This book addresses the social and political landscape of Internet usage in Israel, and studies the formation of a networked information society in the "hi-tech nation". As Israel is considered a highly technologically developed country, it could serve as a model to assess and compare the performance and prospects of the Internet in other countries as well. Chapters address a range of issues, including the diffusion of the Internet to Israel, religion and the Internet in the Israeli Jewish context, Internet-based planned encounters between Israeli-Jews and Palestinians and between Jews and Arabs in Israel, online journalism and user-generated content, Israeli public relations online, Internet usage by Israeli parliamentarians, parties and candidates, as well as audiences, and the facilitation of personalized politics through personal sites of politicians. This book was originally published as a special issue of Israel Affairs.

Social scientists increasingly invoke "narrative" in their theory and research. This book explores the wide range of work in sociology, psychology and cultural studies in which narrative approaches have been used to study meaning, subjectivity, politics, and power in concrete contexts. "The Uses of Narrative" presents a range of case studies, including: Princess Diana's "Panorama" interview, media coverage of the 1992 Los Angeles riots, memoirs of the wives of scientists who made the first atomic bomb, popular images of gay marriage, and the effect of the "Velvet Revolution" on writing autobiography. The book brings together contributions from European, Australian, and North American researchers, indicating the diversity and potential of narrative approaches. The editors adopt a distinctive and unique psychosocial approach to narrative, and set the individual chapters in the context of three broad themes: culture, life histories, and discourse. "The Uses of Narrative" complicates, challenges and stimulates--it will be of vital interest to sociologists, psychologists, social theorists, students of cultural studies, and others who are interested in the relationships between meaning, self and society.

Brazil, Russia, India and China are four of the largest and most dynamic contemporary emerging economies in the world. Strong economic growth in each of these economies has been accompanied by the expansion of the advertising and consumer goods sectors. Using a series of country studies, this book explores the dynamics of global capitalism from the perspective of global advertising. The book highlights the on-going expansion of advertising and consumerism against the wider socio-economic, political and cultural contexts. It provides fresh insights about contemporary global priorities, and argues that advertising plays a key role linking culture and the economy. By presenting individual case studies of advertising campaigns, it offers examples of the globalisation of specific brands. Environmental implications of the expansion of advertising and its role in stimulating consumerism are explored in the context of the four emerging economies. The book compares and contrasts the individual country profiles, and makes an assessment of the validity of the argument regarding their projected importance and the likelihood of their future dominance of the global economy.

Recognising that creativity is a major driving force in the post-industrial economy, the Chinese government has recently established a range of "creative clusters" - industrial parks devoted to media industries, and arts districts - in order to promote the development of the creative industries. This book examines these new creative clusters, outlining their nature and purpose, and assessing their effectiveness. Drawing on case studies of a range of cluster models, and comparing them with international examples, the book demonstrates that creativity, both in China and internationally, is in fact a process of fitting new ideas to existing patterns, models and formats. It shows how large and exceptionally impressive creative clusters have been successfully established, but raises the important questions of whether profit or culture is the driving force, and of whether the bringing together of independent-minded, creative people, entrepreneurial businessmen, preferential policies and foreign investment may in time lead to unintended changes in social and political attitudes in China, including a weakening of state bureaucratic power. An important contribution to the existing literature on the subject, this book will be of great interest to scholars of urban studies, cultural geography, cultural economics and Asian studies.

This edited volume examines theoretical and empirical issues relating to violence and war and its implications for media, culture and society.

Over the last two decades there has been a proliferation of books, films and art on the subject of violence and war. However, this is the first volume that offers a varied analysis which has wider implications for several disciplines, thus providing the reader with a text that is both multi-faceted and accessible. This book introduces the current debates surrounding this topic through five particular lenses:

• the historical involves an examination of historical patterns of the communication of violence and war through a variety sources
• the cultural utilises the cultural studies perspective to engage with issues of violence, visibility and spectatorship
• the sociological focuses on how terrorism, violence and war are remembered and negotiated in the public sphere
• the political offers an exploration into the politics of assigning blame for war, the influence of psychology on media actors, and new media political communication issues in relation to the state and the media
• the gender-studies perspective provides an analysis of violence and war from a gender studies viewpoint.

Violence and War in Culture and the Media will be of much interest to students of war and conflict studies, media and communications studies, sociology, security studies and political science.

The Media Teacher 's Handbook is an indispensible guide for all teachers, both specialist and non-specialist, delivering Media Studies and media education in secondary schools and colleges.

It is the first text to draw together the three key elements of secondary sector teaching in relation to media study - the theoretical, the practical and the professional - in order to support media teachers throughout their careers:

• Section One: Contexts explores the history of, rationale for, and justification of studying the media from 1900 to the present day, and considers the tensions implicit in the subject caused by opposing views of culture.
• Section Two: Curriculum comprises seven chapters that focus on studying the media from Key Stages 3 and 4 in English, through GCSE and A Level Media Studies. It also explores approaches to teaching the Creative and Media Diploma, media and citizenship, and practical media production.
• Section Three: Career Development is designed to support those establishing and leading Media Studies departments and those who are charged with the initial preparation and professional development of teachers.

Written by experts involved in the teaching, training and examination of Media Studies, this one-stop resource is packed with illustrative case studies and exemplar schemes of work which can be easily adapted for your own needs. Suggested Reading and Recommended Resources sections at the end of each chapter list additional books, films, DVDs, groups, agencies, organisations, contact details, websites and other materials which will support your teaching even further.

The Media Teacher 's Handbook is an essential guide to the theory, pedagogy, and practice of media education that will enable you to teach your subject expertly and with confidence.

This book explores a new character archetype that permeated Soviet film during what became known as the era of Stagnation, a stark period of loneliness, disappointment, and individual despair. This new type of character was neither negative nor positive, but nevertheless systematically undermined Soviet norms of behaviour, hairstyle, dress, lifestyle, and perspective, in stark contrast to Socialist Realism's traditional, positive hero who fought for Soviet values and who vanquished the enemies of socialism. The book discusses a wide range of films from the period, showing how the new antiheroic archetype of Stagnation resonated through a multitude of characters, mostly male, and vividly reflected the realities of Soviet life. The book thereby provides great insight into the lives, outlook, and psychology of citizens in the late Soviet period.

New York in Cinematic Imagination is an interdisciplinary study into urbanism and cinematic representations of the American metropolis in the twentieth century. It contextualizes spatial transformations and discourse about New York during the Great Depression and the Second World War, examining both imaginary narratives and documentary images of the city in film. The book argues that alternating endorsements and critiques of the 1920s machine age city are replaced in films of the 1930s and 1940s by a new critical theory of "agitated urban modernity" articulated against the backdrop of turbulent economic and social settings and the initial practices of urban renewal in the post-war period. Written for postgraduates and researchers in the fields of film, history and urban studies, with 40 black and white illustrations to work alongside the text, this book is an engaging study into cinematic representations of New York City.

Winner of the 2013 SCMS Best Edited Collection Award For decades, television scholars have viewed global television through the lens of cultural imperialism, focusing primarily on programs produced by US and UK markets and exported to foreign markets. Global Television Formats revolutionizes television studies by de-provincializing its approach to media globalization. It re-examines dominant approaches and their legacies of global/local and center/periphery, and offers new directions for understanding television's contemporary incarnations. The chapters in this collection take up the format phenomena from around the globe, including the Middle East, Western and Eastern Europe, South and West Africa, South and East Asia, Australia and New Zealand, North America, South America, and the Caribbean. Contributors address both little known examples and massive global hits ranging from the Idol franchise around the world, to telenovelas, dance competitions, sports programming, reality TV, quiz shows, sitcoms and more. Looking to global television formats as vital for various cultural meanings, relationships, and structures, this collection shows how formats can further our understanding of television and the culture of globalization at large.

Crime films have, since the earliest days of cinema, been popular with audiences, industry and critics alike and encompassed a diverse range of subjects, styles and themes. The genre provides a range of pleasures for the spectator, from taking on the role of the detective in the pursuit of clues in the 'whodunit', to the more illicit thrills of identification with an anti hero. In the many incarnations of the crime film such as the gangster, film noir, political and detective thrillers, the genre explores the anxieties of different historical moments. Sarah Casey Benyahia provides an overview of the development of the crime film and examines the key theories and ideas involved in the study of the genre. These include; the investigative structure and narration of the crime film, the aesthetics of violence and issues of representation and ideology. These areas are explored through contemporary and classic, Hollywood and European cinema with case studies on the history of the genre, the role of the detective, the 'family crime' film and the conspiracy thriller. Crime provides a broad framework to the study of the genre through the introduction of narrative, genre and audience theories as well as detailed analysis of specific films. Films discussed include: Scarface (1932) Mildred Pierce (1945) Dirty Harry (1971) The Parallax View (1974) Reservoir Dogs (1992) Mystic River (2002) Hidden (2005) Gone Baby Gone (2007) Zodiac (2007) The Millennium Trilogy (2009) The Secret in Their Eyes (2010)

First Published in 1989, this work is based around a monthly TV column which Raymond Williams wrote for The Listener between 1968 and 1972. Those were the years of the Prague Spring, of anti-Vietnam war demonstrations, of fighting in Cambodia and Northern Ireland, of hope for McGovern in the United States and attacks on the Wilson Labour Government in Britain. In The Listener articles Williams comments on all of these events, providing a rare glimpse not only into the events of his daily life but also into the continuing development of a personal sociology of culture. The articles also discuss such television forms as detective series, science programmes and sports, travelogue, education, gardening, and children's programming. The book also includes Williams' key lecture "Drama in a Dramatised Society", which sets a framework for his analysis; a London Review of Books piece on the Falklands/Malvinas adventure as a "tele-war"; and an interview with Williams on television and teaching. Cited by The Guardian as "The foremost political thinker of his generation", Williams' writing amounts to a primer on ways of watching television and of critiquing its profound social and political impact.

This ground-breaking collection takes a determinedly critical perspective, drawing upon the observations of an international cohort of leading scholars who bring an 'activist' slant to the subject. The use of 'framing' theory, representation and the critical discourse tradition feature prominently in the Introduction, underpinned by more specific methods apposite for interpreting texts, narratives and actions (i.e. critical discourse analysis, online ethnographic enquiry, multimodal approaches, surveys, etc.). The first in-depth academic analysis of mediated responses to the Covid-19 pandemic, this collection is both a considered intervention in its own right, and a reference-point for future research.

Now in its tenth edition, the Audio Production Worktext offers a comprehensive introduction to audio production in radio, television, and film. This hands-on, student-friendly text demonstrates how to navigate modern radio production studios and utilize the latest equipment and software. Key chapters address production planning, the use of microphones, audio consoles, and sound production for the visual media. The reader is shown the reality of audio production both within the studio and on location. New to this edition is material covering podcasting, including online storage and distribution. The new edition also includes an updated glossary and appendix on analog and original digital applications, as well as self-study questions and projects that students can use to further enhance their learning. The accompanying instructor website has been refreshed and includes an instructor's manual and PowerPoint images. This book remains an essential text for audio and media production students seeking a thorough introduction to the field.

Esports Insights outlines the fundamental characteristics, features, and structures of the rapidly growing esports industry and acts as the perfect primer for readers without any prior knowledge of esports. Featuring international case studies in every chapter, this book showcases the contemporary nature of esports through illustrative, industry examples. By offering a concise and easy to understand introduction, it discusses the key components, stakeholders, and features of this commercially driven sector, which by its very nature is dynamic and highly complex. Exploring current regulatory and governance structures within esports, it unpacks the industry's essential features by outlining the various genres, formats and stakeholders who are instrumental to the functioning of the esports industry. Adopting a critical but balanced analysis, the book discusses the social benefits of esports, outlining its potential as a tool for social inclusion and sport development, whilst acknowledging the potential impacts and risks of esports participation and spectatorship, related to health and wellbeing. Finally, Esports Insights also considers future developments and changes within esports, as the sector evolves and continues to professionalise. This book will be of interest to any student, researcher, or practitioner with an interest in sport business, sport and society, event studies, esports or video gaming, or the wider media industry.

Branding Television examines why and how the UK and US television industries have turned towards branding as a strategy in response to the rise of satellite, cable and digital television, and new media, such as the internet and mobile phone.

This is the first book to offer a sustained critical analysis of this new cultural development. Branding Television examines the industrial, regulatory and technological changes since the 1980s in the UK and the USA that have led to the adoption of branding as broadcasters have attempted to manage the behaviour of viewers and the values associated with their channels, services and programmes in a world of increased choice and interactivity. Wide-ranging case studies drawn from commercial, public service, network and cable/satellite television (from NBC and HBO to MTV, and from BBC and Channel 4 to UKTV and Sky) analyse the role of marketing and design in branding channels and corporations, and the development of programmes as brands.

Exploring both successful and controversial uses of branding, this book asks what problems there are in creating television brands and whether branding supports or undermines commercial and public service broadcasting.

Branding Television extends and complicates our understanding of the changes to television over the past 30 years and of the role of branding in contemporary Western culture. It will be of particular interest to students and researchers in television studies, but also in creative industries and media and cultural studies more generally.

Designed for the critical media studies curriculum, The Media Studies Reader is an entry point into the major theories and debates that have shaped critical media studies from the 1940s to the present. Combining foundational essays with influential new writings, this collection provides a tool box for understanding old and new media as objects of critical inquiry. It is comprised of over 40 readings that are organized into seven sections representing key concepts and themes covered in an introductory media studies course: culture, technology, representation, industry, identity, audience and citizenship. Critical introductions frame each section to help students place each reading in context and within a broader scholarly dialogue. Rather than relegating the issue of difference to just one section, each section includes scholarship that foregrounds the politics of gender, ethnicity, race, class, sexuality, and geopolitics. Longer readings were selectively edited for conciseness and accessibility, and to maximize breath of coverage. A map of a rapidly growing---and changing---field, The Media Studies Reader is an invaluable resource to students as well as established scholars.

Media clamour on issues relating to crime, justice and civil liberties has never been more insistent. Whether it is the murder of James Bulger or detaining terrorist suspects for long periods without trial, mediated comment has grown immeasurably over the last twenty years. So, how does it interact with and shape policy in these fields? How do the politicians both respond to and try to manipulate the media which permeates our society and culture?

Crime, Policy and the Media is the first academic text to map the relationship between a rapidly changing media and policymaking in criminal justice. Spanning the period, 1989-2010, it examines a number of case studies terrorism, drugs, sentencing, policing and public protection, amongst others and interrogates key policy-makers (including six former Home Secretaries, a former Lord Chief Justice, Attorney-General, senior police officers, government advisers and leading commentators) about the impact of the media on their thinking and practice.

Bolstered by content and framing analysis, it argues that, especially, in the last decade, fear of media criticism and the Daily Mail effect has restricted the policymaking agenda in crime and justice, concluding that the expanding influence of the Internet and Web 2.0 has begun to undermine some of the ways in which agencies such as the police have gained and held a presentational advantage.

Written by a former BBC Home Affairs Correspondent, with unrivalled access to the highest reaches of policy-making, it is both academically rigorous and accessible and will be of interest to both scholars and practitioners in media and criminal justice.

The book is an interdisciplinary exploration of the complexities of 'popular' culture as a category of public policy. It approaches the notions of 'cultural policy' and 'popular culture' flexibly, examining what each comes to mean, explicitly or implicitly, in relation to the other. This generates a rich variety of approaches, but also a number of identifiable commonalities. We start from the proposition that 'popular culture' is largely absent as an explicit category of arts policy and debate today. The 'arts' are still, in practice, construed in terms of elite culture (despite claims to the contrary), while artefacts such as popular music, television, fashion, and so on are assumed to figure among the cultural or creative 'industries', giving the popular a set of narrowly economic, professional and commodity connotations. And yet, the popular is, in a range of ways, powerfully present as an implicit dimension of public policy and as a catalyst of cultural practices and attitudes. This apparent paradox underpins the proposal. The book is a collaboration between two UK-based institutions: the University of Leeds's Popular Cultures Research Network and the well established Centre for Cultural Policy Studies at the University of Warwick. This book was originally published as a special issue of International Journal of Cultural Policy.

Research in and around popular culture continues to flourish. And its study is, more than ever, a key component of Media and Communications Studies courses, and a vital part of Cultural Studies and Cultural Sociology curricula.

The sheer scale of the available research exploring popular culture?and the breadth and complexity of the canon on which it draws?makes this new four-volume Routledge collection especially timely. It answers the urgent need for a wide-ranging collection which provides ready access to the key items of scholarly literature, material that is often inaccessible or scattered throughout a variety of specialist journals and books from a broad range of disciplines.

Volume I (?History and Theory?) brings together the best work on the rise of popular culture as a subject for serious academic study, uncovering its roots and exploring its rapid development in the years after the Second World War. Key debates (e.g. between base and superstructure, hegemony and control, colonialism and postcolonialism) are traced to provide users with a clear understanding of the foundational approaches that inform the more applied examinations of popular culture in the succeeding volumes.

Volume II assembles the most important thinking on ?Ideology and Representation?, including work drawn from feminism, structuralism, post-structuralism, and postmodernism. Volume III gathers crucial work on ?Fissures and Fusions?, while the last volume in the set is organized around ?Critical Departures?.

Popular Culture is supplemented with a full index, and includes a comprehensive introduction, newly written by the editor, which places the collected material in its historical and intellectual context. It is destined to be valued by scholars and advanced students as a vital research and reference resource.

Creativity has become a popular buzzword in contemporary cultural policy, yet the term remains poorly understood. In this collection, cultural policy specialists together with experts on psychology, creative enterprise and arts education, consider how 'creativity' is defined in a variety of settings, from 'creative management' to 'creative labour'. The starting point of the book is to move beyond the notion that creativity is simply a product of extraordinary individuals and extraordinary thinking. In reality creativity draws together apparently contradictory thinking styles, processes and purposes which extend well beyond the mythical figure of the solitary genius. This broad definition of creativity encompasses the contributions of managers, entrepreneurs and intermediaries to the creative process as well as the creativity of consumers and schoolchildren. In turn this implies a broad definition of cultural policy, taking in intellectual property law, education policy and corporate governance as well as policies towards the arts and creative industries. This collection of articles offers new ways of thinking about creativity and about cultural policy. It will be of interest not only to students and practitioners of cultural policy but to anyone who is curious about the value and purpose of 'creativity' in contemporary culture. This book was originally published as a special issue of International Journal of Cultural Policy.

Fantasy addresses a previously neglected area within film studies. The book looks at the key aesthetics, themes, debates and issues at work within this popular genre and examines films and franchises that illustrate these concerns. Contemporary case studies include: Alice in Wonderland (2010) Avatar (2009) The Dark Knight (2008) Edward Scissorhands (1990) Lord of the Rings (2001-2003) Pirates of the Caribbean (2003-2007) Prince of Persia: The Sands of Time (2010) Shrek (2001) Twelve Monkeys (1995) The authors also consider fantasy film and its relationship to myth, legend and fairy tale, examining its important role in contemporary culture. The book provides an historical overview of the genre, its influences and evolution, placing fantasy film within the socio-cultural contexts of production and consumption and with reference to relevant theory and critical debates. This is the perfect introduction to the world of fantasy film and investigates the links between fantasy film and gender, fantasy film and race, fantasy film and psychoanalysis, fantasy film and technology, fantasy film storytelling and spectacle, fantasy film and realism, fantasy film and adaptation, and fantasy film and time.

Movement, Velocity, and Rhythm from a Psychoanalytic Perspective: Variable Speed(s) explores philosophical and psychoanalytic theories, as well as artworks, that show sensible bodily rituals for reviving our social and subjective lives. With a wide range of contributors from interdisciplinary backgrounds, it informs readers on how to find rituals for syncing ourselves with others and world rhythms. The book is divided into three parts on variability, speed, and slowness, and explores rhythmic rituals of renewal, revolution, and reflection. Each chapter provides unique examples from the applied arts, film, television, and literature to show how different practices of rhythm might aid in creative and deep contemplation and includes philosophical and cultural theories for bodily and rhythmic renewal. Without being limited to a clinical perspective, this book provides wide-ranging discussions of the relation between rhythm, trauma, cultural studies, psychosocial studies, continental philosophy, critical psychology, Lacan, and film, to explore modes of becoming more attuned to each moment, to others, and to our own era. Movement, Velocity, and Rhythm from a Psychoanalytic Perspective will be essential reading for Lacanian psychoanalysts in practice and in training, as well as anyone interested in rhythm at the intersection of Lacanian psychoanalysis and continental philosophy.

Despite record sales and an ever-growing global industry, the simple fact is that videogames are disappearing.

Most obviously, the physical deterioration of discs, cartridges, consoles and controllers means that the data and devices will crumble to dust and eventually will be lost forever. However, there is more to the disappearance of videogames than plastic corrosion and bit rot. Best Before examines how the videogames industry's retail, publishing, technology design, advertising and marketing practices actively produce obsolescence, wearing out and retiring old games to make way for the always new, just out of reach, 'coming soon' title and 'next generation' platform.

Set against the context of material deterioration and the discursive production of obsolescence, Best Before examines the conceptual and practical challenges faced within the nascent field of game preservation. Understanding videogames as rich, complex and mutable texts and experiences that are supported and sustained by cultures of gameplay and fandom, Best Before considers how - and even whether - we might preserve and present games for future generations.

Democracy is an issue of major importance in theory and practice in politics throughout the world. However, democracy's study and advancement has been significantly compromised by a dichotomy between theorising about democracy, and empirical studies of democracy in practice. In addition to highlighting the need for this gap to be overcome, this book contributes to overcoming this divide, by demonstrating a number of ways that democracy in theory and practice can be synthesised; deepening our understanding of the relationship between democracy in theory and practice in the process. Different, but related, democratic principles and concepts are considered such as legitimacy, political equality, deliberation, and participation. A range of practical contexts are also investigated including multi-level polities, deeply divided societies, whole polities, local rural and urban areas, and a range of democratic processes, innovations and spectacular events. Moreover, the book sets the agenda for future work to combine democracy in theory and practice. This book was originally published as a special issue of Representation.

This book throws light on ideologies, practices and sociocultural developments currently shaping language use in Japan by departing from the more common investigation of language in private contexts and examining aspects of the language found in a range of significant public spaces, from the material (an international airport, the streets of Tokyo, the JSL classroom in Japan and courtrooms) to the electronic (television dramas, local government web pages and cyberspace).

Through its study of the language encountered in such settings, the volume provides a deeper understanding of multifaceted aspects of linguistic diversity, both in terms of the use of languages other than Japanese and of issues relating to the Japanese language itself. The variety of theoretical approaches brought to bear by contributing authors ensures a substantial intellectual contribution to the literature on language in contemporary Japan.

This book was published as a special issue of Japanese Studies.