses the innovative, ephemeral, and ultimately vulnerable media created by the PXL-2000 camcorder. This is a study of the fleeting nature of media technology, personal and social histories, and the meaning contained in audiovisual works of art.

This paper reports on findings derived as part of a two-year project funded by the European Union's Daphne III scheme, involving collaboration between seven partner organisations across six European countries. The project involved an evaluation, using questionnaires and focus groups, of domestic abuse prevention education programmes delivered in schools in the UK, France and Spain. This paper presents the findings from the UK focus group discussions, conducted with young people aged 10-11 years, and 13-14 years to explore their opinions about the intervention delivered in their school. The focus groups revealed the following challenges for service providers in this area: young people can misunderstand issues related to domestic abuse, especially the role of power and control within relationships; there is a tension between educators giving young people free expression to share their opinions and challenging sexism and other prejudices; and boys can become disengaged with gender-based interventions. These issues point towards three key considerations when implementing a domestic abuse prevention education intervention: programme content (the what); the teaching methods used (the how); and whether teachers or external organisations should deliver the programme (the who). © 2013 The Author(s). Published by Routledge.