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London as Screen Gateway explores how London features within screen narratives and as a location of screen industry activity. Reflecting the diversity of roles the city plays both on screen and within the screen industries, the volume explores the intersection between London as a material place and its position within a cultural imaginary. Conceptualising London as an archival city, as a collection of specific places and spaces, and as a part of national and international cultural and economic flows, contributors from film studies, television studies and media studies approach London through the lenses of textual analysis, historical work, industry studies and user experience. Chapters explore how London has appeared on screen across film and television, how screen content frames notions of place and belonging within the diasporic communities across the city, how the city has become a hub for the UK and global screen industries and how it intersects with national and local media policy. This interdisciplinary volume will be of interest to scholars and students of film studies, television studies, media industry studies, games studies, cultural and media studies.
"This book offers a new, interdisciplinary model for understanding audience engagement as a type of behaviour, a form of response and a cost to audiences that, combined, offer value to the screen industries. It offers a way of understanding audience engagement that is not restricted to a single media, but instead accounts for and adapts to the various ways in which screen content is experienced. Offering a unique approach by presenting practitioner and audience perspectives, it is perfect for students and scholars working in film and television studies, as well as media industries and audience studies"--
In the 1960s the Gateways Club was known as 'the' lesbian club in London. In her portrait of the club, Gardiner also gives us a social history of lesbian lives, loves and mores, from a cloistered secret in the 1950s and 1960s, to a battleground between feminists and traditionalists in the 1970s.
Slut Narratives in Popular Culture explores representations of slut shaming and the term “slut” in U.S. popular media, 2000–2020. It argues that cultural narratives of intersectional gender identities are gradually but unevenly shifting to become more progressive and sex positive. Moving beyond prior research on slut shaming, which exposes problematic conflations between women’s morality and a sexual purity associated with White economic privilege, this book examines how narratives that perpetuate slut shaming are both contested and reinscribed through stories we circulate. It emphasizes effects of twenty-first century developments in digital communication and entertainment. The rapid evolution of genres combined with increased access to the consumption and production of texts stimulates more diverse storytelling. The book’s analyses demonstrate twenty-first-century changes in how slut shaming is depicted and understood while encouraging consumers and producers of pop culture to attend to cultural narratives as they reify or challenge the subordination of vulnerable populations. Aimed primarily at an academic audience, this book will also engage general readers interested in intersectional feminism, pop culture, new media, digital technologies, and sociolinguistic change. Readers will become more adept at deconstructing assumptions embedded in popular media, especially narratives informing slut shaming.
This book explores the emergence and development of multilingual fiction series, a relatively new phenomenon propelled by the globalization of media industries and the consolidation of streaming platforms as central vectors in the production and consumption of audiovisual entertainment content. Through a detailed analysis of thriller, sitcom, and drama series, the book proposes an original qualitative and quantitative research methodology for the study of on-screen multilingual encounters, examining the relationship between multilingual speech and genre conventions. The book covers fiction series beyond English-speaking countries: alongside American productions, the analysis covers TV shows from Europe, Latin America, and the Middle East region. This interdisciplinary and original volume will interest scholars and students in film studies and media studies working on global media, as well as communication studies, television studies, sociolinguistics, media and cultural industries, and translation studies.
Published to accompany a major exhibition celebrating the 250th birthday of the British Museum, a portrait of London in 1753 reveals the city's life through its objects--prints and coins, paintings and trade cards, pub signs and drawings--and explores the characteristics and idiosyncracies of London in three essays by leading scholars.
This volume explores culture-bound syndromes, defined as a pattern of symptoms (mental, physical, and/or relational) experienced only by members of a specific cultural group and recognized as a disorder by members of those groups, and their coverage in popular culture. Encompassing a wide range of popular culture genres and mediums – from film and TV to literature, graphic novels, and anime – the chapters offer a dynamic mix of approaches to analyze how popular culture has engaged with specific culture-bound syndromes such as hwabyung, hikikomori, taijin kyofusho, zou huo ru mo, sati, amok, Cuban hysteria, voodoo death, and others. Spanning a global and interdisciplinary remit, this first-of-its-kind anthology will allow scholars and students of popular culture, media and film studies, comparative literature, medical humanities, cultural psychiatry, and philosophy to explore simultaneously a diversity of popular cultures and culturally rooted mental health disorders.
This volume offers new perspectives on knowledge production through various forms of togetherness. Via diverse cases of collaboration in media studies, from methodological contemplations to on‐the‐field social practices, the book proposes reflections and inquiries around collective research, media, and action. The collection rethinks how scholarly endeavours feature different ways of doing and being together, identifying new and more diverse communicative spaces, challenging dichotomies, and encouraging critical perspectives. Scholars of a variety of disciplines recontextualise collaboration beyond the very nature of conventional academic approaches, to embrace vast connotations of media studies – from actions building connections across research and practice to transdisciplinary methodologies through analogue and digital realms. This book will be an invaluable resource for scholars and post‐graduate students from various fields of media studies, who carry an interest in collaborative and collective aspects of media as practice and research, as well as those in a variety of social science disciplines, participatory action research, media sociology, audience studies, intercultural communication, qualitative research methods, and participatory communication.
This volume examines international engagement with Korean popular culture in East Asian online spaces, and how Asian identities are formed and perceived between nations within the region. In the context of global diversification and growing public participation in global issues, it builds up a new theoretical perspective in order to explain the emerging power of Asia in the global mediascape. With a focus on Korean media, touching upon K-pop and the phenomenon of Hallyu and anti-Hallyu, the author also looks at Japan, China, and Taiwan in this regional study. Combining theory with ethnographic audience studies in East Asian countries, the book elucidates East Asian media in a larger context of the changing global structure and media technology. This book will interest academics and students working on Asian popular culture and media, new media, East Asian studies, participatory media, and digital communication.
One of the most remarkable men of the 18th century, Lancelot ‘Capability’ Brown was known to many as ‘The Omnipotent Magician’ who could transform unpromising countryside into beautiful parks that seemed to be only the work of nature. His list of clients included half the House of Lords, six Prime Ministers and even royalty. Although his fame has dimmed, we still enjoy many of his works today at National Trust properties such as Croome Park, Petworth, Berrington, Stowe, Wimpole, Blenheim Palace, Highclere Castle (location of the ITV series Downton Abbey) and many more. In Capability Brown, author and garden historian Sarah Rutherford tells his triumphant story, uncovers his aims and reveals why he was so successful. Illustrated throughout with colour photographs of contemporary sites, historical paintings and garden plans, this is an accessible book for anyone who wants to know more about the man who changed the face of the nation and created a landscape style which for many of us defines the English countryside.