In a reevaluation of that period in Victorian illustration known as 'The Sixties,' a distinguished group of international scholars consider the impact of illustration on the act of reading; its capacity to reflect, construct, critique and challenge its audience's values; its response to older graphic traditions; and its assimilation of foreign influences. While focused on the years 1855 to 1875, the essays take up issues related to the earlier part of the nineteenth century and look forward to subsequent developments in illustration. The contributors examine significant figures such as Ford Madox Brown, Frederick Sandys, John Everett Millais, George John Pinwell, and Hablot Knight Browne in connection with the illustrated magazine, the mid-Victorian gift book, and changing visual responses to the novels of Dickens. Engaging with a number of theories and critical debates, the collection offers a detailed and provocative analysis of the nature of illustration: its production, consumption, and place within the broader contexts of mid-Victorian culture.

Why do certain places and not others symbolically capture the past and freeze time? Likewise, why does the process of memory, as a fluid and changing activity, seem to prevent its own solidification? Memory and Representation in Contemporary Europe reflects not only on the persistence of the past as a theme linked to modernity, media and time, but also discusses the politics of memory within a changing Europe. Drawing on the theoretical work of Hannah Arendt, Isaiah Berlin and Zygmunt Bauman, Siobhan Kattago uses examples from both Germany and Estonia in order to address the multiple layers of Europe's totalitarian past. Through reflecting on the legacy of totalitarianism and the revolutions of 1989, it becomes clear that the issue is less of whether one should remember, but rather how to internalize the various lessons of the past for the future of Europe. Memory and Representation in Contemporary Europe thus offers the reader occasions upon which to take stock of different but overlapping contours of past and present in contemporary Europe.

Kamishibai (paper-theater), a Japanese picture-storytelling medium, is gaining global interest as we move from a text-based culture to one that emphasizes multiple semiotic systems and performance. This is the first volume to explore the potential of kamishibai as a dynamic "new" interactive medium for teaching multimodal communication and shows how synchronizing oral, visual and gestural modes develops students' awareness of all modes of communication as potential resources in their learning. By examining the multiple modes involved in kamishibai through actual student performances over several venues, this volume overturns commonly held expectations about literacy in the classroom and provides a critical perspective on assumptions about other media. It offers much-needed information about a medium that is attracting interest from educators, academics and artists worldwide.

The media continue to have a significant persuasive influence on the public perception of crime, even when the information presented is not reflective of the crime rate or actual crime itself. There have been numerous theoretical studies on fear of crime in the media, but few have considered this from a social psychological perspective. As new media outlets emerge and public dependence on them increases, the need for such awareness has never been greater. This volume lays the foundation for understanding fear of crime from a social psychological perspective in a way that has not yet been systematically presented to the academic world. This volume brings together an international team of experts and scholars to assess the role of fear and the media in everyday life. Chapters take a multidisciplinary approach to psychology, sociology and criminology and explore such topics as dual process theory, construal level theory, public fascination with gangs, and other contemporary issues.

Now the largest and fastest-growing ethnic population in the U.S., Latino students face many challenges and complexities when it comes to college choice and access. This edited volume provides much needed theoretical and empirical data on how the schooling experiences of Latino students shape their educational aspirations and access to higher education. It explores how the individual and collective influence of the home, school and policy shape the college decision-making process. This unique collection of original scholarly articles offers critical insight on educational pathways that will help families, educators and policy makers intervene in ways that foster and sustain college access and participation for Latino students. It considers destination preferences and enrollment selections, elementary and secondary school experiences, and intervention programs that shed light on how practitioners can promote participation and retention. This multi-conceptual, multi-methodological volume offers directions for future research, programming and policy in Latino education.

Worlding multiculturalisms are practices that infuse our arbitrary cultural lives with new things from other cultures in poetic ways to enable us to dwell and be at home with the complexity of the world. In the context of the crisis of multiculturalism in the West and the growing obsolescence of state-based multiculturalism in the postcolonial world, this book offers examples of new practices of worlding multiculturalisms that go beyond issues of immigration, integration and identity. Contrasting Western and Asian notions of multiculturalism, this book does not focus on state issues, but rather, highlights manifestations of cultural exchange. The chapters draw on cultural studies approaches to document instances of worlding multiculturalisms that bring Asian cultures into conflict, dialogue and settlement with each other. Instances include an Asian American return novel set in Penang, the cultural productions and street performances of democracy marches in Malaysia, the campaigns to reclaim public spaces and citizenship rights by migrant domestic workers in Hong Kong, the imaginary vistas opened up by Japanese popular culture consumed throughout Asia, the localisations of casino complexes in Macau and a shopping mall in Seoul, and an old municipal cemetery being defended from urban redevelopment in Singapore. Rather than merely globalizing forms of political diversity, these are instances with the potential to transform social relations and the very terms of cultural exchange. Worlding Multiculturalisms offers a truly interdisciplinary examination of multiculturalism in action. As such, it will appeal to students and scholars of cultural studies, Asian studies, Asian culture and society, cultural anthropology and sociology and political sociology.

First published in 1990, Popular Fiction looks at popular fiction in its literary, filmic, and televisual forms. They range across the main genres of popular fiction: science fiction, soap opera, detective fiction, the spy-thriller, the western, film noir, and comedy. Grouped into sections, the essays explore major themes in the study of popular fiction: the functioning of popular fiction within technologies of cultural regulation, the relations between popular fiction and nationalism; the connections between popular fictions and relations of power and knowledge; and the social and ideological factors moulding both the production and reading of popular fictions. Designed especially as a student text, this book will be invaluable to students of English and literary studies, media studies, film and TV studies, communication studies, and cultural studies.

This book brings theory from popular music studies to an examination of identity and agency in youth films while building on, and complementing, film studies literature concerned with genre, identity, and representation. McNelis includes case studies of Hollywood and independent US youth films that have had commercial and/or critical success to illustrate how films draw on specific discourses surrounding popular music genres to convey ideas about gender, race, ethnicity, sexuality, and other aspects of identity. He develops the concept of 'musical agency', a term he uses to discuss the relationship between film music and character agency, also examining the music characters listen to and discuss, as well as musical performances by the characters themselves

Personal Branding for Entrepreneurial Journalists and Creative Professionals outlines and describes the complete process of building and growing a successful personal brand. Focused on the independent journalist or creative professional in the new digital marketplace, Sara Kelly gives readers the ability to create the sort of personal brand that not only stands out, but remains relevant for years to come. Features such as exercises and worksheets will guide readers in creating the various components of their personal brand, and case studies of real-world branding scenarios will allow readers to analyze the practical aspects of implementing a personal brand. Covering theory and practice, this text is a powerful resource for modern journalists, multimedia storytellers, and content creators hoping to ply their talents online and beyond.

Diva, Prima Donna, Maestro, Virtuoso: creative geniuses with the ability to deliver artistic excellence. However this perception can serve to tilt the balance of power in relationships and to substantiate the notion of artistic temperament; the Master is always right and the Diva must have her way. The artistic genius may be hell to work with but the end result (the art) is exceptional, so behaviour deemed unacceptable in normal circumstances must be tolerated. If the corporate culture in the arts is in thrall to the concept of the artistic genius, then across the various disciplines within the creative sector the prevailing mentality may be subscribing to a set of values that allows, even directly encourages, behaviour and employment conditions that are abusive. Bullying in the Arts argues that this mindset can have a profoundly negative effect in performing arts organisations, permitting managers and other staff to ignore bullying behaviour, as long as the show goes on. Researchers in a range of disciplines and fields have studied workplace bullying and, having witnessed bullying in a number of different arts organisations, Anne-Marie Quigg researched whether the behaviour represented isolated, rare occurrences in specific creative environments or if it was indicative of a more widespread problem in the arts and cultural sector. She discovered the highest level of bullying recorded in any single employment sector in the UK. Bullying in the Arts reveals Dr Quigg's findings, including the personal, organisational, legal and economic consequences of bullying behaviour. Looking at the experiences of countries such as Australia, Canada, France, Sweden, and the United States, this book challenges the notion that the arts are beyond the limitations of the ordinary milieu, exempt from the rules and regulations governing the treatment of employees. Arts managers and professionals, teachers, students and researchers in the arts world, and all those in management or management education, will find here a new model centred on management responses to bullying behaviour, which demonstrates the beneficial effect that knowledgeable, skilled action can have on the outcome of bullying incidents.

This book examines the role of community filmmaking in society and its connection with issues of cultural diversity, innovation, policy and practice in various places. Deploying a range of examples from Europe, North America, Australia and Hong Kong, the chapters show that film emerging from outside the mainstream film industries and within community contexts can lead to innovation in terms of both content and processes and a better representation of the cultural diversity of a range of communities and places. The book aims to situate the community filmmaker as the central node in the complex network of relationships between diverse communities, funding bodies, policy and the film industries.

Most movies include a love story, whether it is the central story or a subplot, and knowing how to write a believable relationship is essential to any writer's skill set. Discover the rules and laws of nature at play in a compelling love story and learn and master them. Broken into four sections, The Heart of the Film identifies the critical features of love story development, and explores every variation of this structure as well as a diverse array of relationships and types of love. Author Cynthia Whitcomb has sold over 70 feature-length screenplays and shares the keys to her success in The Heart of the Film, drawing on classic and modern films as well as her own extensive experience.

Landscape and branding explores the way landscape is conceptualised, conceived, represented and designed by professionals in a brand-driven age. Landscape - incorporating tangible physical space as well as intangible concepts, narratives, images, and experiences of place - is constructed by a number of creative industries. This book tests the hypothesis that place branding, a powerful marketing and management practice, increasingly blurs the distinction between the promotion of landscape and its production in design terms. Place branding involves the strategic and systematic composition of single-minded, experiential and market-friendly place identities which are consistently communicated across various media, including physical space. How does this implicate or transform notions of place, nature, landscape experience, and the qualitative value of landscape itself? How does this affect the role of landscape architecture? To answer these questions, place branding theory and practice is critically examined alongside an in depth case study of one specific landscape - the Blue Mountains (Australia). Projects undertaken between 1995 and 2015, including a branding strategy for the region, media campaigns, television, cinema, and several landscape architectural works in the public and private domain are comparatively analysed, focusing on the discourse, conventions and values informing their production, and the landscape narratives they convey.

American Mythologies examines eleven myths that form part of the storehouse of present-day American mythologies, elucidating the nature of contemporary myths by investigating their ideological sub-terrain. Grounded in a semiological approach, which explores the displacement of information and the transformation of signs that characterise mythic communication, this book sheds light on the socio-economic, gendered, national and racial interests that lie behind myth-making. Presenting rich case studies from popular culture and public discourse, it demonstrates the manner in which these myths, and American mythology in general, promote the core values of everyday life under capitalism: rugged individualism, the unfettered right to accumulate wealth, the superior moral character of free-enterprise democracy, and its abundant opportunities for every citizen. By the same token, that same mythology negates the corruption endemic to the capitalist social order, an order that also promotes inescapable class, racial, and gender inequalities which confine the majority of Americans to a life of constant economic struggle. A fresh critique of the foundations of American culture, American Mythologies will appeal to those with interests in sociology, social and cultural theory, and cultural and media studies.

In recent years, cultural work has engaged the interest of scholars from a broad range of social science and humanities disciplines. The debate in this 'turn to cultural work' has largely been based around evaluating its advantages and disadvantages: its freedoms and its constraints, its informal but precarious nature, the inequalities within its global workforce, and the blurring of work-life boundaries leading to 'self-exploitation'. While academic critics have persuasively challenged more optimistic accounts of 'converged' worlds of creative production, the critical debate on cultural work has itself leant heavily towards suggesting a profoundly new confluence of forces and effects. Theorizing Cultural Work instead views cultural work through a specifically historicized and temporal lens, to ask: what novelty can we actually attach to current conditions, and precisely what relation does cultural work have to social precedent? The contributors to this volume also explore current transformations and future(s) of work within the cultural and creative industries as they move into an uncertain future. This book challenges more affirmative and proselytising industry and academic perspectives, and the pervasive cult of novelty that surrounds them, to locate cultural work as an historically and geographically situated process. It will be of interest to students and scholars of sociology, cultural studies, human geography, urban studies and industrial relations, as well as management and business studies, cultural and economic policy and development, government and planning.

Feminist Translation Studies: Local and Transnational Perspectives situates feminist translation as political activism. Chapters highlight the multiple agendas and visions of feminist translation and the different political voices and cultural heritages through which it speaks across times and places, addressing the question of how both literary and nonliterary discourses migrate and contribute to local and transnational processes of feminist knowledge building and political activism. This collection does not pursue a narrow, fixed definition of feminism that is based solely on (Eurocentric or West-centric) gender politics-rather, Feminist Translation Studies: Local and Transnational Perspectives seeks to expand our understanding of feminist action not only to include feminist translation as resistance against multiple forms of domination, but also to rethink feminist translation through feminist theories and practices developed in different geohistorical and disciplinary contexts. In so doing, the collection expands the geopolitical, sociocultural and historical scope of the field from different disciplinary perspectives, pointing towards a more transnational, interdisciplinary and overtly political conceptualization of translation studies.

This professional guidebook and training manual introduces the Sexual Attitudes Reassessment and Restructuring (SAR) training program for professionals working in the broad field of sexology. The authors, who have led 43 SAR training programs in seven different countries, provide an overview of the history and modern day context of SARs in the first part of the book. In Part II, they provide a toolkit for creating your own SAR, using 21 photocopiable workbook pages, handy checklists, and practical tips. Part III focuses on lessons learned from past SARs and future predictions for cutting-edge SARs. This book is necessary reading for clinicians and educators who wish to offer SAR training programs or integrate "The SAR Approach" into their practice.

When the financial markets collapsed in 2008, the media industry was affected by a major slump in advertising revenues, and a formerly highly successful business model fell into a state of decay. This economic crisis has threatened core social values of contemporary democracies, such as freedom, diversity and equality. Taking a normative and policy perspective, this book discusses threats and opportunities for the media industry in Europe: What are the implications of the crisis for professional journalism, the media industry, and the process of political communication? Can non- state and non-market actors profit from the crisis? And what are media policy answers at the national and European level?

African Americans and Jungian Psychology: Leaving the Shadows explores the little-known racial relationship between the African diaspora and C.G. Jung's analytical psychology. In this unique book, Fanny Brewster explores the culture of Jungian psychology in America and its often-difficult relationship with race and racism. Beginning with an examination of how Jungian psychology initially failed to engage African Americans, and continuing to the modern use of the Shadow in language and imagery, Brewster creates space for a much broader discussion regarding race and racism in America. Using Jung's own words, Brewster establishes a timeline of Jungian perspectives on African Americans from the past to the present. She explores the European roots of analytical psychology and its racial biases, as well as the impact this has on contemporary society. The book also expands our understanding of the negative impact of racism in American psychology, beginning a dialogue and proposing how we might change our thinking and behaviors to create a twenty-first-century Jungian psychology that recognizes an American multicultural psyche and a positive African American culture. African Americans and Jungian Psychology: Leaving the Shadows explores the positive contributions of African culture to Jung's theories and will be essential reading for analytical psychologists, academics and students of Jungian and post-Jungian studies, African American studies, and American studies.

Why has the female voice-as the resonant incarnation of the female body-inspired both fascination and ambivalence? Why were women restricted from performing on the Chinese public stage? How have female roles and voices been appropriated by men throughout much of the history of Chinese theatre? Why were the women of quyi-a community of Chinese female singers in Republican Tianjin-able to become successful, respected artists when other female singers and actors in competing performance traditions struggled for acceptance? Drawing substantially on original ethnographic fieldwork conducted in the 1980s and 1990s, Francesca R. Sborgi Lawson offers answers to these questions and demonstrates how the women of quyi successfully negotiated their sexuality and vocality in performance. Owing to their role as third-person narrators, the women of quyi bridged the gender gap, creating an androgynous persona that de-emphasized their feminine appearance and, at the same time, allowed them to showcase their female voices on public stages-places that had been previously unwelcoming to female artists. This is a story about female storytellers who sang their way to respectability and social change in the early decades of the twentieth century by minimizing their bodies in order to allow their voices to be heard.

Following the move by Chiang Kai-shek and the Chinese Nationalist Party Kuomingtang (KMT) to Taiwan after losing the Chinese civil war to the Chinese Communist Party (CCP) in the late 1940s, and Chiang's subsequent lifelong vow to reclaim the mainland, "China " has occupied-if not monopolized-the gaze of Taiwan, where its projected images are reflected. Whether mirror image, shadow, or ideal contrast, China has been, and will continue to be, a key reference point in Taiwan's convoluted effort to find its identity. Language, Politics and Identity in Taiwan traces the intertwined paths of five sets of names Taiwan has used to name China since the KMT came to Taiwan in 1949: the derogatory "Communist bandits"; the ideologically focused "Chinese Communists"; the seemingly neutral geographical designators "mainland" and "opposite shore/both shores"; and the ethnic and national label "China," with the official designation, "People's Republic of China." In doing so, it explores how Taiwanese identities are constituted and reconstituted in the shifting and switching of names for China; in the application of these names to alternative domains of Taiwanese life; in the waning or waxing of names following tides of history and polity; and in the increasingly contested meaning of names. Through textual analyses of historical archives and other mediated texts and artifacts, the chapters chart Taiwan's identity negotiation over the past half century and critically evaluate key interconnections between language and politics. This unique book will be of great interest to students and scholars of Taiwan studies, Chinese politics, communication studies and linguistics.

First published in 1986, Too Much records the tumultuous period between 1960 and 1975 when, more than at any other time in history, the arts were a battleground for the conflicting forces of social change. With the new affluence of the Sixties the cultural conformism of the previous decade was rejected in favour of new forms of expression. Pop Art, pop music, fringe theatre and performance poetry helped to create the semi-mythological image of 'Swinging London.' The liberation ethic was feted as it masked the insecurities of a society in decline but, as a real political challenge to the status quo, it also led to conflict. The confrontation between official culture and the underground came in 1968, a year with its own mythical resonance. This book will be of interest to students of art, media studies and cultural studies.

Unique as a truly introductory book on Lacan's ideas. Will be useful reading for students of subjects like Cultural Theory, Critical Psychology, Researching Psychology, Literary Theory, Psychoanalysis and Literature, Qualitative Research, Critical Theory and Film Theory. Calum Neill is well-known and well-respected in the field.

The years following the Cultural Revolution saw the arrival of television as part of China's effort to 'modernize' and open up to the West. Endorsed by the Deng Xiaoping regime as a 'bridge' between government and the people, television became at once the official mouthpiece of the Communist Party and the most popular form of entertainment for Chinese people living in the cities. But the authorities failed to realize the unmatched cultural power of television to inspire resistance to official ideologies, expectations, and lifestyles. The presence of television in the homes of the urban Chinese strikingly broadened the cultural and political awareness of its audience and provoked the people to imagine better ways of living as individuals, families, and as a nation. Originally published in 1991, set within the framework of China's political and economic environment in the modernization period, this insightful analysis is based on ethnographic data collected in China before and after the Tiananmen Square disaster. From interviews with leading Chinese television executives and nearly one hundred families in Beijing, Shanghai, Guangzhou, and Xian, the author outlays how Chinese television fosters opposition to the government through the work routines of media professionals, television imagery, and the role of critical, active audience members.

Intrapersonal communication is a relatively new phenomenon for communication study and still lacks the grounding of a sound theoretical base. The first to present a developed theory of this discipline, this book's goal is to provide graduate students and professionals with an organized point of departure for their research. The theoretical section begins with an intrapersonal communication theory derived from the sociogenetic views of George Herbert Mead and L.S. Vygotsky. This theory emphasizes social interaction, the developmental nature of mind, and the crucial role of speech in creating a self, a culture, and a mind which then interact in human intrapersonal communication. This section also provides the reader with a coherent interdisciplinary knowledge base taken from speech communication, biology, neurology, cultural psychology, anthropology, sociology, speech pathology, and linguistics. The integrated theoretical perspective that results makes the study compatible with communication scholarship focusing on the social, cultural, cognitive, or performance aspects of communication phenomena. The applications section examines neurophysiological/intrapersonal communication research methods and studies to date, together with specific applications of intrapersonal communication theory to childhood language acquisition, to the establishment of gender identities, and to intrapersonal competence. The final chapter presents pedagogical guidance on how we can influence intrapersonal competence and performance as well as commenting on the current state of this study and its future prospects. The editor's interstitial commentary facilitates access by readers wishing to constuct their own theory.