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Sarita Malik and Darrell M. Newton

witnessing the rise and visibility of far-right politics and counter-movements in the UK and USA. Simultaneously, there is an urgent need to defend the role of public service media, given its position in the multicultural public sphere.1 This collection emerges at a time when these shifts and conjunctures that impact on and shape how ‘race’ and racial difference are perceived, are coinciding with rapidly changing media contexts and environments and the kinds of racial representations that are constructed within public service broadcasting (PSB). Even in the midst of these

in Adjusting the contrast
German investigations of Australian Aboriginal skeletal remains, c. 1860
Antje Kühnast

skulls or from using his sympathetic portraits of Billy and Tilki as racial representations. Whereas Becker seems to have engaged in these dehumanising investigations in the belief this would contribute to the ‘amelioration’ of the living conditions of Australia's colonised peoples, Ecker and Lucae had no interest in the living individuals whose remains they investigated, other than as representatives of their ‘race’. As first-generation physical

in Savage worlds
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Ulrike Ehret

‘the Jew’ in English Literature and Society. Racial Representations 1875–1945, Cambridge, 1993, pp. 9, 273–274. Good examples so far are Kester Aspden, Fortress Church. The English Roman Catholic Bishops and Politics, 1903–1963, Leominster, 2002; Adrian Hastings, A History of English Christianity 1920–1990, London, 1991; Dennis Sewell, Catholics. Britain’s Largest Minority, London, 2001. Hürten, Deutsche Katholiken, p. 559. The numbers for England and Wales are estimates, because the census in Britain no longer asked for denominations. The estimates were derived from

in Church, nation and race
Jasmine Allen

African coast ‘the Virgin Mary is frequently depicted as a black woman!’.149 Another subject in which various racial representations were readily apparent in stained glass, and which was particularly designed to represent the inclusivity of the Christian church in an age of imperialism, was the Te Deum Laudamus, which formed an important part of Anglican liturgy. This early Christian hymn of praise was the subject of one window exhibited by Lyon, Cottier and Wells at the Melbourne Centennial of 1888. After the exhibition, the window was installed at the east end of All

in Windows for the world
Chris Gilligan

, viewed the Irish as a ‘race’. These leading figures supported the Irish independence movement, in which they perceived a shared interest in anticolonialism and antiracism tied to a deep antipathy for ‘perfidious Albion’, a desire to overturn a series of racial representations that were deeply gendered and tightly tied to colonial oppression, a hope that Wilsonian idealism and the postwar drive for colonial self-determination might overturn the dominance of white over black or Anglo-Saxon over Celt, and a sense of global dispersion and racial community that made their

in Northern Ireland and the crisis of anti-racism
Racism and alternative journeys into Britishness
Tony Kushner

is troubling only in respect of the strong connection in the popular imagination at this time between black people and sexual transgression. Like most racial representations, it was classically bifurcated and profoundly ambivalent. Black women have been imagined as sexually desirable and exotic. Thus in her early career Shirley Bassey was ‘the Sexy singer from Cardiff ’s Tiger Bay’ with a ‘voice like soup laced with whisky’ and a ‘fur-topped, skin-tight dress’.103 Conversely, her father and his contemporary black sailors were viewed as a sexual menace to white

in The battle of Britishness
Firearm iconography in Western literature and film
Justin A. Joyce

representations of gun violence. Importantly, however, at this time racial representations also shifted dramatically. A racialized hierarchy is the other clear rhetorical emphasis in this period, and worked alongside the glorification of the pistol to link superior weaponry with the moral superiority of Anglo culture. Beyond the very real historical fact that such superior firearm technologies as the repeating rifle and revolver provided a crucial military advantage in nineteenth-century campaigns against Native Americans, the mythical Western hero’s gun violence is represented

in Gunslinging justice
Race and justifiable homicide in neoliberalism’s Western imagination
Justin A. Joyce

: Aspects of a Movie Genre (London: Secker & Warburg, in association with the British Film Institute, 1973), p. 94. It may also be important to note that Woody Strode’s voice-over narration which begins the 1993 film Posse also cites a similar percentage of African Americans among working cowboys in the nineteenth-century West. 24 In this book’s Introduction I invoked a metaphorical beloved-but-flawed relative, the racist Grandpa, as a stand-in for the Western genre, to hint at the progress of racial representations within the normative portrait of gunslinging justice

in Gunslinging justice
Darrell M. Newton

wrangling with racial representations. The BBC until 1956, a midpoint of the highly nationalistic post-war 1950s, did not produce programmes and documentaries that addressed the West Indian as a potential citizen (or threat). As determined by BBC viewer research panels, the images of these hopeful citizens had a very meaningful effect. Though many Britons had yet to acknowledge a colour bar in the UK, there had been criticism levelled at the USA and against South Africa for patterns of institutionalised racism and colour prejudice. After immigration had begun to increase

in Paving the empire road
Kipling and the Jews
Bryan Cheyette

Orwell, ‘Rudyard Kipling’ (1942), on p. 29 of this volume. 15 Arendt, Origins of Totalitarianism, p. 267. 16 Boris Ford, ‘A Case for Kipling?’, in Elliot L. Gilbert, Kipling and the Critics (London: Peter Owen, 1966), p. 62. 17 Anne Aresty Naman, The Jew in the Victorian Novel: Some Relationships between Prejudice and Art (New York: AMS Press, 1980), p. 49, discussed in Bryan Cheyette, Constructions of ‘the Jew’ in English Literature and Society: Racial Representations, 1875–1945 (Cambridge: Cambridge University Press, 1995), pp. 1–12. For the dangers of ‘back

in In Time’s eye