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Television for Women brings together emerging and established
scholars to reconsider the question of 'television for women'. In
the context of the 2000s, when the potential meanings of both terms
have expanded and changed so significantly, in what ways might the
concept of programming, addressed explicitly to a group identified
by gender still matter? The essays in this collection take the
existing scholarship in this field in significant new directions.
They expand its reach in terms of territory (looking beyond, for
example, the paradigmatic Anglo-American axis) and also historical
span. Additionally, whilst the influential methodological formation
of production, text and audience is still visible here, the new
research in Television for Women frequently reconfigures that
relationship. The topics included here are far-reaching; from
television as material culture at the British exhibition in the
first half of the twentieth century, women's roles in television
production past and present, to popular 1960s television such as
The Liver Birds and, in the twenty-first century, highly successful
programmes including Orange is the New Black, Call the Midwife, One
Born Every Minute and Wanted Down Under. This book presents
ground-breaking research on historical and contemporary
relationships between women and television around the world and is
an ideal resource for students of television, media and gender
studies.
Television for Women brings together emerging and established
scholars to reconsider the question of 'television for women'. In
the context of the 2000s, when the potential meanings of both terms
have expanded and changed so significantly, in what ways might the
concept of programming, addressed explicitly to a group identified
by gender still matter? The essays in this collection take the
existing scholarship in this field in significant new directions.
They expand its reach in terms of territory (looking beyond, for
example, the paradigmatic Anglo-American axis) and also historical
span. Additionally, whilst the influential methodological formation
of production, text and audience is still visible here, the new
research in Television for Women frequently reconfigures that
relationship. The topics included here are far-reaching; from
television as material culture at the British exhibition in the
first half of the twentieth century, women's roles in television
production past and present, to popular 1960s television such as
The Liver Birds and, in the twenty-first century, highly successful
programmes including Orange is the New Black, Call the Midwife, One
Born Every Minute and Wanted Down Under. This book presents
ground-breaking research on historical and contemporary
relationships between women and television around the world and is
an ideal resource for students of television, media and gender
studies.
This book explores the history of Cornwall's picturing on screen,
from the earliest days of the moving image to the recent BBC
adaptation of Winston Graham's Poldark books. Drawing on art
history to illuminate the construction of Cornwall in films and
television programmes, the book looks at amateur film, newsreels
and contemporary film practice as well as drama. It argues that
Cornwall's screen identity has been dominated by the romantic
coastal edge, leaving the regional interior absent from
representation. In turn, the emphasis on the coast in Cornwall's
screen history has had a significant and ongoing economic impact on
the area.New research with an innovative approach, looking at
amateur film and newsreels alongside mainstream film and
television. Will appeal to both the academic and the more general
reader.
This book explores the history of Cornwall's picturing on screen,
from the earliest days of the moving image to the recent BBC
adaptation of Winston Graham's Poldark books. Drawing on art
history to illuminate the construction of Cornwall in films and
television programmes, the book looks at amateur film, newsreels
and contemporary film practice as well as drama. It argues that
Cornwall's screen identity has been dominated by the romantic
coastal edge, leaving the regional interior absent from
representation. In turn, the emphasis on the coast in Cornwall's
screen history has had a significant and ongoing economic impact on
the area.New research with an innovative approach, looking at
amateur film and newsreels alongside mainstream film and
television. Will appeal to both the academic and the more general
reader.
The first full length academic study of Hepburn's star persona and
films featuring reseach into the experience of British women who
have admired her in the 1950s, 1960s and the 1990s. Examines the
historical specificity of discourses of feminity circulating around
Hepburn and her female fans, suggesting that the flexibility of
Hepburn's image has contributed to her enduring appeal. Makes a
significant contribution to the growing field of star studies.
Argues that class and gender are siginifcant factors in the
relatonship between stars and audiences. -- .
Faced with the challenges that inevitably occur in small markets,
feature film production in Jamaica has been sporadic and uneven,
yet local filmmakers have succeeded in creating a small but
exciting body of work that is receiving increasing attention.
Organized as a series of discussions on a selection of the more
well-known Jamaican films, this study employs close readings of
these texts to reveal their complexity, sophistication and
artistry. The focus on the politics of identity and representation,
examined through the lens of place and nation, opens up a
conversation on how these films have contributed to, and
participate in, the discourse on Jamaican identity. Place is
understood as both constituting and reflecting identity, and is
explored within the context of the films' representation of the
postcolonial city, the dancehall, the north coast hotel and the
great house. The concern with nation is revealed as a persistent
and underlying focus that more often than not, directs our
attention to the grievous gap between rich and poor in Jamaican
society. These films' often-criticized attention to marginalized
communities plagued by problems of crime and violence can be
understood, Moseley-Wood argues, as an expression of the
postcolonial struggle to redefine place in ways that contest
hegemonic discourses that define Jamaica as hedonistic paradise as
well as challenge the unifying and homogenizing myths and
narratives of nation.
What is the relationship between feminism and popular culture? Has
there been a 'backlash' against feminism or is feminism now part of
contemporary 'commonsense'? Can feminism learn from popular
culture? Feminism in Popular Culture explores these questions
through a diverse range of texts and sites - from news coverage,
'The Vagina Monologues', the Scream trilogy, 'Ally McBeal' and 'Sex
and the City', sex documentaries and TV cooks, to breakdancing,
beauty salons and computer game-playing. Feminism in Popular
Culture does not assume that popular culture could benefit from a
feminist 'makeover'. Rather, it analyses how different meanings of
feminism have been negotiated within popular culture - how popular
culture has made sense of feminism.
What is the relationship between feminism and popular culture? Has
there been a 'backlash' against feminism or is feminism now part of
contemporary 'commonsense'? Can feminism learn from popular
culture? Feminism in Popular Culture explores these questions
through a diverse range of texts and sites - from news coverage,
The Vagina Monologues, the Scream trilogy, Ally McBeal and Sex and
the City, sex documentaries and TV cooks, to breakdancing, beauty
salons and computer game-playing. Feminism in Popular Culture does
not assume that popular culture could benefit from a feminist
'makeover'. Rather, it analyses how different meanings of feminism
have been negotiated within popular culture - how popular culture
has made sense of feminism.
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