Jan Campbell

Helen Wood

Ann Gray

Mark Erickson

Stuart Hanson

This collection of classic essays focuses on the theoretical frameworks that informed the work of the Centre for Contemporary Cultural Studies at the University of Birmingham, the methodologies and working practices that the Centre developed for conducting academic research and examples of the studies carried out under the auspices of the Centre. This volume is split into seven thematic sections that are introduced by key academics working in the field of cultural studies, and includes a preface by eminent scholar, Stuart Hall. The thematic sections are: Literature and Society Popular Culture and Youth Subculture Media Women's Studies and Feminism Race History Education and Work.

Volume 2

CCCS Selected Working Papers

Ann Gray had been a successful writer of short stories for many years when her first novel, BRIARS: The House of Heirs, was published in 2002. In it, she follows a Southern familyas struggles to tame the Georgia wilderness and establish the city of Atlanta. Their adventures also bring to life the difficult Civil War years. In the sequel, The INTANGIBLES File: A Gathering of Heirs, Ann entertains readers in a lighter mood as she draws them into a suspenseful mystery that throbs with ghostly overtones. Now, in They Will Soar on Wings Like Eagles, she writes a stirring finale to the trilogy by introducing Michael OaDonnell, a young Irish minister and second cousin to Morgana Heirs Moss. Michael refuses to submit to Morganaas influence, but rather causes her to examine her own life.

They Will Soar on Wings Like Eagles

Erin Bell

In recent years non-fiction history programmes have flourished on television. This interdisciplinary study of history programming identifies and examines different genres employed by producers and tracks their commissioning, production, marketing and distribution histories. With comparative references to other European nations and North America, the authors focus on British history programming over the last two decades and analyse the relationship between the academy and media professionals. They outline and discuss often-competing discourses about how to ‘do’ history and the underlying assumptions about who watches history programmes. History on Television considers recent changes in the media landscape, which have affected to a great degree how history in general, and whose history in particular, appears onscreen. Through a number of case studies, using material from interviews by the authors with academic and media professionals, the role of the ‘professional’ historian and that of media professionals – commissioning editors and producer/directors - as mediators of historical material and interpretations is analysed, and the ways in which the ‘logics of television’ shape historical output are outlined and discussed. Building on their analysis, Ann Gray and Erin Bell ask if history on television fulfils its potential to be a form of public history through offering, as it does, a range of interpretations of the past to and originating from or including those not based in the academy. Through consideration of the representation, or absence, of the diversity of British identity – gender, ethnicity and race, social status and regional identities – the authors substantially extend the scope of existing scholarship into history on television History on Television will be essential reading for all those interested in the complex processes involved in the representation of history on television.

History on Television

In recent years non-fiction history programmes have flourished on television. This interdisciplinary study of history programming identifies and examines different genres employed by producers and tracks their commissioning, production, marketing and distribution histories. With comparative references to other European nations and North America, the authors focus on British history programming over the last two decades and analyse the relationship between the academy and media professionals. They outline and discuss often-competing discourses about how to 'do' history and the underlying assumptions about who watches history programmes. History on Television considers recent changes in the media landscape, which have affected to a great degree how history in general, and whose history in particular, appears onscreen. Through a number of case studies, using material from interviews by the authors with academic and media professionals, the role of the 'professional' historian and that of media professionals – commissioning editors and producer/directors - as mediators of historical material and interpretations is analysed, and the ways in which the 'logics of television' shape historical output are outlined and discussed. Building on their analysis, Ann Gray and Erin Bell ask if history on television fulfils its potential to be a form of public history through offering, as it does, a range of interpretations of the past to and originating from or including those not based in the academy. Through consideration of the representation, or absence, of the diversity of British identity – gender, ethnicity and race, social status and regional identities – the authors substantially extend the scope of existing scholarship into history on television History on Television will be essential reading for all those interested in the complex processes involved in the representation of history on television.

Ann Gray

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