The media served a highly partisan and propagandistic role in NATO's Kosovo war, uncritically reproducing official spin in a way that was incompatible with their proclaimed democratic role as objective purveyors of information. This book integrates a critical interpretation of Western policy towards the former Yugoslavia with analysis of media coverage of the Kosovo crisis and war. The first part of the book deals with the war itself and the build-up to it, placing this in the context of earlier Western intervention in Yugoslavia. Part two discusses key issues raised by the media coverage, including the demonisation of the enemy, and the role of CNN. In the final section, contributors analyse how the war was reported in different countries around the world, including the United States, Britain, Germany, India, Greece, Russia, and France. The book offers a corrective to the hysteria and misinformation that permeated media coverage. Subjects covered include the role of the Internet, the changing media-military relationship, the depiction and definition of "war crimes", and how Yugoslav television was presented as a legitimate military target. Contributors include John

Since the end of the Cold War there have been many competing ideas about how to explain contemporary conflicts, and about how the West should respond to them. This study, newly available in paperback, examines how the media interpret conflicts and international interventions, testing the sometimes contradictory claims that have been made about recent coverage of war. Framing post-Cold War conflicts takes a comparative approach, examining UK press coverage across six different crises. Through detailed analysis of news content, it seeks to identify the dominant themes in explaining the post-Cold War international order, and to discover how far the patterns established prior to 11 September 2001 have subsequently changed. Based on extensive original research, the book includes case studies of two 'humanitarian military interventions' (in Somalia and Kosovo), two instances where Western governments were condemned for not intervening enough (Bosnia and Rwanda), and the post-9/11 interventions in Afghanistan and Iraq. -- .

For many years, the objective of environmental campaigners was to push climate change on to the agenda of political leaders and to encourage media attention to the issue. By the first decade of the twenty-first century, it appeared that their efforts had been spectacularly successful. Yet just at the moment when the campaigners' goals were being achieved, it seemed that the idea of getting the issue into mainstream discussion had been mistaken all along; that the consensus-building approach produced little or no meaningful action. That is the problem of climate change as a 'post-political' issue, which is the subject of this book. Examining how climate change is communicated in politics, news media and celebrity culture, Climate Change and Post-Political Communication explores how the issue has been taken up by elites as potentially offering a sense of purpose or mission in the absence of political visions of the future, and considers the ways in which it provides a focus for much broader anxieties about a loss of modernist political agency and meaning. Drawing on a wide range of literature and case studies, and taking a critical and contextual approach to the analysis of climate change communication, this book will be a valuable resource for students and scholars of environmental studies, communication studies, and media and film studies.

For many years, the objective of environmental campaigners was to push climate change on to the agenda of political leaders and to encourage media attention to the issue. By the first decade of the twenty-first century, it appeared that their efforts had been spectacularly successful. Yet just at the moment when the campaigners' goals were being achieved, it seemed that the idea of getting the issue into mainstream discussion had been mistaken all along; that the consensus-building approach produced little or no meaningful action. That is the problem of climate change as a 'post-political' issue, which is the subject of this book. Examining how climate change is communicated in politics, news media and celebrity culture, Climate Change and Post-Political Communication explores how the issue has been taken up by elites as potentially offering a sense of purpose or mission in the absence of political visions of the future, and considers the ways in which it provides a focus for much broader anxieties about a loss of modernist political agency and meaning. Drawing on a wide range of literature and case studies, and taking a critical and contextual approach to the analysis of climate change communication, this book will be a valuable resource for students and scholars of environmental studies, communication studies, and media and film studies.

Media, War and Postmodernity investigates how conflict and international intervention have changed since the end of the Cold War, asking why Western military operations are now conducted as high-tech media spectacles, apparently more important for their propaganda value than for any strategic aims.

Discussing the humanitarian interventions of the 1990s and the War on Terror, the book analyzes the rise of a postmodern sensibility in domestic and international politics, and explores how the projection of power abroad is undermined by a lack of cohesion and purpose at home. Drawing together debates from a variety of disciplinary and theoretical perspectives, Philip Hammond argues that contemporary warfare may be understood as 'postmodern' in that it is driven by the collapse of grand narratives in Western societies and constitutes an attempt to recapture a sense of purpose and meaning.

Media, War and Postmodernity investigates how conflict and international intervention have changed since the end of the Cold War, asking why Western military operations are now conducted as high-tech media spectacles, apparently more important for their propaganda value than for any strategic aims.

Discussing the humanitarian interventions of the 1990s and the War on Terror, the book analyzes the rise of a postmodern sensibility in domestic and international politics, and explores how the projection of power abroad is undermined by a lack of cohesion and purpose at home. Drawing together debates from a variety of disciplinary and theoretical perspectives, Philip Hammond argues that contemporary warfare may be understood as 'postmodern' in that it is driven by the collapse of grand narratives in Western societies and constitutes an attempt to recapture a sense of purpose and meaning.

Many of today's most commercially successful videogames, from Call of Duty to Company of Heroes, are war-themed titles that play out in what are framed as authentic real-world settings inspired by recent news headlines or drawn from history. While such games are marketed as authentic representations of war, they often provide a selective form of realism that eschews problematic, yet salient aspects of war. In addition, changes in the way Western states wage and frame actual wars makes contemporary conflicts increasingly resemble videogames when perceived from the vantage point of Western audiences. This interdisciplinary volume brings together scholars from games studies, media and cultural studies, politics and international relations, and related fields to examine the complex relationships between military-themed videogames and real-world conflict, and to consider how videogames might deal with history, memory, and conflict in alternative ways. It asks: What is the role of videogames in the formation and negotiation of cultural memory of past wars? How do game narratives and designs position the gaming subject in relation to history, war and militarism? And how far do critical, anti-war/peace games offer an alternative or challenge to mainstream commercial titles?

As the world of politics and public affairs has gradually changed beyond recognition over the past two decades, journalism too has been transformed... yet the study of news and journalism often seems stuck with ideas and debates which have lost much of their critical purchase. Journalism is at a crossroads: it needs to reaffirm core values and rediscover key activities, almost certainly in new forms, or it risks losing its distinctive character as well as its commercial basis. Journalism Studies is a polemical textbook that rethinks the field of journalism studies for the contemporary era. Organised around three central themes - ownership, objectivity and the public - Journalism Studies addresses the contexts in which journalism is produced, practised and disseminated. It outlines key issues and debates, reviewing established lines of critique in relation to the state of contemporary journalism, then offering alternative ways of approaching these issues, seeking to reconceptualise them in order to suggest an agenda for change and development in both journalism studies and journalism itself. Journalism Studies is a concise and accessible introduction to contemporary journalism studies, and will be highly useful to undergraduate and postgraduate students on a range of Journalism, Media and Communications courses.

As the world of politics and public affairs has gradually changed beyond recognition over the past two decades, journalism too has been transformed... yet the study of news and journalism often seems stuck with ideas and debates which have lost much of their critical purchase. Journalism is at a crossroads: it needs to reaffirm core values and rediscover key activities, almost certainly in new forms, or it risks losing its distinctive character as well as its commercial basis. Journalism Studies is a polemical textbook that rethinks the field of journalism studies for the contemporary era. It is the politics, philosophy and economics of journalism, presented as a logical reconstruction of its historical development. This book offers a critical reassessment of conventional themes in the academic analysis of journalism, and sets out a positive proposal for what we should be studying. Organised around three central themes -- ownership, objectivity and the public -- Journalism Studies addresses the contexts in which journalism is produced, practised and disseminated. It outlines key issues and debates, reviewing established lines of critique in relation to the state of contemporary journalism, then offering alternative ways of approaching these issues, seeking to reconceptualise them in order to suggest an agenda for change and development in both journalism studies and journalism itself. Journalism Studies advocates a mutually reinforcing approach to both the practice and the study of journalism, exploring the current sense that journalism is in crisis, and offering a cool appraisal of the love-hate relationship between journalism and the scholarship which it frequently disowns. This is a concise and accessible introduction to contemporary journalism studies, and will be highly useful to undergraduate and postgraduate students on a range of Journalism, Media and Communications courses.

Many of today's most commercially successful videogames, from Call of Duty to Company of Heroes, are war-themed titles that play out in what are framed as authentic real-world settings inspired by recent news headlines or drawn from history. While such games are marketed as authentic representations of war, they often provide a selective form of realism that eschews problematic, yet salient aspects of war. In addition, changes in the way Western states wage and frame actual wars makes contemporary conflicts increasingly resemble videogames when perceived from the vantage point of Western audiences. This interdisciplinary volume brings together scholars from games studies, media and cultural studies, politics and international relations, and related fields to examine the complex relationships between military-themed videogames and real-world conflict, and to consider how videogames might deal with history, memory, and conflict in alternative ways. It asks: What is the role of videogames in the formation and negotiation of cultural memory of past wars? How do game narratives and designs position the gaming subject in relation to history, war and militarism? And how far do critical, anti-war/peace games offer an alternative or challenge to mainstream commercial titles?

Despite the learned opinions of some of the most eminent Astronomers, Physicists and Scientists over the past +100 years, many of whom were Nobel prize Laureates, who had all concluded that our Universe is a non-Physical Reality, the Doctrine of Materialism continues to be aggressively propagated by today's Science, Academia, the Technological Establishment and Christianity. The thinking of many of these most eminent Physicists was that the Atom of which our reality, which is the Physical Universe is actually a construction of Spiritual Mind, of which Consciousness, Imagination and Intellect are its equally enigmatic spiritual components.

'No other collection to date has so acutely, intelligently and coherently demonstrated the inseparability of information, entertainment, policy and public perception as prime vectors of "war on terror" discourses and sensibilities as these are represented in Hollywood products. If I had to choose a single source to interrogate the limitless suffusion throughout Hollywood texts of Hegemonic gaze and subjectivity - regardless of genre, whether "critical" or "mainstream" - it would be Screens of Terror.' - Oliver Boyd-Barrett, Professor of Journalism & Telecommunications, Bowling Green State University 'A compelling and timely interrogation of contemporary images of terror, this book has much to offer everyday consumers of popular films and television, be they students or casual readers.' - Cynthia Weber, Professor of International Relations, University of Sussex Right from the first moment, the 11 September 2001 attacks and the 'war on terror' were closely associated with film and media. In an effort to 're-brand' US foreign policy, Washington consulted with the advertising and PR industries and within days of 9/11 - itself often described as being 'like a movie' - also consulted Hollywood. It seemed that film-makers might be about to cooperate with a major, long-term propaganda offensive, harking back to the films of the early Cold War era or even those of World War Two. Screens of Terror examines whether such expectations have been borne out. It asks: How far have the film and TV industries been supportive of the 'war on terror' and how far have they been critical of it? How has the war film genre developed since 9/11? How have other popular genres responded to the 'war on terror'? How have film and TV represented the enemy Other and the Western Self? Ten years on, this volume brings together European and North American scholars working in politics and international relations as well as in literature, film, media and cultural studies to take stock and assess the shape and significance of the post-9/11 cultural moment. Edited by Philip Hammond, Professor of Media and Communications and head of the Centre for Media and Culture Research at London South Bank University. With contributions from: Matthew Alford Martin Barker Graham Barnfield Michael Frank Brigitte Nacos Jack Holland Hugh Ortega Breton Joe Parker Fran Pheasant-Kelly Rebekah Sinclair Mark Straw Liane Tanguay Guy Westwell Bernd Zywietz