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No-one has yet quite agreed what to call it: livecast, live from, simulcast, alternative content, cinecast, cinemacast, streamed transmission, outside broadcast, digital broadcast cinema, ‘live’ theatre broadcast, captured live broadcast, event cinema, theatrofilm. But the phenomenon of cinema broadcasts, live, delayed and encore, is a new and striking area for the experience of Shakespeare theatre productions. Their various forms of transmission and consumption mark out crucial questions about the distribution and audiences for the event-object, whatever name we give it. The chapter looks at the techniques for filming live performance and the ways it makes meaning. It then examines examples from the National Theatre in London or from other theatres whose Shakespeare productions it distributes (under the label National Theatre Live), as well as Shakespeare’s Globe and the Royal Shakespeare Company.
How do migrants decide when to leave? Conventional wisdom is that violence and economic deprivation force migrants to leave their homes. However, long-standing problems of violence and poverty often cannot explain sudden spikes in migration. We study the timing of migration decisions in the critical case of Syrian and Iraqi migration to Europe using an original survey and embedded experiment, as well as interviews, focus groups, and Internet search data. We find that violence and poverty lead individuals to invest in learning about the migration environment. Political shifts in receiving countries then can unleash migratory flows. The findings underscore the need for further research on what migrants know about law and politics, when policy changes create and end migrant waves, and whether politicians anticipate migratory responses when crafting policy.
Godard’s extraordinary, demanding and unremittingly brilliant film, largely mocked and reviled, too often ignored, increasingly inaccessible can act as a kind of metafilmic analogy for the activity in the rest of this volume: its status not as a film of King Lear but as a film about the fragmentary possibility of making – or perhaps more accurately, not making – a film of King Lear, creating for itself a remarkably complex status as critical commentary on the materiality of what it is itself in the process of (not) creating. The chapter offers some brief comments on its commenting as a way to begin to think back over, as well as forward and beyond, the accomplishments of this volume.
The 71st in the annual series of volumes devoted to Shakespeare study and production. The articles, like those of volume 70, are drawn from the World Shakespeare Congress, held 400 years after Shakespeare's death, in July/August 2016 in Stratford-upon-Avon and London. The theme is 'Re-Creating Shakespeare'.