Writings on Media gathers more than twenty of Stuart Hall's media analyses, from scholarly essays such as "Encoding and Decoding in the Television Discourse" (1973) to other writings addressed to wider publics. Hall explores the practices of news photography, the development of media and cultural studies, the changing role of television, and how the nation imagines itself through popular media. He attends to Britain's imperial history and the politics of race and cultural identity as well as the media's relationship to the political project of the state. Testifying to the range and agility of Hall's critical and pedagogic engagement with contemporary media culture-and also to his collaborative mode of working-this volume reaffirms his stature as an innovative media theorist while demonstrating the continuing relevance of his methods of analysis.

This is a history of the feminist engagement with soap opera which uses a wide range of sources including fascinating interviews with key soap opera scholars. It is the story of why feminists were

interested in soap opera, and who they thought watched it.

Writings on Media gathers more than twenty of Stuart Hall's media analyses, from scholarly essays such as "Encoding and Decoding in the Television Discourse" (1973) to other writings addressed to wider publics. Hall explores the practices of news photography, the development of media and cultural studies, the changing role of television, and how the nation imagines itself through popular media. He attends to Britain's imperial history and the politics of race and cultural identity as well as the media's relationship to the political project of the state. Testifying to the range and agility of Hall's critical and pedagogic engagement with contemporary media culture-and also to his collaborative mode of working-this volume reaffirms his stature as an innovative media theorist while demonstrating the continuing relevance of his methods of analysis.

Charlotte Brundson's key writings on film and television are bought together with new introductions which contextualise and update the arguments. The focus is on the tastes and pleasures of the female consumer as she is produced by popular film and television.

In this volume, Charlotte Brunsdon analyzes a wide range of contemporary film and television programmes, from British soap operas and crime series such as "Crossroads" and "Widows" to Hollywood movies such as "Working Girl" and "Pretty Woman".;As well as interpreting the pleasures and meanings that these programmes offer - particularly for women viewers - the book is concerned with the nature of media criticism, particularly feminist criticism, and the problematic aesthetics of popular culture. Why have feminist media critics been so interested in the soap opera viewer? What are the "race" politics of the TV crime series? What is meant by "quality" in television? And was the fuss about the erection of satellite dishes on British homes really about architectural values?;The book brings together Charlotte Brunsdon's key writings on film and television and its criticism, with new introductions which contextualise and update the arguments, and recent work on the "post-feminist girly" in recent Hollywood cinema. Brunsdon's focus is on the tastes and pleasures of the female consumer as she is produced by popular film an television - and by feminist criticism.

This book brings together for the first time David Morley and Charlotte Brunsdon's classic texts, Everyday Television: Nationwide and The Nationwide Audience. Originally published in 1978 and 1980 these two research projects combine innovative textual readings and audience analysis of the BBC's current affairs programme Nationwide. In a specially written introduction the authors trace the history of the original Nationwide project and clarify the origins of the two books.

This book brings together for the first time David Morley and Charlotte Brunsdon's classic texts, Everyday Television: Nationwide and The Nationwide Audience. Originally published in 1978 and 1980 these two research projects combine innovative textual readings and audience analysis of the BBC's current affairs programme Nationwide. In a specially written introduction the authors trace the history of the original Nationwide project and clarify the origins of the two books.

This is a history of the feminist engagement with soap opera which uses a wide range of sources including fascinating interviews with key soap opera scholars. It is the story of why feminists were interested in soap opera, and who they thought watched it.

In Television Cities Charlotte Brunsdon traces television's representations of metropolitan spaces to show how they reflect the medium's history and evolution, thereby challenging the prevalent assumptions about television as quintessentially suburban. Brunsdon shows how the BBC's presentation of 1960s Paris in the detective series Maigret signals British culture's engagement with twentieth-century modernity and continental Europe, while various portrayals of London—ranging from Dickens adaptations to the 1950s nostalgia of Call the Midwife—demonstrate Britain's complicated transition from Victorian metropole to postcolonial social democracy. Finally, an analysis of The Wire’s acclaimed examination of Baltimore, marks the profound shifts in the ways television is now made and consumed. Illuminating the myriad factors that make television cities, Brunsdon complicates our understanding of how television shapes perceptions of urban spaces, both familiar and unknown.

The first edition of this book immediately became a defining text for feminist television criticism, with an influence extending across television, media and screen studies and the second edition will be similarly agenda-setting. Completely revised and updated throughout, it takes into account the changes in the television industry, the academic field of television studies and the culture and politics of feminist movements.

. . With fifteen of the eighteen extracts being new to the second edition, the readings offer a detailed analysis of a wide range of case studies, topics and approaches, including genres, audiences, performers and programmes such as 'Sex and the City', Prime Suspect, Oprah and Buffy.

. . With a new introduction to the volume tracing developments in the field and introductions to each thematic section, the editors engage in a series of debates surrounding the main issues of feminist television scholarship. They explore how television represents feminism and consider how critics themselves have created feminism and post-feminism as historical categories and political identities. Readings consider women who are engaged in various aspects of television production on both sides of the camera and examine how television targets and imagines its female audience, as well as how women respond to and use television in their everyday lives.

. . "Feminist Television Criticism" is inspiring reading for film, media, cultural and gender studies students.

. . "Contributors: Ien Ang, Jane Arthurs, Sarah Banet-Weiser, Karen Boyle, Marsha F. Cassidy, Geok-lian Chua, Bonnie J. Dow, Joanne Hollows, Deborah Jermyn, Annette Kuhn, Elizabeth MacLachlan, Purnima Mankekar, TaniaModleski, Laurie Ouellette, Yeidy M. Rivero, Lee Ann Roripaugh, Beretta E. Smith-Shomade, Kimberly Springer, Ksenija Vidmar-Horvat, Susan J. Wolfe.,"

In Television Cities Charlotte Brunsdon traces television's representations of metropolitan spaces to show how they reflect the medium's history and evolution, thereby challenging the prevalent assumptions about television as quintessentially suburban. Brunsdon shows how the BBC's presentation of 1960s Paris in the detective series Maigret signals British culture's engagement with twentieth-century modernity and continental Europe, while various portrayals of London-ranging from Dickens adaptations to the 1950s nostalgia of Call the Midwife-demonstrate Britain's complicated transition from Victorian metropole to postcolonial social democracy. Finally, an analysis of The Wire's acclaimed examination of Baltimore, marks the profound shifts in the ways television is now made and consumed. Illuminating the myriad factors that make television cities, Brunsdon complicates our understanding of how television shapes perceptions of urban spaces, both familiar and unknown.