Using case studies and analytical overviews this book explores the relationship between broadcasting and the intimate domestic sphere into which it is broadcast. It focuses on the period from the 1920s, when broadcasting was established in the UK, to the present day when both domesticity and broadcasting have become areas of anxiety and contestation. The entry of the 'wireless', and later television, into the home changed men and women's experience of domesticity, offering education and reducing isolation. But broadcasting did not merely change domestic leisure patterns, it actively intervened in constructing domesticity. The supposedly natural relationship between femininity and domesticity has structured the nature of broadcasting, and also the discourses which have emerged concerning the consumption of broadcast media. Contemporary broadcasting continues to be obsessed by domesticity, both in an idealised sense as well as portraying the domestic world as one of turmoil and crisis. This volume demonstrates that the relationship between broadcasting and domesticity is a key, and often neglected, feature of the cultural history of Britain in the last 100 years. >

This book seeks to place children and young people centrally within the study of the contemporary British home front, its cultural representations and its place in the historical memory of the First World War. This edited collection interrogates not only war and its effects on children and young people, but how understandings of this conflict have shaped or been shaped by historical memories of the Great War, which have only allowed for several tropes of childhood during the conflict to emerge. It brings together new research by emerging and established scholars who, through a series of tightly focussed case studies, introduce a range of new histories to both explore the experience of being young during the First World War, and interrogate the memories and representations of the conflict produced for children. Taken together the chapters in this volume shed light on the multiple ways in which the Great War shaped, disrupted and interrupted childhood in Britain, and illuminate simultaneously the selectivity of the portrayal of the conflict within the more typical national narratives.

This lively collection of essays showcases recent research into the impact of the conflict on British women during the First World War and since. Looking outside of the familiar representations of wartime women as nurses, munitionettes, and land girls, it introduces the reader to lesser-known aspects of women's war experience, including female composers' musical responses to the war, changes in the culture of women's mourning dress, and the complex relationships between war, motherhood, and politics. Written during the war's centenary, the chapters also consider the gendered nature of war memory in Britain, exploring the emotional legacies of the conflict today, and the place of women's wartime stories on the contemporary stage. The collection brings together work by emerging and established scholars contributing to the shared project of rewriting British women's history of the First World War. It is an essential text for anyone researching or studying this history. This book was originally published as a special issue of Women's History Review.

This lively collection of essays showcases recent research into the impact of the conflict on British women during the First World War and since. Looking outside of the familiar representations of wartime women as nurses, munitionettes, and land girls, it introduces the reader to lesser-known aspects of women's war experience, including female composers' musical responses to the war, changes in the culture of women's mourning dress, and the complex relationships between war, motherhood, and politics. Written during the war's centenary, the chapters also consider the gendered nature of war memory in Britain, exploring the emotional legacies of the conflict today, and the place of women's wartime stories on the contemporary stage. The collection brings together work by emerging and established scholars contributing to the shared project of rewriting British women's history of the First World War. It is an essential text for anyone researching or studying this history. This book was originally published as a special issue of Women's History Review.

The media have played a significant role in the contested and changing social position of women in Britain since the 1900s. They have facilitated feminism by both providing discourses and images from which women can construct their identities, and offering spaces where hegemonic ideas of femininity can be reworked. This volume is intended to provide an overview of work on Broadcasting, Film and Print Media from 1900, while appealing to scholars of History and Media, Film and Cultural Studies. This edited collection features tightly focused and historically contextualised case studies which showcase current research on women and media in Britain since the 1900s. The case studies explore media directed at a particularly female audience such as Woman's Hour, and magazines such as Vogue, Woman and Marie Claire. Women who work in the media, issues of production, and regulation are discussed alongside the representation of women across a broad range of media from early 20th-century motorcycling magazines, Page 3 and regional television news.

Groups of young evacuees, standing on railway stations with gas masks and cardboard suitcases have become an iconic image of wartime Britain, but their histories have eclipsed those of women whose domestic lives were affected. This book explores the effects of this unparalleled interference in the domestic lives of women, looking at the impact on everyday experience and on ideas of femininity, domesticity and motherhood. Maggie Andrews argues that wartime evacuation is important for understanding the experience and the contested meanings of domesticity and motherhood in the 20th century. As this book shows, evacuation represents a significant and unrecognised area of women's war work, and precipitated the rise of competing public discourses about domestic labour and motherhood.

The media have played a significant role in the contested and changing social position of women in Britain since the 1900s. They have facilitated feminism by both providing discourses and images from which women can construct their identities, and offering spaces where hegemonic ideas of femininity can be reworked. This volume is intended to provide an overview of work on Broadcasting, Film and Print Media from 1900, while appealing to scholars of History and Media, Film and Cultural Studies. This edited collection features tightly focused and historically contextualised case studies which showcase current research on women and media in Britain since the 1900s. The case studies explore media directed at a particularly female audience such as Woman's Hour, and magazines such as Vogue, Woman and Marie Claire. Women who work in the media, issues of production, and regulation are discussed alongside the representation of women across a broad range of media from early 20th-century motorcycling magazines, Page 3 and regional television news.

Historically seen as figures of pity and foreboding - poverty stricken receivers of charity, tragic figures dressed in black and even sometimes sexually voracious predators or witches - widows have been subject to powerful stereotypes that have endured for centuries. But for many women, widowhood unfolded into a vastly more complex story. From being property of men and housekeepers - the owners of nothing - they found themselves suddenly enfranchised, empowered and free to conduct themselves however they wished. From suffrage campaigners and politicians, to entrepreneurs and newly self-made women, the effect of widows' might can be seen throughout history. In Widows historians Maggie Andrews and Janis Lomas pull together the stories of fascinating women, both famous and unknown, and their exploits after being widowed. They show how throughout history widows have carried on with everyday life in the face of poverty or isolation, their struggles for political power and the ways that many of them have contributed to improving the lives of women today.

This book seeks to place children and young people centrally within the study of the contemporary British home front, its cultural representations and its place in the historical memory of the First World War. This edited collection interrogates not only war and its effects on children and young people, but how understandings of this conflict have shaped or been shaped by historical memories of the Great War, which have only allowed for several tropes of childhood during the conflict to emerge. It brings together new research by emerging and established scholars who, through a series of tightly focussed case studies, introduce a range of new histories to both explore the experience of being young during the First World War, and interrogate the memories and representations of the conflict produced for children. Taken together the chapters in this volume shed light on the multiple ways in which the Great War shaped, disrupted and interrupted childhood in Britain, and illuminate simultaneously the selectivity of the portrayal of the conflict within the more typical national narratives.

Suffragettes learned jiu-jitsu, repelled policemen with their hatpins, burnt down football stadiums and planted bombs. They rented a house near to Holloway Prison and sang rebel anthems to the Suffragettes inside. They barricaded themselves into their homes to repulse tax collectors. They arranged mass runs on Parliament. They had themselves posted to the Prime Minister, getting as far as the door of No. 10. Indomitable older members applied for gun licences to scare the government into thinking they were planning a revolution. Rebels. Warriors. Princesses. Prisoners. Pioneers. Here are 101 of the most extraordinary facts about Suffragettes that you need to know.

The British Women's Institute is more often associated with jam and Jerusalem than radical activity, but in this book Maggie Andrews explores the WI's relationship with feminism from the formation of the organisation in 1915 up to the eve of British feminism's renaissance in the late 1960s. The book aims to challenge, not only common sense perceptions about the Women's Institute but also those about feminism, interrogating preoccupations with domestic spaces and skills. This makes it is valuable reading for those interested in both historical and contemporary feminism, as well as, more broadly, the history of the twentieth century. Attention is given to the female cultural space and the value system provided by the WI, and the campaigns that articulated the needs of rural women and attempted to meet them. In this 100th anniversary year of the founding of the WI, this celebrated text is re-published in a new and completely revised edition. Maggie Andrews's new afterword considers the resurgence of interest in the WI amongst young women in the twenty-first century, and the relationship between this and the contemporary cultural enthusiasm for the domestic. There is also a new chapter on the formation of the WI in the First World War and substantial additions to existing chapters, including discussions of the WI involvement with radio in the inter-war years, and with evacuation in the Second World War.

Groups of young evacuees, standing on railway stations with gas masks and cardboard suitcases have become an iconic image of wartime Britain, but their histories have eclipsed those of women whose domestic lives were affected. This book explores the effects of this unparalleled interference in the domestic lives of women, looking at the impact on everyday experience and on ideas of femininity, domesticity and motherhood. Maggie Andrews argues that wartime evacuation is important for understanding the experience and the contested meanings of domesticity and motherhood in the 20th century. As this book shows, evacuation represents a significant and unrecognised area of women's war work, and precipitated the rise of competing public discourses about domestic labour and motherhood.

Many of women's everyday experiences and pleasures are tied up inextricably with consumption. In consumer-culture research, it tends to be the activities and interests of women which take center stage. This collection provides a wide range of different perspectives on women as consumers, focusing on popular culture, including examinations of popular media and their targeting of female audiences.

Apart from a grounding in feminism the collection does not present a single view, theoretically; methodologically, or politically. Its contributors work across a wide range of disciplines, including cultural and media studies, design history, and sociolinguistics. What they all have in common is the aim of understanding women's experiences and struggles in relation to consumer culture in the 20th century.

This title provides an exploration of how the domestic reception of broadcasting shaped the medium, from the 1920s to the present day. Using case studies and analytical overviews this book explores the relationship between broadcasting and the intimate domestic sphere into which it is broadcast. It focuses on the period from the 1920s, when broadcasting was established in the UK, to the present day when both domesticity and broadcasting have become areas of anxiety and contestation. The entry of the 'wireless', and later television, into the home changed men and women's experience of domesticity, offering education and reducing isolation. But broadcasting did not merely change domestic leisure patterns, it actively intervened in constructing domesticity. The supposedly natural relationship between femininity and domesticity has structured the nature of broadcasting, and also the discourses which have emerged concerning the consumption of broadcast media. Contemporary broadcasting continues to be obsessed by domesticity, both in an idealised sense as well as portraying the domestic world as one of turmoil and crisis. This volume demonstrates that the relationship between broadcasting and domesticity is a key, and often neglected, feature of the cultural history of Britain in the last 100 years.