Martin Barker

Julian Petley

The influence of the media is a contentious issue. Every time a particularly high-profile crime of violence is committed, there are those who blame the effects of the media. The familiar culprits of cinema, television, video and rock music, have now been joined, particularly in the wake of the massacre at Columbine High, by the Internet and the World Wide Web. Yet, any real evidence that the media do actually have such negative effects remains as elusive as ever and, consequently, the debate about effects frequently ends up as being little more than strident and rhetorical appeals to common sense. This text argues that the question of media influence needs to be debated by those with a clearer understanding of how audiences and media interact with one another. Analyzing the failure of the effects approach to understand both the modern media and their audiences, this new edition examines the influence of the effects tradition in America, the United Kingdom, Australia and Europe as well as the role of the British Board of Film Classification.

The Media/violence Debate

Ill Effects

Amanda Rohloff

Jason Hughes

Chas Critcher

Moral Panics in the Contemporary World represents the best current theoretical and empirical work on the topic, taken from the international conference on moral panics held at Brunel University. The range of contributors, from established scholars to emerging ones in the field, and from a working journalist as well, helps to cover a wide range of moral panics, both old and new, and extend the geographical scope of moral panic analysis to previously underrepresented areas. Designed from the outset to comprise a coherent and integrated set of viewpoints which share a common engagement with critically exploring moral panics in the contemporary world, it contains case studies instantly recognisable and familiar to a student readership (drugs, alcohol, sexual abuse and racism). The collection brings a fresh approach to analysis and argument by testing and extending the concept of moral panic and analyzing a range of topics and geographical contexts, accurately reflecting the state-of-the-art moral panics research today.

Moral Panics in the Contemporary World

Steve Chibnall

British Horror Cinema investigates a wealth of horror filmmaking in Britain, from early chillers like The Ghoul and Dark Eyes of London to acknowledged classics such as Peeping Tom and The Wicker Man. Contributors explore the contexts in which British horror films have been censored and classified, judged by their critics and consumed by their fans. Uncovering neglected modern classics like Deathline, and addressing issues such as the representation of family and women, they consider the Britishness of British horror and examine sub-genres such as the psycho-thriller and witchcraftmovies, the work of the Amicus studio, and key filmmakers including Peter Walker. Chapters include: the 'Psycho Thriller' the British censors and horror cinema femininity and horror film fandom witchcraft and the occult in British horror Horrific films and 1930s British Cinema Peter Walker and Gothic revisionism. Also featuring a comprehensive filmography and interviews with key directors Clive Barker and Doug Bradley, this is one resource film studies students should not be without.

British Horror Cinema

Constantin V. Boundas

Film and Video Censorship in Contemporary Britain

James Curran

Ivor Gaber

Culture Wars investigates the relationship between the media and politics in Britain today. It focusses on how significant sections of the national press have represented and distorted the policies of the Labour Party, and particularly its left, from the Thatcher era up to and including Ed Miliband’s and Jeremy Corbyn’s leaderships. Revised and updated, including five brand new chapters, this second edition shows how press hostility to the left, particularly newspaper coverage of its policies on race, gender and sexuality, has morphed into a more generalised campaign against ‘political correctness’, the ‘liberal elite’ and the so-called ‘enemies of the people’. Combining fine-grained case studies with authoritative overviews of recent British political and media history, Culture Wars demonstrates how much of the press have routinely attacked Labour and, in so doing, have abused their political power, distorted public debate, and negatively impacted the news agendas of public service broadcasters. The book also raises the intriguing question of whether the rise of social media, and the success of its initial exploitation by Corbyn supporters, followed by Labour as a whole in the 2017 General Election, represent a major shift in the balance of power between Labour and the media, and in particular the right-wing press. Culture Wars will be of considerable interest to students and researchers in the fields of media, politics and contemporary British history, and will also attract those with a more general interest in current affairs in the UK.

The Media and the British Left

Culture Wars

British Film Institute. Distribution Library

BFI Distribution Library Catalogue, 1978

Describes an advertising campaign from planning to completion, and profiles various jobs in advertising, such as account executive, creative director, media planner, and production assistant.

Advertising

Why and how film and video censorship has developed in Britain since the birth of the domestic video industry in 1979.

Film and Video Censorship in Modern Britain

Kate Nash

Des Freedman

Gholam Khiabany

Alejandro Abraham-Hamanoiel

An exploration of the theories, histories, practices, and contradictions of liberalism today. What does it mean to be a liberal in neoliberal times? This collection of short essays attempts to show how liberals and the wider concept of liberalism remain relevant in what many perceive to be a highly illiberal age. Liberalism in the broader sense revolves around tolerance, progress, humanitarianism, objectivity, reason, democracy, and human rights. Liberalism's emphasis on individual rights opened a theoretical pathway to neoliberalism, through private property, a classically minimal liberal state, and the efficiency of “free markets.” In practice, neoliberalism is associated less with the economic deregulation championed by its advocates than the re-regulation of the economy to protect financial capital. Liberalism in Neoliberal Times engages with the theories, histories, practices, and contradictions of liberalism, viewing it in relation to four central areas of public life: human rights, ethnicity and gender, education, and the media. The contributors explore the transformations in as well as the transformative aspects of liberalism and highlight both its liberating and limiting capacities. The book contends that liberalism—in all its forms—continues to underpin specific institutions such as the university, the free press, the courts, and, of course, parliamentary democracy. Liberal ideas are regularly mobilized in areas such as counterterrorism, minority rights, privacy, and the pursuit of knowledge. This book contends that while we may not agree on much, we can certainly agree that an understanding of liberalism and its emancipatory capacity is simply too important to be left to the liberals Contributors Alejandro Abraham-Hamanoiel, Patrick Ainley, Abdullahi An-Na'im, Michael Bailey, Haim Bresheeth, Başak Çalı, David Chandler, William Davies, Costas Douzinas, Natalie Fenton, Des Freedman, Roberto Gargarella, Priyamvada Gopal, Jonathan Hardy, John Holmwood, Ratna Kapur, Gholam Khiabany, Ray Kiely, Monika Krause, Deepa Kumar, Arun Kundnani, Colin Leys, Howard Littler, Kathleen Lynch, Robert W. McChesney, Nivedita Menon, Toby Miller, Kate Nash, Joan Pedro-Carañana, Julian Petley, Anne Phillips, Jonathan Rosenhead, Annabelle Sreberny, John Steel, Michael Wayne, Milly Williamson

Dimensions, Contradictions, Limits

Liberalism in Neoliberal Times

The horror film is now one of the most popular and talked about film genres and yet, outside of the Hammer studio, very little has been written about British horror. Going beyond Hammer, the book investigates a wealth of horror filmmaking in Britain from early chillers like The Ghoul and Dark Eyes of London to acknowledged classics such as Peeping Tom and The Wicker Man.

Julian Petley

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