{"id":{"repo_id":"westminster","oai_identifier":"oai:westminsterresearch.westminster.ac.uk:96x15"},"canonical_url":"https://search.dev.ndltd.org/etd/westminster/oai:westminsterresearch.westminster.ac.uk:96x15","repository":{"repo_id":"westminster","name":"University of Westminster","base_url":"https://westminsterresearch.westminster.ac.uk/oai2"},"display":{"title":"Is it possible to identify a category of ‘Law Film’ and how might it be applied?","abstract":"This summary explores a large body of published work that has sought to develop both teaching and research in what has been termed film and the law or perhaps more accurately ‘cinematic justice'. The first section outlines the diversity of methodological approaches that have been used in the area generally but also within the submitted pieces that form the main body of the work. The second part outlines the problems in identifying the core material that now forms the basis of the subject. It charts the attempts to expand the base beyond courtroom drama and explores the engagement with areas of film theory. A thread that runs through the published work from start to finish has been identifying what a legal film is or might be. At the start this was not explicitly recognized as a question of genre, there was no established framework to apply. A large part of the scholarship has involved analyzing films and searching out common elements and ideas in order to invigorate the process. The third section addresses the synthesis of teaching and research that has always been a central feature of the enterprise. Developing a new ‘pedagogy’ for legal teaching seemed important - then became outdated - but now, it is argued, has the potential for a rebirth. This section makes the case for new thinking about using television material to explore the ideology within legal portrayals. The summary also reflects the author’s highly significant role in the contribution to the development of the area more generally.","abstract_html":"This summary explores a large body of published work that has sought to develop both teaching and research in what has been termed film and the law or perhaps more accurately ‘cinematic justice'. The first section outlines the diversity of methodological approaches that have been used in the area generally but also within the submitted pieces that form the main body of the work. The second part outlines the problems in identifying the core material that now forms the basis of the subject. It charts the attempts to expand the base beyond courtroom drama and explores the engagement with areas of film theory. A thread that runs through the published work from start to finish has been identifying what a legal film is or might be. At the start this was not explicitly recognized as a question of genre, there was no established framework to apply. A large part of the scholarship has involved analyzing films and searching out common elements and ideas in order to invigorate the process. The third section addresses the synthesis of teaching and research that has always been a central feature of the enterprise. Developing a new ‘pedagogy’ for legal teaching seemed important - then became outdated - but now, it is argued, has the potential for a rebirth. This section makes the case for new thinking about using television material to explore the ideology within legal portrayals. 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Developing a new ‘pedagogy’ for legal teaching seemed important - then became outdated - but now, it is argued, has the potential for a rebirth. This section makes the case for new thinking about using television material to explore the ideology within legal portrayals. The summary also reflects the author’s highly significant role in the contribution to the development of the area more generally."]},{"key":"dc:description.abstract","label":"Abstract","values":["This summary explores a large body of published work that has sought to develop both teaching and research in what has been termed film and the law or perhaps more accurately ‘cinematic justice'. The first section outlines the diversity of methodological approaches that have been used in the area generally but also within the submitted pieces that form the main body of the work. The second part outlines the problems in identifying the core material that now forms the basis of the subject. It charts the attempts to expand the base beyond courtroom drama and explores the engagement with areas of film theory. A thread that runs through the published work from start to finish has been identifying what a legal film is or might be. At the start this was not explicitly recognized as a question of genre, there was no established framework to apply. A large part of the scholarship has involved analyzing films and searching out common elements and ideas in order to invigorate the process. The third section addresses the synthesis of teaching and research that has always been a central feature of the enterprise. Developing a new ‘pedagogy’ for legal teaching seemed important - then became outdated - but now, it is argued, has the potential for a rebirth. This section makes the case for new thinking about using television material to explore the ideology within legal portrayals. 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