Thursday 8th October 2015 Derek Johnson. Queen’s University Belfast. ‘Season, Landscape and Identity in the BBC Ghost Story for Christmas’

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Through the 1970s, and with a couple of revivals in the 2000s, the BBC ran a series of annual programmes known by the umbrella title The Ghost Story for Christmas. These were mostly directed by Lawrence Gordon Clark, and mostly adapted from the work of M.R.James. These productions draw on aspects of season and identity in a number of ways, which will be explored in this talk, with a particular consideration being given to the role of landscape and nature in the productions.


Derek Johnston is Lecturer in Broadcast Literacy at Queen’s University, Belfast. His research largely examines the history of broadcasting, particularly in the UK and particularly of science fiction and horror programming. Most recently he has been examining seasonal broadcasting, with his monograph Haunted Seasons: Television Ghost Stories for Christmas and Horror for Halloween (Palgrave, 2015) focuses on the ways that the timing of horror broadcasts connect to different cultural practices and expectations. He is currently editing a special issue of the Journal of Popular Television on seasonal television, as well as a follow-up dossier for the same journal.


Thursday 8th October 2015_4pm- Studio space (Room 102) Minghella Building


A review of My Square Lady by Gob Squad at Komische Oper Berlin- Louise LePage

My Square Lady by Gob Squad at Komische Oper Berlin on Sunday 5th July 2015

My square lady_Gob squad_Komische Oper

(photo courtesy of iko freese /

On Sunday 5th July 2015, I went to see an ‘opera’ in Berlin, inspired by My Fair Lady, the musical based on George Bernard Shaw’s Pygmalian, which presents a story about a young woman’s education to become a full human being (from a certain patriarchal, Western, and classist point of view!). In this production, the individual being educated is Myon (pronounced: Miew-on), a diminutive humanoid robot about the size of a 7 year-old child (1.25m tall and weighing 15kg). Its technological makers (who belong to the Neurorobotics Research Laboratory at Humboldt University in Berlin) are developing Myon’s intelligence and understanding, of a sort; meanwhile its theatrical directors/devisors – the performance collective, Gob Squad – have sought to educate Myon to express himself as human. Sharon Smith, one of Gob Squad’s members, told me that although the robot started out as a theatrical conceit, it became much more than this as the group began to ask: ‘Can she feel, think, and appear as if she’s emoting?’

The slippages apparent in the references to Myon above – between Myon as a ‘he’ versus a ‘she’, and between Myon as an entity capable of emotion versus one that is incapable of it – are crucial to the production, which asks the audience to reflect upon what it means to be human. It also asks related questions about performance, agency, and self. It contemplates, for example:

What is memory?

How do we remember things?

How do photographs work?

What is free will?

Who is responsible for Myon’s behaviour? Who is in charge here? (Answer: the stage manager!)

When you act, what is more important: to show or feel emotion? 

My Sqaure Lady 2

(photo courtesy of iko freese /

In answering this last question, several of the opera singers spoke, during the show, about how they did both: feel and show the emotions of their characters; however, one of the singers insisted that he just showed, but did not himself feel, emotion during his performances. Does it matter that the performer (human or robot) does not feel things, so long as his expression is indicative of feeling and makes the audience feel? Whatever the answer to this question, it would appear to indicate that the gap between Myon and the singer is closer in some ways than we might think. Should we consider Myon a performer?

One of the most remarkable features of this performance was the use of the projection screen hanging above the stage, which showed Myon’s first-person perspective – both his recorded and his live point of view of the world. We saw projected the individuals he met in his past, and those he encounters live on the stage. Myon is central to our access to these people and experiences – he is its subjective mediator. The precise technological form of this direct audience address prompts us to wonder what it feels like to be Myon. What identity is indicated by these peoples’ attitude to him? What is it like to be Myon? Certainly, this first-person view seems to posit a subjectivity: these filmed experiences are kinds of memories and, collectively, they prompt us to wonder if they might be sufficient to compose a conscious person. Is Myon the sum total of these autobiographical experiences? (Is this what a human individual is?) And is Myon learning from these experiences?

My Sqaure Lady

(photo courtesy of iko freese /

Sarah Thom, another member of the Gob Squad collective, had the following to say about the nature of Myon in the after-show talk:

[My Square Lady] makes it clear that Myon is the product of a team of people. It’s interesting to see Myon as a projection screen of all that’s been put into him and thereby see what it is to be human. What I see isn’t this plastic form but the human behind it, which reflects back to me. This is a very human experience.


For further information about the production and about Gob Squad, you can visit:

You can also find details about the production from the Komische Oper Berlin’s webpages:

Note about my research arising from my trip to Berlin to see My Square Lady:

I am in ongoing communication with the members of Gob Squad and my interviews with them will be published in due course, as will a fuller account of this fascinating production (including its implications for performance and our understanding of human beings and robots as we arrive at the cusp of what Hans Moravec has called ‘The Age of Robots’). I also plan to discuss My Square Lady further in my forthcoming book, Beyond Character: A Posthuman Drama. Meanwhile, a chapter on robot performers is forthcoming: ‘“Thinking Something Makes It So”: Performing Robots, the Workings of Mimesis, and the Importance of Character’, in the book, Twenty-First Century Drama (to be published by Palgrave in 2016). This chapter looks at the place of drama and, in particular, naturalism, in establishing audience belief and empathy for humanoid robots.


Louise LePage

9 July 2015

Invitation to the Official Launch of the research project: IntermIdia

Towards an Intermedial History of Brazilian Cinema: Exploring Intermediality as a Historigraphic Method

Funded by the Arts and Humanities Research Council (AHRC) and the São Paulo Research Foundation (FAPESP)

University of Reading PI: Lúcia Nagib, Co-Is: John Gibbs, Lisa Purse, Alison Butler

Federal University of São Carlos PI: Luciana Araújo, Co-Is: Samuel Paiva, Flávia Cesarino Costa, Suzana Reck Miranda.

Project partners: Tate; Reading Film Theatre; Cinemateca Brasileira.

Start date: 1st October 2015, for 42 months.

Project Summary:

This project will focus on cinema’s nature as a mixture of arts and media in order to produce the first, groundbreaking intermedial history of Brazilian cinema. It will also explore the uses of intermediality as a historiographic method applicable to cinema as a whole. To that end, it will bring together scholars from the University of Reading (UoR) and the Federal University of São Carlos (UFSCar), as well as 3 PDRAs, combining expertise in cinematic intermediality, Brazilian cinema, film history, film theory, film and music, film and theatre, film and visual arts, and film and popular culture.

Intermediality has never been applied to cinema as a historiographic method, which is being proposed in this project as an entirely original and promising avenue. Broadly speaking, ‘intermediality’ refers to the interbreeding of artistic and technical medial forms. In this project, it will be used both to indicate film’s mixed nature and to give pride of place to those film phenomena in which hybridity is particularly notable. The focus will be Brazilian cinema, which from its early days has combined extra-filmic artistic and cultural forms, resulting in an original aesthetic blend. Artists coming from theatre, opera, dance, music, circus, radio, television and the plastic arts left a distinctive mark on film production in the country, apparent in practices such as: the 1920s movie prologues; the chanchada musical comedies of the 1940s-60s; the 1950s productions from the studios Maristela, Multifilmes and Vera Cruz; the Tropicália cinematic outputs, spanning the 1960s-80s; the 1990s árido movie production; and the contemporary wave of music films. The investigators will conduct intensive archival and filmographic research on these periods, as well as interviews with relevant artists and experts, so as to substantiate the premise that these hybrid phenomena break the boundaries between local and imported traditions, high and popular cultures, passive and active spectatorship, ‘classical’ and ‘modern’ narrative forms, constituting a democratic space par excellence for artistic and social expression.

Through the organisation of conferences and numerous publications, the project will benefit academics and researchers willing to find new ways of understanding film history away from evolutionary and hierarchical schemes. The project will also benefit the general public through impact events at Tate Modern, the Cinemateca Brasileira and the Reading Film Theatre.


Programme: 30 September 2015

Cinema, Minghella Building (Whiteknights Campus)

17:30 – Introduction by Professor Steve Mithen (UoR PVC Research)

17:40 – Presentation of the Project by Professor Lúcia Nagib (UoR PI)

18:00 – Presentations by Dr John Gibbs, Dr Lisa Purse, Alison Butler (UoR Co-Is)

18:15 – Virtual presentations by Dr Luciana Araújo (UFSCar PI), Dr Flávia Cesarino Costa, Dr Samuel Paiva, Dr Suzana Reck Miranda (UFSCar Co-Is)

18:45 – Wine Reception


Prologues at Rio de Janeiro's Cinelandia_1926