Fighting with the Bengal Yeomanry Cavalry by John Tulloch Nash
Private Metcalfe at Lucknow by Henry Metcalfe
Two vital recollections of the great Indian uprising
This is another Leonaur volume which includes two essential perspectives of a single conflict within one book for great value reading. The first account sees the Mutiny from the perspective of a hastily thrown together unit of irregular cavalry. The author-a gentleman volunteer-saw much hard riding, tough campaigning and brutal action. He has recorded it all here for posterity in this rare but vital first hand account. By contrast, Private Metcalfe's is an authentic voice of the ordinary infantryman of the Queen Empress's regular army. A soldier of the 32nd Foot from the age of thirteen Metcalfe was of the stuff that 'kept the map red'. Rough, tough, nostalgic and capable of acts of violence and great kindness by turns, Metcalfe possessed almost limitless endurance, stoicism and good humour throughout one of the most demanding actions of the war-the siege of the Residency at Lucknow.

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.

Following on from the first volume published in 2012, this new volume significantly expands the scope of the study of literary journalism both geographically and thematically. Chapters explore literary journalism not only in the United Kingdom, the United States and India - but also in countries not covered in the first volume such as Australia, France, Brazil and Portugal, while its central themes help lead the study of literary journalism into previously unchartered territory. More focus is placed on the origins of literary journalism, with chapters exploring the previously ignored journalism of writers such as Myles na gCopaleen, Marguerite Duras, Mohatma Gandhi, Leigh Hunt, D. H. Lawrence, Mary McCarthy and Evelyn Waugh. Critical overviews of African American literary journalism in the 1950s and of literary journalism in Brazil from 1870 to the present day are also provided, and a section asks whether there is a specific women's voice in literary journalism.

This text brings together the writings of more than twenty international academics to explore the rapidly expanding field of literary journalism - a term the editors view as 'disputed terrain'. Journalists from a uniquely wide range of countries and regions - including Britain, Canada, Cape Verde, Finland, India, Ireland, Latin America Norway, Sweden, the Middle East, the United States - are covered as are a range of subject areas. These are divided into sections titled Disputed Terrains: Crossing the Boundaries between Fact, Reportage and Fiction, Exploring Subjectivities: The Personal is Where We Start From, Long-form Journalism: Confronting the Conventions of Daily War Journalism, Colonialism, Freedom Struggles and the Politics of Reportage, and Transforming Conventional Genres. The collection will be of interest to students of journalism, media studies, literary studies, and culture and communication as well as all those interested in exploring the literary possibilities of journalism at its best.

Coverage of the Clinton-Lewinsky saga followed in a long trail of media exposures of the more personal details of the lives of public figures. Many commentators have seen stories like this, and TV shows like Jerry Springer's, as evidence of a decline in the standards of the mass media. This increasing interest in private lives and the falling off of coverage of serious news is often described as Otabloidization.O The essays in this book are the first serious scholarly studies of what is going on and what its implications are. Reality, it turns out, is much more complex than some of the laments suggest. As the contributors show, this is not just a U.S. problem but is repeated in country after country, and it is not certain that the media anywhere are getting more tabloid. What is more, there is no consensus about whether tabloidization is just Odumbing downO or whether it is a necessary tactic for the mass media to engage with new audiences who do not have the news habit. Tabloid Tales will be of interest to students and scholars in journalism, mass communication, political science, and cultural and media studies.

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.

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.

"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.