The document discusses British national identity and how it is represented and constructed through British cinema. It notes that British identity is complex with regional, ethnic, and other identities. British cinema plays a key role in portraying Britain to the world. Some films promote a nostalgic "heritage culture" view of Britain, while others represent youth culture, regional and ethnic communities, and a more modern, multicultural Britain. More recently, British films have had both cultural and commercial success by appealing to international as well as domestic audiences.
Multicultural Britain 2012 by http://www.mediareach.co.uk
In 2003, the IPA Ethnic Diversity Group published its first major collaborative work on ethnic diversity which looked at the employment, portrayal and economic value of ethnic minorities. This was followed in 2010 with an update entitled The marketing opportunities for advertisers and agencies in multicultural Britain. This latest report, published in October 2012 to coincide with the release of the first 2011 ONS Census figures in July 2012, profiles black and minority ethnic (BME) Britain, the ethnic media landscape and marketing opportunities.
Synthetic Fiber Construction in lab .pptxPavel ( NSTU)
Synthetic fiber production is a fascinating and complex field that blends chemistry, engineering, and environmental science. By understanding these aspects, students can gain a comprehensive view of synthetic fiber production, its impact on society and the environment, and the potential for future innovations. Synthetic fibers play a crucial role in modern society, impacting various aspects of daily life, industry, and the environment. ynthetic fibers are integral to modern life, offering a range of benefits from cost-effectiveness and versatility to innovative applications and performance characteristics. While they pose environmental challenges, ongoing research and development aim to create more sustainable and eco-friendly alternatives. Understanding the importance of synthetic fibers helps in appreciating their role in the economy, industry, and daily life, while also emphasizing the need for sustainable practices and innovation.
Read| The latest issue of The Challenger is here! We are thrilled to announce that our school paper has qualified for the NATIONAL SCHOOLS PRESS CONFERENCE (NSPC) 2024. Thank you for your unwavering support and trust. Dive into the stories that made us stand out!
The Roman Empire A Historical Colossus.pdfkaushalkr1407
The Roman Empire, a vast and enduring power, stands as one of history's most remarkable civilizations, leaving an indelible imprint on the world. It emerged from the Roman Republic, transitioning into an imperial powerhouse under the leadership of Augustus Caesar in 27 BCE. This transformation marked the beginning of an era defined by unprecedented territorial expansion, architectural marvels, and profound cultural influence.
The empire's roots lie in the city of Rome, founded, according to legend, by Romulus in 753 BCE. Over centuries, Rome evolved from a small settlement to a formidable republic, characterized by a complex political system with elected officials and checks on power. However, internal strife, class conflicts, and military ambitions paved the way for the end of the Republic. Julius Caesar’s dictatorship and subsequent assassination in 44 BCE created a power vacuum, leading to a civil war. Octavian, later Augustus, emerged victorious, heralding the Roman Empire’s birth.
Under Augustus, the empire experienced the Pax Romana, a 200-year period of relative peace and stability. Augustus reformed the military, established efficient administrative systems, and initiated grand construction projects. The empire's borders expanded, encompassing territories from Britain to Egypt and from Spain to the Euphrates. Roman legions, renowned for their discipline and engineering prowess, secured and maintained these vast territories, building roads, fortifications, and cities that facilitated control and integration.
The Roman Empire’s society was hierarchical, with a rigid class system. At the top were the patricians, wealthy elites who held significant political power. Below them were the plebeians, free citizens with limited political influence, and the vast numbers of slaves who formed the backbone of the economy. The family unit was central, governed by the paterfamilias, the male head who held absolute authority.
Culturally, the Romans were eclectic, absorbing and adapting elements from the civilizations they encountered, particularly the Greeks. Roman art, literature, and philosophy reflected this synthesis, creating a rich cultural tapestry. Latin, the Roman language, became the lingua franca of the Western world, influencing numerous modern languages.
Roman architecture and engineering achievements were monumental. They perfected the arch, vault, and dome, constructing enduring structures like the Colosseum, Pantheon, and aqueducts. These engineering marvels not only showcased Roman ingenuity but also served practical purposes, from public entertainment to water supply.
2024.06.01 Introducing a competency framework for languag learning materials ...Sandy Millin
http://sandymillin.wordpress.com/iateflwebinar2024
Published classroom materials form the basis of syllabuses, drive teacher professional development, and have a potentially huge influence on learners, teachers and education systems. All teachers also create their own materials, whether a few sentences on a blackboard, a highly-structured fully-realised online course, or anything in between. Despite this, the knowledge and skills needed to create effective language learning materials are rarely part of teacher training, and are mostly learnt by trial and error.
Knowledge and skills frameworks, generally called competency frameworks, for ELT teachers, trainers and managers have existed for a few years now. However, until I created one for my MA dissertation, there wasn’t one drawing together what we need to know and do to be able to effectively produce language learning materials.
This webinar will introduce you to my framework, highlighting the key competencies I identified from my research. It will also show how anybody involved in language teaching (any language, not just English!), teacher training, managing schools or developing language learning materials can benefit from using the framework.
The French Revolution, which began in 1789, was a period of radical social and political upheaval in France. It marked the decline of absolute monarchies, the rise of secular and democratic republics, and the eventual rise of Napoleon Bonaparte. This revolutionary period is crucial in understanding the transition from feudalism to modernity in Europe.
For more information, visit-www.vavaclasses.com
Embracing GenAI - A Strategic ImperativePeter Windle
Artificial Intelligence (AI) technologies such as Generative AI, Image Generators and Large Language Models have had a dramatic impact on teaching, learning and assessment over the past 18 months. The most immediate threat AI posed was to Academic Integrity with Higher Education Institutes (HEIs) focusing their efforts on combating the use of GenAI in assessment. Guidelines were developed for staff and students, policies put in place too. Innovative educators have forged paths in the use of Generative AI for teaching, learning and assessments leading to pockets of transformation springing up across HEIs, often with little or no top-down guidance, support or direction.
This Gasta posits a strategic approach to integrating AI into HEIs to prepare staff, students and the curriculum for an evolving world and workplace. We will highlight the advantages of working with these technologies beyond the realm of teaching, learning and assessment by considering prompt engineering skills, industry impact, curriculum changes, and the need for staff upskilling. In contrast, not engaging strategically with Generative AI poses risks, including falling behind peers, missed opportunities and failing to ensure our graduates remain employable. The rapid evolution of AI technologies necessitates a proactive and strategic approach if we are to remain relevant.
Instructions for Submissions thorugh G- Classroom.pptxJheel Barad
This presentation provides a briefing on how to upload submissions and documents in Google Classroom. It was prepared as part of an orientation for new Sainik School in-service teacher trainees. As a training officer, my goal is to ensure that you are comfortable and proficient with this essential tool for managing assignments and fostering student engagement.
2. Who Are We?
Britain and England are not the same.
Britain = England, Scotland, Wales,
Northern Ireland/the North of Ireland.
Regional identities.
Ethnic identities.
‘I’m British but ….’
3. Identity Crisis?
Who are we???
‘Identity only becomes an issue when it is
in crisis, when something assumed to be
fixed, coherent and stable is displaced by
the experience of doubt and uncertainty’.
(Kobena Mercer, quoted in Modernity and its
Futures, Stuart Hall, Polity 1992).
4. Components of the Crisis
Globalisation.
‘Europe’.
Northern Ireland/North of Ireland.
Devolution.
Ethnicity.
5. Culture and National Identity
‘A nation does not express itself through its
culture: it is cultural apparatuses that produce the
nation’. (James Donald, Sentimental Education,
Verso 1992).
The nation is not just a collection of institutions, it
is a system of cultural representations, a symbolic
community.
The media play a key role in this system:
Through Brit film we have become known for
heroin abuse, bowler hats, chimney sweeps, crime
capers and Football hooliganism
6. Nations and Stories
‘Nations and peoples are largely the stories they feed
themselves’. (Ben Okri, Birds of Heaven, Phoenix 1996).
‘The life of nations no less than that of men is lived largely
in the imagination’. (Enoch Powell, quoted in The Future
of Multi-Ethnic Britain, Profile Books 2000).
Nations as ‘imagined communities’.
The world has a different view of the British established
by its Film exports:
What do our films say about us?
7. What do you think this means???
What is British?
What does it mean to
you?
9. British Cinema
How British is it?
Is it cinema?
‘Commercial’ and ‘cultural’.
10. The Heritage Industry
Key texts: The Heritage Industry, Robert
Hewison, Methuen 1987; On Living in an
Old Country, Patrick Wright, Verso 1985.
Heritage culture ‘imagines’ the community
in a very particular way.
Closely linked to the Thatcherite project of
‘making Britain great again’ and returning
to ‘Victorian values’.
11. Heritage Culture
‘One of the most powerful imaginative constructs
of our time’ (Raphael Samuel, Patriotism,
Routledge 1989).
Backward-looking, nostalgic.
Rural.
White
Focussed on the upper classes.
English, and frequently southern.
A laundered, sanitised past.
‘The glamour of backwardness’ (Tom Nairn, The
Enchanted Glass, Vintage 1994).
12. Heritage Culture
Heritage representations ‘function as lures
which oppose their brilliance to the more
tawdry and divided experience of
contemporary Britain’ (Patrick Wright).
‘National Heritage is the backward glance
taken from the edge of a vividly imagined
abyss’ (Patrick Wright).
13. Heritage Culture
‘Not since the 1890s or the 1930s has the worship
of wistfulness been so widespread. And there in
part lies the explanation; then, as now, depression
is the begetter of nostalgia’ (David Cannadine,
quoted in Raphael Samuel, Theatres of Memory,
Verso 1994).
‘One of the marks of the feudal ancien regime was
that the dead governed the living. A mark of a
decrepit political system must surely be that a
fictitious past of theme parks and costume dramas
governs the present’ (Neal Ascherson, quoted in
ibid).
14. Heritage Cinema and Television
Chariots of Fire (1981)
The work of James Ivory and Ismail
Merchant (Howards End (1992), Room
With a View (1986) etc.)
Brideshead Revisited (1981,Granada
Television).
15. Heritage Cinema and Television
Continuing the tradition of the historical film, the
costume drama and the tv ‘classic serial’.
Connotations of ‘quality’ and ‘high’ culture.
A country house version of Englishness
Loving re-creation of period details.
‘The past is delivered as a museum of sounds and
images’ (Andrew Higson in British Cinema and
Thatcherism, Lester Friedman (ed.), UCL Press
1993).
16. Heritage Cinema and Television
Settings play as great a role as character and
action.
The visuals are frequently seductive and self-
consciously ‘aesthetic’.
Narrative is transformed into spectacle, which
becomes an end in itself.
‘Like a lovely day out in some National Trust
property’ (Sunday Telegraph review of Pride and
Prejudice (1995)).
‘All the classic ingredients are here; the exquisite
period settings, breathtaking photography and a
superb cast’ (video cover of Maurice (1987)).
17. Post-Heritage Historical Cinema
Historical cinema was ‘sexed’ up and re-
branded as part of the Cool Brittannia wave
of the mid to late 90s:
Braveheart (1995).
The Madness of King George (1997).
Elizabeth (1998).
Shakespeare in Love (1999).
18. ‘Re-branding’ Britain
‘We must not define ourselves solely in
terms of the past, or tradition, or what we
have inherited. Culture and personal and
national identity are every bit as much – if
not more – about the future as they are
about the past’
(Chris Smith, former Culture Minister, Creative Britain,
Faber 1998).
19. ‘Re-branding’ Britain
‘When we try to understand how our
national culture and sense of identity
intertwine, let us remember first and
foremost that diversity is one of the key
ingredients of both that culture and that
identity’ (Smith).
20. Young People
Trainspotting (1996).
Twin Town (1996)
Human Traffic (1999).
These films also represent aspects of
Britishness other than Englishness.
21. The ‘Underclass’
The work of Ken Loach and Mike Leigh.
Brassed Off (1996).
The Full Monty (1997).
Nil by Mouth (1997).
22. Ethnic Communities
Most modern cultures consist of a number of
different and distinct cultures and stories.
It has been suggested (in the report The Future of
Multi-Ethnic Britain) that Britain is best regarded
as a ‘community of communities’.
Multi-culturalism and the legacy of 9/11.
Cinema’s and television’s generally liberal stance
on ethnicity contrasts strikingly with the illiberal
views expressed by much of the press on this
issue.
23. Cool Britannia
With the arrival of New Labour in Britain there was an
upswing in re-branding Britain as a ‘cool’ place to be –
reflected in its culture (music and art as well as film) – this led
to films which moved away from the more gritty traditional
Brit Film and followed the more American-friendly path of
Four Weddings & a Funeral. Such projects led to further
professional interest in British film and more financial
investment from both local and international sources.
24. Ethnic Communities
My Beautiful Laundrette (1985).
My Son the Fanatic (1997)
East is East (1999).
The work of Gurinder Chadha.
Yasmin (2004).
25. British Cinema Today
Hollywood films account for over 70% of British box-office
takings.
The most commercially successful British films of the last 15 years
- Four Weddings and a Funeral, Trainspotting, The Full Monty,
Lock, Stock and Two Smoking Barrels, Notting Hill, Billy Elliot,
Bridget Jones Diary - have either received funding and/ or
distribution from US companies.
Working Title films are distributed by Universal.
British studios (Pinewood, Shepperton, Leavesdon) frequently
provide facilities and personnel for Hollywood films (e.g.
Gladiator, Tomb Raider).
26. The UK Film Council
The UK Film Council (UKFC) was set up in 2000 by the
Labour Government as a Non departmental body to develop
and promote the film industry in the UK. It is constituted as a
private company limited by guarantee governed by a board of
15 directors and is funded through sources including the Lotto.
In its own words, the aim of UKFC is:
To stimulate a competitive, successful and vibrant UK film
industry and culture, and to promote the widest possible
enjoyment and understanding of cinema throughout the nations
and regions of the UK.
UKFC has a mandate that spans cultural, social and economic
priorities.
http://www.ukfilmcouncil.org.uk/