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This book explores the ideas of key thinkers and media
practitioners who have examined images and icons of war and terror.
Icons of War and Terror explores theories of iconic images of war
and terror, not as received pieties but as challenging
uncertainties; in doing so, it engages with both critical discourse
and conventional image-making. The authors draw on these theories
to re-investigate the media/global context of some of the most
iconic representations of war and terror in the international 'risk
society'. Among these photojournalistic images are: Nick Ut's
Pulitzer Prize winning photograph of a naked girl, Kim Phuc,
running burned from a napalm attack in Vietnam in June 1972; a
quintessential 'ethnic cleansing' image of massacred Kosovar
Albanian villagers at Racak on January 15, 1999, which finally
propelled a hesitant Western alliance into the first of the 'new
humanitarian wars'; Luis Simco's photograph of marine James Blake
Miller, 'the Marlboro Man', at Fallujah, Iraq, 2004; the iconic
toppling of the World Trade Centre towers in New York by planes on
September 11, 2001; and the 'Falling Man' icon - one of the most
controversial images of 9/11; the image of one of the authors of
this book, as close-up victim of the 7/7 terrorist attack on
London, which the media quickly labelled iconic. This book will be
of great interest to students of media and war, sociology,
communications studies, cultural studies, terrorism studies and
security studies in general.
These two science fiction series have both survived cancellation and continue to attract a huge community of fans and followers. Doctor Who has appeared in nine different guises and Star Trek is now approaching its fourth television incarnation. Science Fiction Audiences examines the continuing popularity of two television 'institutions' of our time through their fans and followers. Through dialogue with fans and followers of Star Trek and Dr Who in the US, Britain and Australia, John Tulloch and Henry Jenkins ask what it is about the two series that elicits such strong and active responses from their audiences. Is it their particular intervention into the SF genre? Their expression of peculiarly 'American' and 'British' national cultures? Their ideolgies and visions of the future, or their conceptions of science and technology? Science Fiction Audiences responds to a rich fan culture which encompasses debates about fan aesthetics, teenage attitudes to science fiction queers and Star Trek, and ideology and pleasure in ^Doctor Who. It is a book both for fans of the two series, who will be able to continue their debates in its pages, and for students of media and cultural studies, offering a historical overview of audience theory in a fascinating synthesis of text, context and audience study.
"Science Fiction Audiences" examines the astounding popularity of
two television "institutions" of our time--the science fiction
series "Doctor Who" and "Star Trek," Both of theses programs have
survived cancellation and acquired a following that continues to
grow. The book is based on years of research including interviews
with fans and followers of these two television series. In that
period fans and followers have changed, and ways of studying them
as "audiences" have changed as well, but the programs endure
intact--"Star Trek," for example, is approaching its fourth
television incarnation.
John Tulloch and Henry Jenkins dive into the rich fan culture
surrounding the two series, exploring such issues as queer
identity, fan meanings, teenage love of science fiction and genre
expectations. The authors further question how these series operate
on other levels, for example, by portraying particular American and
British profiles, by promoting certain ideologies, or simply by
providing a very consistent form of entertainment.
"Science Fiction Audiences" encompasses the perspectives of vast
population of fans and followers throughout Britain, Australia, and
the USA. This book is intended both for fans and followers of the
series, who will continue their debates in these pages, and for
those involved in media and cultural studies, who will examine a
historically changing range of audience theory operating over the
time period this study covers. Overall, "Science Fiction Audiences"
offers a synthesis of text, context and audience study.
Series Information: Studies in Culture and Communication
This book explores the ideas of key thinkers and media
practitioners who have examined images and icons of war and terror.
Icons of War and Terror explores theories of iconic images of war
and terror, not as received pieties but as challenging
uncertainties; in doing so, it engages with both critical discourse
and conventional image-making. The authors draw on these theories
to re-investigate the media/global context of some of the most
iconic representations of war and terror in the international 'risk
society'. Among these photojournalistic images are: Nick Ut's
Pulitzer Prize winning photograph of a naked girl, Kim Phuc,
running burned from a napalm attack in Vietnam in June 1972; a
quintessential 'ethnic cleansing' image of massacred Kosovar
Albanian villagers at Racak on January 15, 1999, which finally
propelled a hesitant Western alliance into the first of the 'new
humanitarian wars'; Luis Simco's photograph of marine James Blake
Miller, 'the Marlboro Man', at Fallujah, Iraq, 2004; the iconic
toppling of the World Trade Centre towers in New York by planes on
September 11, 2001; and the 'Falling Man' icon - one of the most
controversial images of 9/11; the image of one of the authors of
this book, as close-up victim of the 7/7 terrorist attack on
London, which the media quickly labelled iconic. This book will be
of great interest to students of media and war, sociology,
communications studies, cultural studies, terrorism studies and
security studies in general.
Trevor Griffiths has been a critical force in British television
writing for over three decades. His successes have included the
series Bill Brand (1976), his adaptations of Sons and Lovers and
The Cherry Orchard (1981) and his television plays, The Comedians
(1979), Hope in the Year Two (1994) and Food for Ravens (1997).
During his creative life he has negotiated the issues of genre,
politics, identity, class, history, memory and televisual form with
a sustained creativity and integrity second to none. And he has
parallelled this career with one as equally as eminent in the
theatre, as well as the slightly more problematic forays into
film-writing for Warren Beatty's Reds and Ken Loach's Fatherland.
John Tulloch's Trevor Griffiths is also, however, a work that looks
at such a creative and successful career from a number of different
angles. For example, Griffith's televisual work coincides with the
emergence of media and cultural studies and so Tulloch reflects on
how critical citation moves from Marx to Derrida from the 70s
throught to the 90s, mirroring the increased theorisation of media
studies. He also looks at the dialogic relationship of Griffiths as
the radical critic and the radical critique of cultural studies.
Both a canny work on Griffiths, as well as a pertinent work for
students introducing them to to broader concepts, theories and
methods within the field, Tulloch's work will be read widely by
students and academics in a range of disciplines.
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