Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

When we watch and listen to actors speaking lines that have been written by someone else-a common experience if we watch any television at all-the illusion of "people talking" is strong. These characters are people like us, but they are also different, products of a dramatic imagination, and the talk they exchange is not quite like ours.
Television Dramatic Dialogue examines, from an applied sociolinguistic perspective, and with reference to television, the particular kind of "artificial" talk that we know as dialogue: onscreen/on-mike talk delivered by characters as part of dramatic storytelling in a range of fictional and nonfictional TV genres. As well as trying to identify the place which this kind of language occupies in sociolinguistic space, Richardson seeks to understand the conditions of its production by screenwriters and the conditions of its reception by audiences, offering two case studies, one British (Life on Mars) and one American (House).

Strategic communication as a research field and a professional practice is becoming increasingly relevant for organizations. Bringing together contributions from almost 60 leading international scholars, this dynamic Research Handbook on Strategic Communication is a timely contribution to a vivid and developing academic field.

Divided into three key parts – fundamentals, perspectives, and processes – the Research Handbook provides a holistic overview of target-oriented communication in and between organizations and society. The Handbook begins by addressing core issues in the discipline, introducing theories of communication, strategy, propaganda, and the public sphere. Chapters further explore strategic communication from a range of institutional, democratic, spatial, gendered, professional, and technological perspectives. The final section covers an extensive array of strategic communication processes, from corporate branding, communication management, and public diplomacy to corporate social responsibility, political communication, and social media.

Offering an advanced overview of relevant theories, concepts, and methods in strategic communication, this comprehensive Research Handbook will be an essential resource for graduate students and scholars of communication studies, sociology, social psychology, organizational theory, marketing, and public relations. Practitioners will benefit from its combination of theoretical and practical insights.

Drawing together key frameworks and disciplines that illuminate the importance of communication around climate change, this Research Handbook offers a vital knowledge base to address the urgency of conveying climate issues to a variety of audiences. International scholars survey the key disciplinary foundations of climate change communication including: climate science, audience studies, sociology, and the efficacy of diverse communication forms ranging from science communication, political communication and visual communication to film, theatre and the novel. Featuring key ideas critical to the contemporary climate discussion, such as climate denial, psychology, the use of images, journalism, campaigns, health, justice and climate change fiction, this timely Research Handbook intervenes in the global debate to offer a pathway for researchers and communicators to stimulate new methods of conceptualising and communicating climate mitigation. Presenting an in-depth exploration of climate change messaging in relation to interpretive communities, this book is crucial reading for scholars and students of media and communications, climate science and environmental studies. Its key practical insights will also benefit practitioners of climate communication and science.

The Elgar Encyclopedia of Technology and Politics is a landmark resource that offers a comprehensive overview of the ways in which technological development is reshaping politics. Providing an unparalleled starting point for research, it addresses all the major contemporary aspects of the field. Divided into five thematic parts, the Encyclopedia investigates the existing academic literature on the main subfields in this area, before introducing innovative digital research methods. It then highlights the pivotal political and non-political actors leading the process of technological innovation, clarifies key concepts and terms in the field, and finally covers emerging and debated topics. This Encyclopedia will be particularly invaluable for early career researchers and advanced students in politics looking for a concise entry point into any of the various ways in which technology shapes the field. It will also be useful for practitioners to familiarise themselves with the analytical opportunities provided by computational social and political sciences. Key Features: Entries written by over 90 scholars from 33 different countries on 5 continents Accessible starting point for research into the key literature, topics and debates in the field Introduces important new digital methods such as machine learning, text analysis and network analysis Defines and clarifies the meaning of contested terms such as disinformation, echo chambers and fake news

This groundbreaking text is one of the first collections to exclusively explore, develop, and evaluate theories of Black girls and Black girlhoods. This contributed volume brings together emerging and established scholars from North America to discuss what Black girlhood means historically and in the 21st century, and how concepts of race, ethnicity, gender, sexuality, class, religion, and nationality inform or affect identities of Black girls beyond school or urban settings. Divided into two sections, special topics covered include Black feminism, intersectionality, pleasure and erotic agency, media and fan activism, construction of self, leadership, social change, toxic masculinity, and self-care. The Black Girlhood Studies Collection is a vital resource that will evoke meaningful discussion and change for students in African studies, Black studies, child and youth studies, gender and women studies, media studies, and sociology courses globally. FEATURES: engages in contributions from emerging and established scholars from a breadth of diverse disciplines and backgrounds includes pedagogical features such as a chapter introductions and conclusions, keywords, discussion questions, and glossaries

The experience of Central Americans in the United States is marked by a vicious contradiction. In entertainment and information media, Salvadorans, Guatemalans, Nicaraguans, and Hondurans are hypervisible as threatening guerrillas, MS-13 gangsters, maids, and "forever illegals." Central Americans are unseen within the broader conception of Latinx community, foreclosing avenues to recognition. Yajaira M. Padilla explores how this regime of visibility and invisibility emerged over the past forty years-bookended by the right-wing presidencies of Ronald Reagan and Donald Trump-and how Central American immigrants and subsequent generations have contested their rhetorical disfiguration. Drawing from popular films and TV, news reporting, and social media, Padilla shows how Central Americans in the United States have been constituted as belonging nowhere, imagined as permanent refugees outside the boundaries of even minority representation. Yet in documentaries about cross-border transit through Mexico, street murals, and other media, US Central Americans have counteracted their exclusion in ways that defy dominant paradigms of citizenship and integration.

In today's digital era, women's voices are heard everywhere-from smart home devices to social media platforms, virtual reality, podcasts, and even memes-but these new forms of communication are often accompanied by dated gender politics. In Women's Voices in Digital Media, Jennifer O'Meara dives into new and well-established media formats to show how contemporary screen media and cultural practices police and fetishize women's voices, but also provide exciting new ways to amplify and empower them. As she travels through the digital world, O'Meara discovers newly acknowledged-or newly erased-female voice actors from classic films on YouTube, meets the AI and digital avatars in Her and The Congress, and hears women's voices being disembodied in new ways via podcasts and VR voice-overs. She engages with dialogue that is spreading with only the memory of a voice, looking at how popular media like Clueless and The Simpsons have been mined for feminist memes, and encounters vocal ventriloquism on RuPaul's Drag Race that queers and valorizes the female voice. Through these detailed case studies, O'Meara argues that the digital proliferation of screens alters the reception of sounds as much as that of images, with substantial implications for women's voices.

Though the emergence of media archaeology has provided a necessary challenge to the dominant strains of film theory, the contributors to this special issue argue that there are important blind spots. They point out how the focus in media archaeology on historical narratives-especially on models of temporality-has led to a blind spot with regard to non-Western media. Drawing on resources in film studies for thinking about the trans- or international movement of media, the authors set out the need for and terms of a globalizing media archaeology.

Elgar Advanced Introductions are stimulating and thoughtful introductions to major fields in the social sciences, business and law, expertly written by the world's leading scholars. Designed to be accessible yet rigorous, they offer concise and lucid surveys of the substantive and policy issues associated with discrete subject areas. As the world faces extreme economic, environmental and political crises, this bold and accessible Advanced Introduction argues for a future-facing approach to the creative economy and creative innovation. The book analyses contemporary and historical arts and culture whilst assessing historical shifts from national to global cultures; analogue to digital technologies; and individualist to systems thinking. Key features include: A new approach to the creative industries based on complex systems and evolutionary dynamics Combining humanities-based analysis with economics of innovation A critique of important theorists and intellectual traditions involved in the study of modern mediated creativity Reconceptualizing arts, copyright, cities, time, global media and social agency A thought-provoking reassessment of modernity to pivot creative enterprise for the challenges of the Anthropocene era. Scholars and students of media and communications studies, political economy and economics will benefit from the new approach to creative media and culture, and its proposals to rethink the economics of creativity and innovation. This book will be a helpful guide for policy-makers, consultants and freelancers who work across the borderlines of art, media, technology, business and regulation.

Khaya Dlanga has established himself as one of the most influential individuals in South African media, particularly social media, a platform he uses to promote discussion on topics that range from the frivolous to the profound. In to quote myself, Khaya recounts entertaining and moving stories about his roots and upbringing in rural Transkei, how he made his mark at school as well as his time spent studying advertising and as a stand-up comedian. He also shares his political views, how he overcame homelessness to become one of the most influential marketers in South Africa and he gives the reader a dose of the truly weird and wonderful that is routinely a part of his life.

Mott KTA Journalism and Mass Communication Research Award, Kappa Tau Alpha Tankard Book Award, Association for Education in Journalism and Mass Communication (AEJMC) Knudson Latin America Prize, Association for Education in Journalism and Mass Communication (AEJMC) Since 2000, more than 150 journalists have been killed in Mexico. Today the country is one of the most dangerous in the world in which to be a reporter. In Surviving Mexico, Celeste Gonzalez de Bustamante and Jeannine E. Relly examine the networks of political power, business interests, and organized crime that threaten and attack Mexican journalists, who forge ahead despite the risks. Amid the crackdown on drug cartels, overall violence in Mexico has increased, and journalists covering the conflict have grown more vulnerable. But it is not just criminal groups that want reporters out of the way. Government forces also attack journalists in order to shield corrupt authorities and the very criminals they are supposed to be fighting. Meanwhile some news organizations, enriched by their ties to corrupt government officials and criminal groups, fail to support their employees. In some cases, journalists must wait for a "green light" to publish not from their editors but from organized crime groups. Despite seemingly insurmountable constraints, journalists have turned to one another and to their communities to resist pressures and create their own networks of resilience. Drawing on a decade of rigorous research in Mexico, Gonzalez de Bustamante and Relly explain how journalists have become their own activists and how they hold those in power accountable.

This edited collection explores the malleability and influence of body image, focusing particularly on how media representation and popular culture's focus on the body exacerbates the crucial social influence these representations can have on audiences' perceptions of themselves and others. Contributors investigate the cultural context and lived experiences of individuals' relationships with their bodies, going beyond examination of the thin, ideal body type to explore the emerging representations and portrayals of a diverse set of body types across the media spectrum, paving the way for future research on this topic. Scholars of media studies, popular culture, and health communication will find this book particularly useful.

This groundbreaking book investigates the clash between a desire for unfettered mobility and the prevalence of inequality, exploring how this generates frictions in everyday life and how it challenges the ideal of just cosmopolitanism. Reading fictional and popular cultural texts against real global contexts, it develops an 'aesthetics of justice' that does not advocate cosmopolitan mobility at the expense of care and hospitality but rather interrogates their divorce in neoliberal contexts. In this timely analysis, Rodanthi Tzanelli discusses questions of social injustice in the context of multiple and intertwined mobilities - business, technology, travel, tourism, popular cultural pilgrimage and social movements - that are at the forefront of early twenty-first century socio-cultural concerns. The book thus creates an interdisciplinary intervention on the politics and poetics of mobility in rapidly globalised lifeworlds and places. Human geography and sociology scholars with a particular interest in mobilities studies, cosmopolitanism, social theory and tourism or pilgrimage studies will find this book an intriguing and insightful read.

American Boarding School Fiction, 1981-2021: Inclusion and Scandal is a study of contemporary American boarding-school narratives. Before the 1980s, writers of American boarding-school fiction tended to concentrate on mournful teenagers - the center was filled with students: white, male, Protestant students at boys' schools. More recently, a new generation of writers-including Richard A. Hawley, Anita Shreve, Curtis Sittenfeld, and Tobias Wolff-has transformed school fiction by highlighting issues relating to gender, race, scandal, sexuality, education, and social class in unprecedented ways. These new writers present characters who are rich and underprivileged, white and Black, male and female, adolescent and middle-aged, conformist and rebellious. By turning their attention away from the bruised feelings of teenagers, they have reinvented American boarding-school fiction, writing vividly about a host of subjects the genre overlooked in the past.

Film festivals around the world are in the business of making experiences for audiences, elites, industry, professionals, and even future cultural workers. Cinema and the Festivalization of Capitalism explains why these non-profit organizations work as they do: by attracting people who work for free, while appealing to businesses and policymakers as a cheap means to illuminate the creative city and draw attention to film art. Ann Vogel's unprecedented systematic sociological analysis thus provides firm evidence for the 'festival effect', which situates the festival as a key intermediary in cinema value chains, yet also demonstrates the impact of such event culture on cultural workers' lives. By probing the various resources and institutional pillars ensuring that the festivalization of capitalism is here to stay, Vogel urges us to think critically about publicly displayed benevolence in the context of cinema-and beyond.

Elgar Research Agendas outline the future of research in a given area. Leading scholars are given the space to explore their subject in provocative ways, and map out the potential directions of travel. They are relevant but also visionary. Over the past 20 years, the concept of creative industries has become a widely recognised policy paradigm adopted in numerous countries, agencies and educational institutions around the world. A Research Agenda for Creative Industries probes the key issues that will help to advance research into creative industries as a productive and innovative intervention in public policy. Issues addressed include how much should a research agenda for creative industries be policy-oriented? How workable is the so-called triple bottom line rationale for creative industries? What innovative theories, research approaches and methods are called for in advancing a creative industries agenda? With contributions from leading scholars, policy and industry specialists, this interdisciplinary Research Agenda will be a vital resource for students and academics working in the fields of communication, culture, film and media, geography, business and policy studies, and Internet and social media studies.

Along with its interrelated companion volume, The Content, Impact, and Regulation of Streaming Video, this book covers the next generation of TV-streaming online video, with details about its present and a broad perspective on the future. It reviews the new technical elements that are emerging, both in hardware and software, their long-term trend, and the implications, and discusses the emerging ''media cloud'' of video and infrastructure platforms, and the organizational form of such TV. What kind of companies? What kind of business models? What kind of industries? What kind of impact on existing media? And what kind of market power in media industries, around the world? The author addresses these questions with facts and figures, ranging across technology, economics, communications studies, business, policy, and law. Media professionals in academia, management, technology, policy and creative production will appreciate the non-jargony yet thorough exploration of streaming online video in The Technology, Business, and Economics of Streaming Video.

This book explores the media ecologies of literature - the ways in which a literary text is interwoven in its material, technical, performative, praxeological, affective, and discursive network and which determine how it is experienced and interpreted. Through novel approaches to the complex, contingent and interdependent environments of literature, this volume demonstrates how questions about the mediality of literature - particularly in the wake of digitization - shed a new light on our understanding of textuality, reading, platforms and reception processes. By drawing on recent developments in advanced media theory, Media Ecologies of Literature emphasizes the productivity of innovative re-conceptualizations of literature as a medium in its own right. In an intentionally wide historical scope, the essays engage with literary texts from the Romantic to the contemporary period, from Charlotte Smith and Oscar Wilde to A. L. Kennedy and Mark Z. Danielewski, from the traditionally printed novel to audiobooks and reading apps.

In 1914, the Associated Newspapers sent correspondent Herbert Corey to Europe on the day Great Britain declared war on Germany. During the Great War that followed, Corey reported from France, Britain, and Germany, visiting the German lines on both the western and eastern fronts. He also reported from Greece, Italy, Switzerland, Holland, Belgium, and Serbia. When the Armistice was signed in November 1918, Corey defied the rules of the American Expeditionary Forces and crossed into Germany. He covered the Paris Peace Conference the following year. No other foreign correspondent matched the longevity of his reporting during World War I. Until recently, however, his unpublished memoir lay largely unnoticed among his papers in the Library of Congress. With publication of Herbert Corey's Great War, coeditors Peter Finn and John Maxwell Hamilton reestablish Corey's name in the annals of American war reporting. As a correspondent, he defies easy comparison. He approximates Ernie Pyle in his sympathetic interest in the American foot soldier, but he also told stories about troops on the other side and about noncombatants. He is especially illuminating on the obstacles reporters faced in conveying the story of the Great War to Americans. As his memoir makes clear, Corey didn't believe he was in Europe to serve the Allies. He viewed himself as an outsider, one who was deeply ambivalent about the entry of the United States into the war. His idiosyncratic, opinionated, and very American voice makes for compelling reading.