1978
DOI: 10.22230/cjc.1978v4n4a189
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Arrogance and Impotence

Abstract: It wasn't until I engaged myself in a personal hassle with The Toronto Sun recently that I was forcibly reminded of two things - one, that "the public be damned" is an attitude that still prevails in some newspaper offices and that if you want to complain, the Ontario Press Council may sympathize, but often can't really go to bat for you. Perseverance and general bloody-mindedness are the techniques you really need to get some sort of intelligent response from the paper involved.

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Cited by 4 publications
(3 citation statements)
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“…Kress and Van Leeuwen (2006: 124–129) suggest that the ‘standard’ shot sizes used in film and television relate closely to the different fields of vision implied by Hall’s degrees of social distance. Ferguson and Ferguson (1978: 27) also suggest a correspondence as follows: If the communicator is shown in a close-up shot of the head only, this would correspond to a physical intimate space arrangement. A medium or waist shot would correspond to personal distance.…”
Section: Theoretical Background: Social Distance and Imagesmentioning
confidence: 99%
“…Kress and Van Leeuwen (2006: 124–129) suggest that the ‘standard’ shot sizes used in film and television relate closely to the different fields of vision implied by Hall’s degrees of social distance. Ferguson and Ferguson (1978: 27) also suggest a correspondence as follows: If the communicator is shown in a close-up shot of the head only, this would correspond to a physical intimate space arrangement. A medium or waist shot would correspond to personal distance.…”
Section: Theoretical Background: Social Distance and Imagesmentioning
confidence: 99%
“…In film and television, camera angles are sometimes spoken of and used in terms of these proxemic zones (see [3]; [4]). For example, extreme close-ups and close-ups may draw attention and provide a particular significance to an object or person by placing us intimately close.…”
mentioning
confidence: 99%
“…The distance from the camera to the object creates a subjective perspective that mimics the social and emotional distance from what is being filmed. Ferguson and Ferguson refer to this space as the "optical distance"; "the viewer's perception of the physical distance that would separate him from the communicator or from the event if he were actually present at the event" [3].…”
mentioning
confidence: 99%