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Endnote
1 Paolo Cardullo, Rahila Gupta and Jamie Hakim, eds, London: City of Paradox (University of East London: CMRB on-line publications 3, 2012), 5.
2 Chris Arning, “Soft power, ideology and symbolic manipulation in Summer Olympic Games opening ceremonies: a semiotic analysis,” Social Semiotics 23 (2013): 523.
3 Cardullo, 5.
4 The final report published by LOCOG showed that profits eventually exactly matched losses, bringing the financial position of the Company to £nil, not to mention the boost to tourism and construction. Overall the Olympics were profitable for London. See London Organising Committee of the Olympic Games and Paralympic Games Limited 2007-2013, London 2012 Report and Accounts. 6 month period ended 31 March 2013 ( London: LOCOG, 23 May 2013), 33. https://stillmed.olympic.org/Documents/Games_London_2012/London_Reports/LOCOG_FINAL_ANNUAL_REPORT_Mar2013.PDF <accessed on 1 March 2018>
5 Pierre de Coubertin, 1892 Sorbonne Conference: “Let us export oarsmen, runners, fencers; there is the free trade of the future—and on the day when it takes place among the customs of Europe, the course of peace will have received a new and powerful support.”Quoted in John A. Lucas “Olympic Genesis: the Sorbonne Conferences of 1892 and 1894,” Olympic Review (1974): 608. http://library.la84.org/OlympicInformationCenter/OlympicReview/1974/ore85/ore85u.pdf. <accessed on 1 March 2018>
6 Tzanelli, 27.
7 Mary Grace Antony and Ryan J Thomas,“Competing constructions of British national identity : British newspaper comment on the 2012 Olympics opening ceremony,” Media, Culture and Society 37:3 (2015): 501.
8 William K. Powers, “Cosmology and the reinvention of culture: the Lakota Case,” The Canadian Journal of Native Studies 7:2 (1987): 166.
9 Powers, 166.
10 Powers, 166.
11 Jean Baudrillard, Mirror of Production, trans. Mark Poster (St Louis: Telos Press, 1975), 79.
12 “We see spring as childhood, summer as adolescence, fall as maturity, and winter as old age. On the religious or mythic level, the cycle of the seasons becomes the birth, death, and return of a divine being.” Wolf, Virginia L. “The Cycle of the Seasons: Without and Within Time.” Children's Literature Association Quarterly 10:4 (Winter 1986): 192.
13 Northrop Frye considers the Bible as The Great Mythos, “ a vision that rises above the progression from past to present into a higher form of the present, a vision of human creative power continually making the new by reshaping the old.” Northrop Frye, Myth and Metaphor: Selected Essays 1974-1988, edited by Robert D. Denham (Charlottesville: University of Virginia Press, 1990), 269.
14 In his review of Northrop Frye’s Selected Essays, John Meagher states that “literature of permanent substance recognizably preserves the authentic aspiration of humanity in its primary concerns and speaks beyond the secondary ideologies to offer to other times and places not a message but a permanent reminder, a self-recognition, a renewal.” John C. Meagher, “Religion & Literature,” Religion & Literature 24:2 (1992): 86.
15 Baudrillard, The Mirror of Production, 143.
16 “The Fou drummers’ sequence was the most impressive lockstep rhythm synchronization ever seen. The drummers were not just in time, but they moved their bodies either side of the drums in lockstep. Indeed, tightness of choreography in mass orchestration was Beijing’s trump card.” Arning, 524.
17 The new liberal, capitalist society is connected to the rise of citizenship, which “reflected a shift from rural, communal relations and social rights rooted in village membership into a sense of a national community and of individual rights guaranteed by the State.” Sallie A. Marston and Katharyne Mitchell, “Citizens and the State: Citizenship Formation in Space and Time,” in Spaces of Democracy: Geographical Perspectives on Citizenship, Participation and Representation, edited by Clive Barnett and Murray Low (London: Sage, 2004), 96.
18 Emory S. Bogardus, Fundamentals of Social Psychology ( New York: Century, 1924), 229.
19 Bogardus, 231.
20 Baudrillard, The Mirror of Production, 105.
21 Pavan Kumar Malreddy,“Labour, Pleasure and the Sublime: The ‘Work’ of the Dalitbahujans,” in Reworking Postcolonialism. Globalization, Labour and Rights edited by P Malreddy, B. Heidemann and O. Laursen (Palgrave Macmillan UK, 2015), 140.
22 “It is these secondary concerns and their supporting literary propagandistic counter-positions that permit the doctrine of war to supervene upon the desire to live and that allow structures of authority to suppress the longing for freedom.” Meagher, 86.
23 As revealed by the documentary directed by Angie Mason and James Rogan, “Olympic Imagine Special: One Night in 2012”, BBC and Rogan Productions, broadcast on BBC One on July 17, 2016.
24 Antony and Thomas, 497-98.
25 In “Soft power, ideology and symbolic manipulation in Summer Olympic Games opening ceremonies: a semiotic analysis,” Chris Arning defines 6 categories conveying soft power in Olympic ceremonies : mass orchestration, technological prowess, symbolic ingenuity, aesthetic enchantment, whimsy and humour and musical grandeur.
26 Bogardus, 229.
27 Rudolf Klein, “The new model NHS: performance, perceptions and expectations,” British Medical Bulletin 81-82:1 (January 2007): 42.
28 Baudrillard, The Mirror of Production, 144
29 Tzanelli, 56.
30 Catherine Baker,“Where did it all go wrong? The Windrush myth after London 2012,” https://imperialglobalexeter.com, 25th April 2018. The Windrush had become an ambivalent symbol of Britain’s openness to foreigners, especially considering recent restrictions on immigration: “Today, however, members of this same symbolic generation have been threatened with deportation – and some have already been deported – because they have been unable to prove their immigration status despite living in Britain for more than fifty years.”
31 “ It is possible to see modern opening ceremonies since 1980, as being driven firstly by the cold war, then by the development of a multi-polar world, where soft power gains are at a premium.” Arning, 540.
32 Tim Dant, “Fetishism and the social value of objects”, Sociological Review 44:3 (1996),498-99.
33 “In this passage to a space whose curvature is no longer that of the real, nor of truth, the age of simulation thus begins with a liquidation of all referentials—worse: by their artificial resurrection in systems of signs, which are a more ductile material than meaning, in that they lend themselves to all systems of equivalence, all binary oppositions and all combinatory algebra.”Jean Baudrillard, Simulacra and Simulation, trans. Sharia Faria Glaser, (Michigan: University of Michigan Press, 1994), 2.
34 Jean Baudrillard, The Ecstasy of Communication, trans. Bernard Schütze and Caroline Schütze (MIT Press, 2012), 127.
35 Baudrillard, The Ecstasy of Communication, 128.
36 Baudrillard criticizes the conventional approaches of sociologists who imply that socialization depends on exposure through the media and on the contrary he argues that the emergence of media has created a void in the organization of society. Keith Tester, Media Culture & Morality (Abingdon, New York: Routledge, 1994), 118.
37 Steve Miles, Spaces for consumption ( London, Thousand Oaks: Sage, 2010), 140. Actually “the production and interpretation of the Olympic ceremony … will be determined through a process of negotiation between stakeholders at local and international levels with different political, economic, social and cultural aims. […] As part of the historic development of the ceremonies, Olympic protocol has been overshadowed by the spectacular cultural performances of the host, which is reflected in the relative lack of attention generally paid to Olympism and sport values by the broadcasters” in Luo et al. (2012), “Representing the Opening Ceremony: Comparative Content Analysis from USA, Brazil, UK and China” in Luo, Qing and Richeri, Giuseppe (ed.), “Encoding the Olympics. The Beijing Olympic Games and the Communication Impact Worldwide. Routledge.
38 Steve Miles, 139-40.
39 Steve Miles, 140
40 William Pawlett, Jean Baudrillard: Against Banality (London, New York: Routledge, 2007), 26.
41 While London pioneered extensive use of CGI, the footsteps towards the stadium in Beijing in 2008 were an earlier example of this and we may even consider that the idea of an inter-textual event was inaugurated by the Soviets in 1980 when they provided the link up with the Cosmonauts in a live transmission in the Moscow Olympics.
42 Katia Arfara, “Instance: Purgatory (2008)”, in Mapping Intermediality in Performance, edited by Sarah Bay-Cheng, Chiel Kattenbelt, Andy Lavender and Robin Nelson (Amsterdam: Amsterdam University Press, 2010) 111.
43 David Coley, Projected Performances. The Phenomenology of Hybrid Theater, Phd dissertation (University of Missouri, May 2012), 202. https://digitalcommons.lsu.edu/gradschool_dissertations/4051/ <accessed on 1 March 2018>
44 ‘Londonderry Air’ from Giant’s Causeway, Northern Ireland, ‘Flower of Scotland’ from Edinburgh Castle, Scotland and ‘Bread of Heaven’ from Rhossili Beach, Wales.
45 David P. Marshall, Celebrity and Power: Fame in Contemporary Culture (Minneapolis, London: University of Minnesota Press, 2004), 61.
46 Marshall, 61.
47 Arning, 530.
48 See Hofstede’s cultural dimension and François Jullien’s essay “De l’être au vivre” (2016) which goes deeper into the cultural differences with China.
49 “This discipline was complemented by the lighting effects in both the drums and fireworks to send a message of power; in this instance China proved both dominance over its people and mastery over light.”Coley, p. 194-95.
50 Tim Dant on Baudrillard’s definition of fetishism: “Now, it is the extent to which an object demonstrates ostentation, a sign of value that accrues to the possessor of the object that turns the object into a fetish.” Dant, 504.
51 Maureen Callahan, “The Scottish Invasion.” New York (15 July 1996), 39.
52 Mark Abel, Groove: An Aesthetic of Measured Time (Leiden: Brill, 2014), 100.
53 Sarah Taylor Ellis, Doing the Time Warp: Queer Temporalities and Musical Theater ( University of California: escholarship, 2013), 6-7.
54 Scott Mc Millin, The Musical as Drama (Princeton and Oxford : Princeton University Press, 2006), 9.
55 Ellis, 9.
56 This interpenetration is something that Baudrillard comments in music in the 1990s and which he views as a threat for innovation, all the more as it is combined with perfect technology and the perfection of musicality, rather than music itself.
57 For Baudrillard also the mobility of objects conveys people’s desire for social mobility. Thus he analyses fashion as a characteristic of mobile societies since the renewal of objects mirrors a desire for social mobility, though this desire is not necessarily fulfilled. Jean Baudrillard, “La morale des objets,” Communications 13 (1969): 40.
58 Ellis, p. 9. Sarah Ellis suggests that the cyclical time of musicals, in contrast with linear time, opens up new possibilities, since it breaks with the cause-and-effect sequence.
59 “The 2011 census revealed a country that is decreasingly white and British: England’s ethnic-minority population grew from 9% of the total in 2001 to 14%. But the biggest single increase was in the number of people claiming a mixed-ethnic background. This almost doubled, to around 1.2m. Among children under the age of five, 6% had a mixed background—more than belonged to any other minority group.” “Into the Melting Pot,” The Economist, 10th February 2014.
60 David Cameron, “PM's speech at Munich Security Conference,” 5 February 2011, https://www.gov.uk/government/speeches/pms-speech-at-munich-security-conference <accessed on 1 March 2018>
61 Tzanelli, 61. Tzanelli, 61. “The casting is emblematic of a British multi-cultural utopia (both teenagers have an Afro Caribbean appearance) that real politics challenge in a country with intensified border control and strict immigration policies. Policies of ethnic exclusivity are replaced by a narrative of youth, joy and leisure – three coordinates that defined black community contributions to Londonese sub-cultures of consumption and protest alike over the last century. …; This operates on a meta-level as a reminder that any emerging sub-cultural style joins the market and is consumed as a commodity.”
62 “L'ostentation du désintéressement joue comme fonction sociale de la richesse. » Bernard Dantier ed, Sollicitude des sciences sociales et sollicitude économico-politique: Jean Baudrillard,
La société de consommation (Chicoutimi : UQAC, 2008), 16. http://dx.doi.org/doi:10.1522/030092645 <accessed on 1 March 2018>
63 Baudrillard, The Ecstasy of Communication, 128.
64 Tzanelli, 39.
65 Frank Barth, Cosmologies in the Making (Cambridge: Cambridge University Press, 1987), 79.
66 Barth, 76.
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