Abstract
This paper develops a conceptualisation of institutional geographies
through participation observation and interviews in the BBC’s Natural
History Unit (NHU), and the approach of actor network theory. The
methodological and theoretical tenets of actor network theory are
examined for the insights they offer for understanding the achievements
of this pre-eminent centre for the production of natural history
films. The scope, scale and longevity of the NHU are analysed through
the means by which localised institutional modes of ordering extend
through space and over time. Drawing on empirical material, the paper
outlines three different modes of ordering, which organise relations
between actors in the film-making processes in different ways: prioritising
different kinds of institutional arrangements, material resources
and spatial strategies in the production of natural history films.
Through these three modes of ordering, and through the topological
insights of actor network theory, a series of overlapping and interlinked
institutional geographies are revealed, through which the identity
of the Unit as a centre of excellence for wildlife film-making is
performed.
Users
Please
log in to take part in the discussion (add own reviews or comments).