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Abstract only
Thomas Hajkowski

founding in 1922 until its monopoly was broken in 1954, the BBC was the central site where national identity in Britain was produced, projected, and contested. Due to its nature and structure, the BBC did project a unitary and consensual version of Britishness. The BBC’s national networks, the prewar National Programme and the post-war Light Programme, reached nearly every corner of the British Isles. Through these networks, the BBC re­inforced Britishness by creating a community of listeners who could experience programs, especially important national events

in The BBC and national identity in Britain, 1922–53
Editor: Paul Newland

British Rural Landscapes on Film offers wide-ranging critical insights into ways in which rural areas in Britain have been represented on film, from the silent era, through both world wars, and on into the contemporary period. The contributors to the book demonstrate that the countryside in Britain has provided a range of rich and dense spaces into which aspects of contested cultural identities have been projected. The essays in the book show how far British rural landscapes have performed key roles in a range of film genres including heritage, but also horror, art cinema, and children’s films. Films explored include Tawny Pipit (1944), A Canterbury Tale (1944), The Go-Between (1970), Blood on Satan’s Claw (1971), Another Time, Another Place (1983), On the Black Hill (1987), Wuthering Heights (2011), Jane Eyre (2011), and the Harry Potter and Nanny McPhee films. The book also includes new interviews with the filmmakers Gideon Koppel and Patrick Keiller. By focusing solely on rural landscapes, and often drawing on critical insight from art history and cultural geography, this book aims to transform our understanding of British cinema.

Abstract only
Author: Steve Blandford

This is the first book-length study of one of the most significant of all British television writers, Jimmy McGovern. The book provides comprehensive coverage of all his work for television including early writing on Brookside, major documentary dramas such as Hillsborough and Sunday and more recent series such as The Street and Accused.

Whilst the book is firmly focused on McGovern’s own work, the range of his output over the period in which he has been working also provides something of an overview of the radical changes in television drama commissioning that have taken place during this time. Without compromising his deeply-held convictions McGovern has managed to adapt to an ever changing environment, often using his position as a sought-after writer to defy industry trends.

The book also challenges the notion of McGovern as an uncomplicated social realist in stylistic terms. Looking particularly at his later work, a case is made for McGovern employing a greater range of narrative approaches, albeit subtly and within boundaries that allow him to continue to write for large popular audiences.

Finally it is worth pointing to the book’s examination of McGovern’s role in recent years as a mentor to new voices, frequently acting as a creative producer on series that he part-writes and part brings through different less-experienced names.

The BBC and national identity in Scotland
Thomas Hajkowski

Scotland.”76 In the last decade, a number of scholars have begun to examine Scotland’s unique contribution to British imperialism, and the relationship between imperialism and Scottish national identity. They are finding that the two did not represent starkly opposing ideologies, despite the strident anti-­imperialism of Scottish nationalists such as Hugh McDiarmid. For example, Presbyterian Scottish missionaries did not simply abandon Scottishness and embrace ­Britishness but rather engaged in a contest with their Anglican counterparts in the conversion and education of

in The BBC and national identity in Britain, 1922–53
Empire and identity, 1923–39
Thomas Hajkowski

methodology, between what Catherine Hall calls the “Manchester School” (i.e. MacKenzie) and the more Saidean approaches, both represent a broad body of scholarship that acknowledges the deep and Empire and identity, 1923–39 important impact of imperialism of British society, culture, and ­politics.11 Still, the New Imperial History hardly represents an historical orthodoxy or consensus. The extent to which Britain was “imbricated with the culture of empire”12 remains very much a contested issue. Bernard Porter, in his recent book The Absent-Minded Imperialists, argues

in The BBC and national identity in Britain, 1922–53
Abstract only
John Corner

as well as of practical rationality. It is part of the grounding of political and social order (here, the work of Michel Foucault, including those writings collected in Foucault (2002), provides a continuingly controversial set of commentaries about the relationships involved). In particular, it is the space where the dominant structural coordinates of class, ethnic identity and gender produce differences in self-perception and perception of others, often in the process reproducing inequalities. In this chapter, I want to discuss some of the ways in which media and

in Theorising Media
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Horror cinema and traumatic events
Linnie Blake

events, to apportion blame, to extract retribution and to atone. Thus horror cinema can be seen to fulfil a function that sets it apart from other more ‘respectable’ branches of the culture industry: providing a visceral and frequently non-linguistic lexicon in which the experience of cultural dislocation may be phrased; in which the dominant will to repudiate post-traumatic self-examination through culturally sanctioned silence may be audibly challenged. Within a traumatised culture in which hegemonic conceptions of national identity are loudly contested by dissenting

in The wounds of nations
Spectacle and Spanish identity during Franco’s dictatorship
Juan Francisco Gutiérrez Lozano

2 Football and bullfighting on television: Spectacle and Spanish identity during Franco’s dictatorship Juan Francisco Gutiérrez Lozano The aim of this chapter is to analyse how television in Spain during the 1960s, controlled by the dictatorship of Francisco Franco, used popu­ lar entertainments such as football and bullfighting to gain popular acceptance and to feed the patriotic sentiment encouraged by Francoist propaganda. After addressing the characteristics of the Televisión Española (TVE) model as a state-controlled channel, these pages will explain how

in Popular television in authoritarian Europe
Romantic attractions and queer dilemmas (Queer as Folk)
Geraldine Harris

or stable definition. To put it simply, there is a proliferation of sometimes opposing and contradictory meanings for this term, so that, to continue to cite Butler, while it may be considered a ‘subversive repetition’ of a derogatory term that opens up an identity category as a site of contestation, there is no guarantee that it always signifies in a progressive fashion for everyone, whatever their sexuality (see Butler, 1990: 146 and 1993: 220–3). Queer in the public sphere Indeed, for Stephen Farrier in his essay on ‘queering soap opera’, to start by defining

in Beyond representation
Thomas Hajkowski

6 BBC broadcasting in Wales, 1922–53 In 1949, Alun Oldfield-Davies, Controller of the BBC’s station in Wales, declared: “the basic job of the BBC in Wales is to nourish and encourage national unity and to add wealth, depth, and value to all aspects of national life.”1 At first, this seems to be a rather straightforward testament to the role of the BBC in Wales. For Oldfield-Davies, Wales was not a region but a nation, albeit one that lacked a cohesive culture or identity. The BBC, he suggested, could and ought to participate in the process of forming a national

in The BBC and national identity in Britain, 1922–53