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Introduction That media is central to John MacKenzie’s intellectual interests is apparent from any reading of his first two foundational books in the Studies in Imperialism series, as well as from his subsequent writings (and indeed the works of several other contributors to the Series). It is also explicitly acknowledged in early mission statements, where we read how the
Imperial heroes embodied the symbolic implementation of the colonial project and performed a highly mythologized meeting between conquerors and conquered. They were a crucial element of the 'European encounter with Africa' that took place as part of the Scramble for Africa. The book explores systematically the multiple outlets through which heroes of the British and French empires were celebrated, how their reputations were made over several decades and who sustained them. It looks at the general socio-cultural and political trends prevalent in Britain and France, and considers micro-economic tendencies and technological developments in the cultural industry that the development of legends revolving around imperial heroes. The book allows the reader to grasp the variety of print and audiovisual media, genres and formats through which meanings were conveyed, allowing imperial heroes to reach a 'public presence'. Two major aspects invested imperial heroes with a role in society. First is the use of their image as political argument or their own political roles. The other is the values that they embodied through their own personal dedication above and beyond the call of duty. The book presents the micro-histories of the making of the legends surrounding the figures of Major Jean-Baptiste Marchand and the Sirdar Kitchener. It details how a war correspondent George Warrington Steevens, and a publisher, Blackwood and Sons, converted the fall of Khartoum to market 'With Kitchener to Khartoum' as patriotic writing.
used by our patient are available’ and that many consumers recognised ‘bright’ to mean ‘light’. 64 Skin bleaching was also explicitly advertised and referenced in the beauty columns of 1950s and 1960s Black media outlets, suggesting that companies often followed shifting values of consumers as well as engendering demand. Many sociologists have exposited that the negative stigma
Parkes, the heir to Britain’s largest fish fortune, built a club in Brixton that traded on the image linked to Black British culture as ‘rebel chic’. 13 Parkes’s ‘rebel chic’ was built on outsiders’ desires to prove their ‘coolness’ by visiting Brixton, a place defined to outsiders largely by violent depictions of the district in the national media. The violent atmosphere in
community’. In the aftermath of 9/11 and especially following the 7/7 attacks in London, the homogenisation of Muslims has gone hand-in-hand with pre-emptive securitisation, with media representations of the ‘Muslim community’ both impacting and impacted by securitisation policies and programmes such as the UK Government’s Prevent Strategy, instituted in
, print media, a more strategic approach’ – to ‘ arouse compassion’. 23 Yet they shared two key commonalities from the colonial era: a continuation of racialised ideologies, whereby ‘volunteers were bound by colonial assumptions, even as they sought to overturn them’, and heavily religious motivations. 24 Amnesty International was born into an increasingly crowded field jockeying for the attentions of charitable Australians
Soref and Ian Greig , The Puppeteers ( London : Tandem Books, 1965 ). 86 Elaine Windrich , The Mass Media in the Struggle for Zimbabwe: Censorship and Propaganda under Rhodesia Front Rule ( Gweio : Mambo Press , 1981 ), pp
inequality in various aspects of social and cultural life in Britain. For example, the latter includes fourteen academics who have authored chapters on racial discrimination in the labour market, in housing, as well as in arts and the media that is research-based and rooted in lived experience. It ends with recommendations ‘to imagine a different or better future’. 15
colonialism was always a fantasy. But it was an appealing fantasy with wide purchase: depictions of volunteers in the British media routinely emphasised volunteers’ capacities to build friendships across boundaries of race and nation. 25 Where the Volunteer Graduate Scheme placed the stress on ‘identification’, Alec Dickson emphasised love as the emotional register of the VSO experience. Dickson believed that foreign aid
synonymous with the children she rescued. The Melbourne Herald called them ‘Rosemary’s babies’. 18 Taylor’s efforts in Vietnam with child refugees and orphanages became a media sensation. After two months Taylor decided to become an independent volunteer, because of what she believed were incompetent bureaucracies. She went to Phu My, an orphanage and a hospital near Saigon, and worked there until