This book systematically examines various factors that shape graduates' entry into media work, which include the state and its policies, industrial and organizational practices and cultures, and media education. However, the book does not take a typical political economic or even media industries approach to this exploration. Rather, it innovatively traces how these forces are operationalized to shape media work from the perspective of the graduates, their educators and their employers. These varying perspectives are analyzed to see how graduates experience the outcomes of policy, education and industry cultures. The book examines the impact that policy, education and industry have in redefining what media work means for parts of industry that are responsible for cultivating new entrants into the creative industries.

The Film Handbook examines the current state of filmmaking and how film language, technique and aesthetics are being utilised for today's 'digital film' productions. It reflects on how critical analysis' of film underpins practice and story, and how developing an autonomous 'vision' will best aid student creativity. The Film Handbook offers practical guidance on a range of traditional and independent 'guerrilla' film production methods, from developing script ideas and the logistics of planning the shoot to cinematography, sound and directing practices. Film professionals share advice of their creative and practical experiences shooting both on digital and film forms. The Film Handbook relates theory to the filmmaking process and includes: * documentary, narrative and experimental forms, including deliberations on 'reading the screen', genre, mise-en-scene, montage, and sound design * new technologies of film production and independent distribution, digital and multi-film formats utilised for indie filmmakers and professional dramas, sound design and music * the short film form, theories of transgressive and independent 'guerrilla' filmmaking, the avant-garde and experimental as a means of creative expression * preparing to work in the film industry, development of specialisms as director, producer, cinematographer, editor, and the presentation of creative work.

Between the nineteenth century and the mid-twentieth century television transformed from an idea to an institution. In Gender and Early Television, Sarah Arnold traces women's relationship to the new medium of television across this period in the UK and USA. She argues that women played a crucial role in its development both as producers and as audiences long before the 'golden age' of television in the 1950s. Beginning with the emergence of media entertainment in the mid-nineteenth century and culminating in the rise of the post-war television industries, Arnold claims that, all along the way, women had a stake in television. As keen consumers of media, women also helped promote television to the public by performing as 'television girls'. Women worked as directors, producers, technical crew and announcers. It seemed that television was open to women. However, as Arnold shows, the increasing professionalisation of television resulted in the segregation of roles. Production became the sphere of men and consumption the sphere of women. While this binary has largely informed women's role in television, through her analysis, Arnold argues that it has not always been the case.

Between the nineteenth century and the mid-twentieth century television transformed from an idea to an institution. In Gender and Early Television, Sarah Arnold traces women's relationship to the new medium of television across this period in the UK and USA. She argues that women played a crucial role in its development both as producers and as audiences long before the 'golden age' of television in the 1950s. Beginning with the emergence of media entertainment in the mid-nineteenth century and culminating in the rise of the post-war television industries, Arnold claims that, all along the way, women had a stake in television. As keen consumers of media, women also helped promote television to the public by performing as 'television girls'. Women worked as directors, producers, technical crew and announcers. It seemed that television was open to women. However, as Arnold shows, the increasing professionalisation of television resulted in the segregation of roles. Production became the sphere of men and consumption the sphere of women. While this binary has largely informed women's role in television, through her analysis, Arnold argues that it has not always been the case.

When a bomb blast buried Corporal Hannah Campbell alive while she was serving in Iraq it was the start of an incredible journey of self-discovery. From the collapse of her marriage, to suffering horrific post-traumatic stress disorder, becoming morbidly obese, addicted to prescription drugs and suicidal, she went to hell and back. Hannah, who left her toddler at home to go to war, then made the extraordinary decision to amputate her own badly damaged leg so she could learn to live again and be a mum to her four-year-old daughter Milly. Within hours of waking up from the amputation she announced she would fulfil her dream of running the London Marathon even though at that time she was unable to walk. Just two months later she put on her first of many prosthetic legs and crossed the finishing line, running into the arms of her beloved young daughter. This spurred her to lose half her body weight before spending her army compensation on a GBP52,000 cosmetic makeover which led her to find love again. In an amazing transformation of fortune, she became pregnant with miracle baby Lexi-River, astounding her doctors as this was a child she was told her she'd never have due to her blast injuries. Hannah's story is one of true heroism and triumph over seemingly insurmountable adversity. But simply it's also a story about how a mother's love for her children can conquer all.