FILM: The Magic Lantern and the Music of Light

I have a new film online! This is a experimental visual documentary made last year to be shown at A Million Pictures, the international Magic Lantern conference in Utrecht. I’ve not uploaded until now as I’ve been showing it at various events. But now its here for all. Many thanks to the Magic Lantern Society and LUCERNA archive for all their invaluable assistance.

The Magic Lantern was an projector of information and stories than preceded the cinema. How did its visual style translate into the moving image? This film traces the aesthetic narrative from the 19th century up until the 21st, calling in at the Victorians, Melies, Welles, Godard, Spielberg and Carly Rae Jepsen. It also shows how these techniques can inspire your own creativity.


ARTIST TAKEOVER: From the Earth to the Moon

Hi all,

First update in a while, but I have been busy. Last September I toured a film history documentary round a number of academic events. This has one final screening soon, and then will be released online in the coming months!

However I currently have a new exciting piece to talk about: From the Earth to the Moon. It’s a collage film, and will be screening in an artist takeover at GENERATORprojects Dundee from the 13th-22nd April 2018.

Humankind has always dreamt of the night sky. Of the infinite freedom offered by the black void, and of the strong, shining beacon inviting us to ascend. This is a story, a history of the events that led up to our conquest of space, and the consequences throughout wider humanity.

The film is a collage. Of genres, documentary and comedy. Of media, drawing from painting and film. Of films, cannibalising all film history. Of truth, both objective and subjective. Watch the small steps and let your mind take a giant leap.


SHORT FILM: The Magician

The dawn of film provided an outlet for those already in show-business. A large number of these creators were magicians, who saw the possibility of pushing their shows into new, more impossible directions using the power of editing, and thus the “trick film” was born. The most famous of these is Georges Melies, known for A Trip to the Moon. But there were many more doing the same thing.

The thing is though, that these were “trick films” or a “cinema of attractions”, attempting to wow the audience through spectacle. There’s a lot to be said for this in comparison with our current narrative based cinema where we are asked to believe the action on screen, instead of being aware of its artifice. However, the majority of these films missed out on the possibility of using their unique look and structure to connect with deeper themes. One such missing element is politics.

When studying them then, I decided to make a film that used the sensibilities and aesthetics of the trick film and combine this with my contemporary views on modern politics and art’s role in this. And that’s: The Magician.

Melies, De Chomon, Gaga, Bjork?: Cinematic Recall by Inez and Vinoodh

In the future I plan to write a chapter of my PhD on music videos, but here’s a brief preview of sorts.

When talking of early films there’s a worry that most of their lessons and aesthetics have been absorbed in the 1920/30s into the mainstream and it’s only artists and archivists who still care about the originals. Is there anyone in the public sphere who look into the past?

We spoke before of the text uses in Sherlock being a callback to German expressionism, but there are some music video directors who go even further back. Specifically I’m looking at Inez and Vinoodh, two Dutch fashion photographers, turned directors.

Here’s just a few examples of things that hint at this influence.

Moving tattoos in Bjork’s Hidden Place similar to moving tattoos in Duck Soup (which I’m certain is based off a specific trick film that currently evades me):

Layered images of faces and moons in Biophilia reminiscent of many early films (lets take Moonlight Serenade as an example)

These become more specific in other examples. This image of Bjork is very like Fernand Leger’s kaleidoscopic effects, whose film Ballet mecanique also seems to inspire a lot of Inez and Vinoodh’s use of repeated footage in temporal jump cuts.

Along with frequent uses of iris effects:

Screen Shot 2017-05-06 at 15.34.32.png

A specifically large amount can be found in the video for Lady Gaga’s Applause such as this shot, which owes a clear debt to Watson and Webber’s Fall of the House of Usher:

And a number of colourful explosions in black and white space similar to the work of Segundo de Chomon…

…who’s influence can be seen most clearly in the superimposed giant head imagery.

While each of these examples on their own is not perhaps convincing, together they should duo consistently interested in revisiting the trick film and the avant-garde silent short, in order to recapture the aesthetics of spectacle inherent in that era. Pop music and fashion are now explosive genres that need to hit the viewer with exciting and different visuals, in the same way the classic trick film brought in punters at the shows and the Avant-garde tore down established filmmaking techniques.

100 years on and they’re still relevant, that’s what thoughtful and experimental visuals can do.

More Inez & Vinoodh can be found here.

UPCOMING SHOW: 12d (April 17-27th)

For a change from discussing past events, here’s an advert for a future piece. Those of you in Scotland, and specifically the Tayside area can pop by the Dundee Contemporary Arts Centrespace from the 17th-28th April to spy my latest film/painting installation piece.


The screen is not a boundary.

[In our lives we watch, we think, we exist. These overlap. The worlds of the screen and our minds are one. Our different choices could all be happening, mentally or literally. The screen is not a boundary, instead it joins. It is a portal to other possibilities, to other imaginations, to other worlds.]

[I am an artist and PhD Researcher at the University of Dundee. My work uses layered images and multiple screens, connecting painting and film work.]

[My latest work, “12d” is an installation piece made up of multiple screens, paintings and household objects to provide an experience of many worlds, the freedom of film and multiple facets of the human mind.]

[It is on display in the DCA Centrespace (Floor LG, downstairs from the bar) from the 18th-27th April, 10am-4.30pm each weekday and 12-4pm on Saturday. Throughout this time will be three talks on the techniques and themes (dates and times TBC).]

[First however, is an opening event on the 17th April. This will take place in the Centrespace from 6-8.30pm and refreshments will be provided. All are welcome.]”

A FB event page is available here:

Beginners Guide to Digital Layering

This is quick guide of how I do my layering to those who’ve never opened Premiere. There’s no great mystery technique here that you couldn’t discover elsewhere or anything too technical. If you’re an old hand at these methods and want to discuss it in more detail, drop me an email.

In my films the general software I use is Adobe Premiere Pro. This is my favourite due to the easy to use layering. In the timeline it’s a simple matter of putting each image on top of the next.


This leaves you with an opaque image on top of another opaque image. If you simply want to create a double exposure, then you turn down the opacity and hey presto.


For the more specific layering you can change the size of each image. Change the top layer to 90% and you have a frame within a frame.


Move it to the side and shrink it to 40% and then you can make images like this.


For a complex shape you can add an opacity mask. This makes only the area within the mask visible, the rest is 100% transparent.


With enough time, manipulating the rotation, position, scale and the corners of the mask, the image can then be manipulated to fit any shape.


And that’s it. All my layering is achieved through these simple techniques. For the kind of films I make there are often large amounts of layers and masks, with colour correction and visual effects on each. Also I often move the masks frame by frame to match the image they are layered upon. It’s painstaking and time-consuming, but the basics are easy to grasp. This basis is helpful to explain other most complex aspects in more detail, and hopefully interesting for those of you not versed in editing software.

FILM: ‘Untitled’ – My Degree Show Film

Finally I’m able to post this. People have been asking for while, but due to film festival commitments I wasn’t allowed to release it publicly until now.

This is the film that I may for my Masters Degree Show in August 2016. It was orginally displayed in a darkened enclosed space with benches, projected onto a large wall. In a room next to the projection, the set used for filming was left in the state it is seen in the final images of the film.

I’ll be returning to this film a few times over the next few weeks to explain how certain elements were achieved, why, what worked and what could’ve been better. For now though, here it is:

Thanks to all involved, full credits in video description.

“Remember Only Thy Last Things”: Cinematic Memory in Joyce’s “Portrait of the Artist”

Last Monday I posted a short adaptation of an extract of Portrait of the Artist and promised an essay to accompany. Now, the thrilling conclusion. This will cover the cinematic aspects of his aesthetic and comparison to aspects of my adaptation, as well as looking at a number of multi-layered image films.


James Joyce has been described as the “most cinematic” of the modernist writers. As one of the “foremost representatives” of the movement, it seems fitting his work parallels film, the most “modern” medium of his time, both defying traditional forms of representation. As well as their mutual focus on visual experimentation, much of Joyce’s portrait_cover_2style is directly comparable to cinematic technique. His imagery often draws on the relationship of light and shadow, even from his earliest childhood works. While his luminous imagery may have begun in the era of the zoetrope and magic lantern, the more complex optical descriptions in Joyce’s later work contain direct parallels with cinema itself. Specifically, this essay will examine 1914’s A Portrait of the Artist as a Young Man. Here, such cinematic imagery is mixed with another filmic technique: the flexibility of time. Portrait’s temporal continuity is fluid, as the novel smoothly transitions between periods of its protagonist’s life, allowing the reader to “literally wander about in time, as if it were part of a solid and seemingly permanent landscape.” This temporal fluidity is a central tenet of the cinema. Within the plot of a typical film there are often flashbacks and flash-forwards, but even the most basic film editing requires the combination of scenes and shots filmed at different times. This renders any film into a collection of different moments, similar to Stephen Dedalus’ fragmented history in Portrait. The novel’s temporal jumps, as well as its particularly cinematic imagery, are most notable when the narrative becomes a subjective memory of earlier events. This essay will therefore examine these extracts in order to explore the novel’s relationship with the cinema, and will attempt to bridge the gap between existing critical theory on both Joyce and film through their mutual association with the faculty of memory.

While written in third person, Portrait is a strong example of “sustained intra-diegetic focalization”, as all of its events are mediated through the consciousness and “mobilized virtual gaze” of Stephen. Its imagery therefore exists on different layers of interiority, with memory constituting one of the deepest. Cinematic visuals permeate all of these levels, starting with the most superficial: Stephen’s immediate perception of the external Picture1.pngworld. The experience of watching other boys playing football is described: “Then Jack Lawton’s yellow boots dodged out the ball and all the other boots and legs ran after.” The legs and boots appear independently to the boys they belong to. This example of synecdoche also parallels the cinematic close-up. Often parts of the body will be shown alone, as the action cuts between them , fragmenting the body in a similar way to Joyce’s language.

Stephen’s perceptions again parallel film when his glasses are broken and “the fellows seemed to him smaller and farther away and the goalposts so thin and far and the soft picture2grey sky so high up.” Keith Williams compares this distorted image to a similar scene in F.W. Murnau’s 1924 film The Last Laugh, in which a janitor’s vision is similarly obscured due to poor eye-sight, with his struggle to read forcing a letter’s contents to appear as individual words. These are objective “facts” of Stephen’s world, however; the next layer of his interiority comes from his interpretation of such experiences. When performing a play:

“He found himself on the stage amid the garish gas and the dim scenery,
acting before the innumerable faces of the void. […] When the curtain fell
on the last scene he head the void filled with applause and, through a rift in
side scene, saw the simple body before which he had acted magically
deformed, the void of faces breaking at all points and falling asunder into
busy groups.”picture3

The break-up of this “void of faces” has been compared to a cubist painting, such as Picasso’s Girl with a Mandolin as both feature an amorphous whole comprised of discrete shattered elements. The cinema again seems to have the most relevance, however, as Joyce’s imagery implies a process rather than an instant. Instead of a painting, this seems more comparable to the surreal multi-frame images of Alberto Cavalcanti’s Rien que les heures (1924), for instance a crowd of eyes all constantly moving and watching, and a photograph of a group being torn apart.

These examples only show Stephen’s mediation of the external world in the present moment. Joyce’s techniques in Portrait stretch beyond that, for example into dream picture6sequences, the most notable being when Stephen is taunted by Satyrs, similar to many early trick films of demonic transformation. Due to these dreams being wholly fictional constructions, the representation of memory is rendered unique due to its transformation of the real. Joyce’s manipulation of memories takes events which have occurred and defamiliarises them, turning simple human moments into visually dynamic experiences. Such memories “pass sharply and swiftly before [Stephen’s] mind”, almost becoming his reality as he retreats within them to the point that he must be re-awoken by a violent external influence. When remembering his arrival to Clongowes, Stephen is unaware of a loud football match around him, only brought back to the present by being “caught in the whirl of a scrimmage”. This implies that the memories overlay on top of Stephen’s current experiences, obscuring his view.

The most explicit example of this occurs during his friend Davin’s story of a flirtatious young woman. After Davin concludes, Stephen’s impressions of this woman are replayed upon the faces of those he passes: “The last words of Davin’s story sang forth in his memory and the figure of the woman in the story stood forth reflected in other figures of the peasant women whom he had seen standing in the doorways”. Upon being approached by a flower girl, Stephen perceives: “her young blue eyes seemed to him at the instant images of guilelessness, and he halted till the image had vanished and he saw only her ragged dress and damp coarse hair and hoydenish face.” This layering of the two girls’ picture7faces creates a multi-layered image, one covering the other. In silent cinema, this effect was comparatively common, for example allowing the camera to tower over cities in Man with a Movie Camera (1929). A more technological connection can be extracted from Alan Speigel’s claim of Ulysses’s ‘Circe’ episode, that Joyce “projects the unconscious life of his protagonists outward, and all memory and desire seem to shift and glide before the eye of the reader in a dramatic and fully externalized form.” The connection of thoughts and “projection” can also be seen during the memory sequences of Portrait. Remembering often occurs in conjunction with the imagery of light sources, such as when Stephen thinks back to “the firelight on the wall of the infirmary where he lay sick”. The light helps to ‘cast’ the memory back into Stephen’s consciousness, as a cinema projector similarly reclaims the past by reproducing its image. Another example can be seen when Stephen remembers his childhood appearance: “It was strange to see his small body appear again for a moment: a little body in a grey belted suit.” This idea of Stephen seeing himself as a distanced external image adheres strongly to an aesthetic of projection. Finally, specific memories are also framed like cinematic shots. When thinking of his friend Cranly, Stephen can “never raise his mind the entire image of his body, but only the image of the head and face.” As with the legs and feet being cut off during the football match, this disconnected head is reminiscent of the camera frame cutting off parts of the body. These are only a small number of examples, but Joyce’s imagery of memory throughout the novel appears consistently comparable with equivalent cinematic techniques.

It is important to note however, that these are only comparisons. According to Spiegel, Joyce was not explicitly influenced by cinema, but rather the parallels of style that exist between the medium and the writer are due to both working on the same topics. This question of influence or parallel is beyond the purview of this essay. However, there is truth in cinema and Joycean technique sharing common themes not only in specific imagery (as seen so far), but in a broader sense of structure and intention. The very nature of cinema is temporal, the control and manipulation of time being its lifeblood, similar to the flowing time periods of Portrait. In Joyce’s original 1904 draft of Portrait he discusses the aging process as: “a fluid succession of presents, the development of an entity of which our actual present is a phase only.” This idea of fluidity is transferred over to the 1914 publication, with Stephen’s world comprised of these multiples “phases” of time which overlap and flow into one another. This is similar to Susan Sontag’s theories on photography. She claims “photography reinforces a nominalist view of social reality as consisting of small units of an apparently infinite number.” The compilation of these discrete units can be seen in a photo album, or photo book, which Sontag claims as the “most influential and way of arranging photographs, thereby guaranteeing them longevity”. A strong parallel can be seen between this and the basic structure of Portrait. Stephen’s “small units” of memories, different discrete parts of time, are brought adjacent to one another into a fluid whole. Spiegel’s ideas of the “temporalization of space”, making time a physical landscape, appear to be in agreement with this theory, with the “landscape” simply being a grander term than a photo album. Sontag, however, inaccurately claims that this makes reality “opaque”, and that it “denies interconnectedness”. Within Joyce’s work this is evidently not the case. Each memory is collected in order to provide new insight into Stephen’s present. In the following extract, filmed as a companion piece to this essay, Stephen jealously looks at his potential sweetheart:

Rude brutal anger routed the last lingering instant of ecstasy from
his soul. It broke up violently her fair image and flung the fragments
on all sides. On all sides distorted reflections of her image started
from his memory: the flower girl in the ragged dress with damp course
hair and a hoyden’s face who had called herself his own girl and begged
his handsel, the kitchen-girl in the next house who sang over the clatter
of her plates, with the drawl of a country singer, the first bars of By
Killarney’s Lakes and Fells, a girl who had laughed gaily to see him
stumble when the iron grating in the footpath near Cork Hill had caught
the broken sole of his shoe, a girl he had glanced at, attracted by her small
ripe mouth, as she passed out of Jacob’s biscuit factory, who had cried to
him over her shoulder.

Multiple images from Stephen’s past are physically laid out in front of his eyes, spatializing the past in a fashion almost identical to a set of photographs. The remembered images connect to his current experience with new found relevance. Each girl is one Stephen had a similar romantic or sexual desire for, and had been unable to act out that desire, with the complete picture being one of jealous frustration. Each individual image interacts with those around it to create a meaningful composite whole. Obviously Sontag’s theories are about photography not Joyce’s work, but showing photographs of people/locations from different times would similarly create thematic links and contrasts, so it appears that while she denies photography’s “interconnectedness”, her photo book idea is a perfect analogy to Portrait.

While Sontag’s ideas are on photography, in many ways her “photo book” is the precursor to cinema, as a film is similarly a composite whole made of collected time. This is demonstrated in my accompanying short film, as the preceding extract is transferred into equivalent cinematic techniques, bringing the “memories”, shot at different times, together into a single framepicture8. Film theorist Laura Mulvey explains this process as “Film time [being] extended and remixed out of [its] original context”. Joyce’s role in this comparison changes from a photo collector to a cinematic editor whose “work personifies the reordering and transforming of raw material”. Spiegel similarly unites the cinematic novelist and the filmmaker’s ability to “cut up space and splice” the results together. Mulvey, however, does not believe the editor reorders reality itself; instead they transform the subjective reality captured by the camera. By combining the idea of the cinema as an “image of reality across time” with reality being “unable to escape the human consciousness”, Mulvey implies that cinema is a capturing of this very human consciousness rather than an objective certainty. This relates to existing critical theory on Joyce’s work, specifically Maud Ellmann’s conception of Portrait not as an attempt to “express, represent, reconstitute or describe ‘experience’ or ‘reality’, but to construct it.” The world of both the cinema and of Portrait is one inspired by reality, but not of it. This idea appears to originate within the text itself, when Stephen talks of how a person sees the world, expounding:

In order to see that basket […] your mind first of all separates the
basket from the rest of the visible universe which is not the basket.
The first phase of apprehension is a bounding line drawn about the
object to be apprehended. An esthetic image is presented to us either in
space or in time. […] Temporal or spatial, the esthetic image is first
luminously apprehended as self-bounded and self-contained upon the
immeasurable background of space or which is not it. You apprehended it
as one thing.

Once one has focused on an individual object and separated it from its surroundings, then it is no longer part of objective reality. Naturally the world has no framing devices, those we observe are created by human perception itself. Just as a film is no longer the subject as their image ceases to exist in the physical world, Stephen’s memories are no longer “really” occurring as they are removed from their original context. Both the cinematic image and the Joycean memory are moments “removed from the continuity of historical time.”

The fact they are not representative of objective reality brings in a level of uncertainty to Joyce and cinema, allowing mistakes or even lies to be propagated. Ellmann explores a specific example of this within Stephen’s train journey in Chapter 2: “Stephen was once again seated beside his father in the corner of a railway carriage at Kingsbridge.” She focuses on the inaccurate wording, noting:

‘Once again’ is a curious sleight of hand: Stephen has never shared
a railway carriage with his father in the text before. This is a first time
masquerading as a repetition. […] This passage does not repeat a real
event, but a dream that Stephen had at Clongowes. […] Just as the
beginning of Stephen’s story is another story, so here the real train evolves
out of the dream. This order makes a fiction of experience.

If the earlier example is a dream, then the mental faculty which labelled this as a “repetition” is flawed. When decided whether to accept a religious vocation, Stephen’s memory similarly fails to picture the face of “Lantern Jaws”, seeing it as “an undefined face or colour of a face” which forms into an “eyeless and sour-favoured and devout” face with little physical detail. Earlier he attempts to reclaim a memory of his youth only to discover it “grew dim” and he could not “call forth its vivid moments”. These examples of memory “degenerating into images and echoes of themselves” all effect Stephen’s present decisions and feelings. Joyce is therefore commenting upon the fragility of memory and how this frailty can influence decisions made years on. Mulvey tackles a similar idea in her work. If the composite whole of a film is the “art of the index”, it is an index comprised of “human consciousness”, and therefore cannot be objectively reliable. When discussing Man with a Movie Camera, Mulvey quotes the director Dziga Vertov’s assertion that cinema renders “uncertainity more certain.” This implies cinema fixes the human consciousness into an objective reality, the film itself, allowing for the transfer of meaning. MWAMC however, does not display the “real” world, instead being a work of indexSoviet propaganda. It is a City Symphony film, displaying life in Russian cities, and the specific shots used only show the good sides of such a life. The time captured, the memories used, are all of happy and productive citizens, proving the “meaning” imparted by the cinema need not be the objective truth. Similarly Joyce allows for inaccurate memories which falsely influence Stephen when he reinterprets them. For instance, when remembering his school years Stephen “recognized scenes and persons yet he was conscious that he had failed to perceive some vital circumstance in them”, replaying these memories to gain new insight into his childhood experiences to help him decide whether to become a priest. Ellmann claims this as similar to Freud’s ideas of repressed memories and delayed action, a theory Mulvey also uses to describe cinema. Mulvey states the “storage function [of cinema] may be compared to the memory left in the unconscious by an incident lost to consciousness. […] Both need to be deciphered retrospectively across delayed time”, precisely paralleling Ellmann’s evocation of Joyce’s “literature administering deferred effects”. Joyce uses this psychoanalytic theory to comment upon the unreliable of memory, an unreliability that is deeply ingrained into the very basic nature of film itself. Spiegel is therefore correct, cinema and Joyce are both working from the same basis, the human experience of memory, with their techniques and structure being exceptionally similar to the extent that parallel critical theory exists on both.

Portrait then is a perfect example of Joyce’s cinematic similarities, whether conscious or not. The specific imagery of Stephen’s experiences matches with examples which can be seen in various early silent films, especially when exploring the faculty of memory. Joyce’s memory imagery and structure have a particular affinity with the cinema, but it is clear that this is neither an accident nor Joyce simply copying cinematic technique. Instead it is a deeper thematic and almost philosophical connection, each using the unreliability and visually dense properties of the subjective experience of memory in equivalent manners. This solidifies film’s reputation as the modernist medium, as the same thought processes Joyce used to write Portrait are those at the basis of cinema. Memory therefore becomes the bridge that unites Joyce, the cinema, and their respective critical theories.


As I always note with re-printed essays, this was written one year ago. I stand by my points, but some could have be elucidated more precisely and more accurate cinematic examples.

SHORT FILM: Extract from “A Portrait of the Artist”

Next week I’ll post the essay this piece was a companion piece to. For the moment, here is an adaptation of a segment of James Joyce’s A Portrait of the Artist as a Young Man. The essay will touch upon why this extract was chosen and why Joyce’s work is particularly cinematic/multi-layered. For now just enjoy.

Rude brutal anger routed the last lingering instant of ecstasy from
his soul. It broke up violently her fair image and flung the fragments
on all sides. On all sides distorted reflections of her image started
from his memory: the flower girl in the ragged dress with damp course
hair and a hoyden’s face who had called herself his own girl and begged
his handsel, the kitchen-girl in the next house who sang over the clatter
of her plates, with the drawl of a country singer, the first bars of By
Killarney’s Lakes and Fells, a girl who had laughed gaily to see him
stumble when the iron grating in the footpath near Cork Hill had caught
the broken sole of his shoe, a girl he had glanced at, attracted by her small
ripe mouth, as she passed out of Jacob’s biscuit factory, who had cried to
him over her shoulder.

Sherlock vs. Dr Mabuse, The Hypnotist


That title may be mildly misleading in terms of how exciting this post will be.

I was struck while watching the new Doctor Who spinoff Class by a scene in which a character’s texts are shown on screen when their phone is shattered.

This is a technique seen often in modern TV, popularised in Sherlock. Here the words of texts are displayed onscreen, but Holmes’ thought processes are also expounded in a similar way.

These techniques appear in a world in which quick visual storytelling is popular, where close ups on phones and interior monologue voice-overs are somewhat passé. It seems fitting then that they return to tricks seen originally in the silent era, another period of technological and dramatic innovation. Words appearing on screen were not limited to intertitles.Often they would appear over the image.Untitled.png

To specifically connect with the modern usage, this happened for two purposes.First was when a radio signal was being broadcast but on other occasions the technique was used to relay the thoughts of characters. As early as The Cabinet of Dr Caligari this madness of the Doctor is literally displayed when his thoughts appear around them.

Later this can be seen as Dr Mabuse hypnotises various characters in his titular 1922 film and later his instructions appear haunting a victim into committing suicide. Character’s thoughts haunt them as semi-physical manifestations are displayed as text in a very similar form to Sherlock.

When sound cinema’s techniques have become overused, the creators of these modern shows looked back to the silent film for inspiration. Far from creating a fantastic new mode of storytelling, they are simply honing skills founded in the past, skills that were originally discarded as old fashioned. It’s also important to note then that while silent cinema’s less realist imagery had vanished from the mainstream, if this aspect can be re-appropriated into one of TVs most popular programmes, then others can return to populist culture as well.