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By Dennis Schoeneborn

Powerfully pushed by way of the paintings of consulting businesses, the presentation softwear Microsoft PowerPoint is more and more used on all degrees of commercial and academic communique. however, slidewear ranks amoung the least explored media in communique stories. This learn investigates the function of PowerPoint in organizational conversation, quite when it comes to a useful drawback among its program for documentation rather than presentation reasons. This publication is a priceless reference for lecturers within the social sciences, specifically media and verbal exchange reviews, in addition to practitioners in company verbal exchange and data administration.

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Lye’s appropriation of Aboriginal art and his firm association between jazz and the body could, indeed, be seen as examples of opportunistic primitiv­ ism. 59 However, to consider A Colour Box primarily as an artwork distorts its purpose and actuality. Lye’s film has a dual address: as an art film but also as a piece of advertising. If we view the final third of the film, in which advertising text and prices float across the screen, as the witty communication of content rather than a ‘regrettably obliged’ imposition,60 we can more assuredly position Lye within a framework of mass culture.

21 By the time of A Colour Box, Ellitt had made substantial contributions of his own to British film culture. 22 Lye and Ellitt made two further films in this period, the stop-​motion Peanut Vendor (1933) and Full Fathom Five (1935, Lye’s first sustained direct film), building a greater mutual influence. For Lye, Ellitt’s formal innovations and his inter­ est in modernism were tremendous inspirations. 23 Lye would form other, similarly symbiotic relationships during his time in London, most notably with Laura Riding and fellow GPO film-​maker Humphrey Jennings.

Similarly, the party political govern­ ment becomes subsumed into the idea of the benevolent state, above divisive politics (the GPO is simply a public institution). In the same movement, the documentary film addresses the spectator as a citizen of the nation, not as a subject of one or another antagonistic class, race or sex. 81 Reconceiving the nation was a common preoccupation during the 1930s.  B. Priestley, H. V. 88 The development of modernism, a new way of understanding imagination’s relation to reality, had been irrevocably influenced by science’s capacity to photograph the microscopic world.

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