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British television and constructs of race

Adjusting the contrast National and cultural identity, ethnicity and difference have always been major themes within the national psyche. People are 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. This book emerges at a time when these shifts and conjunctures that impact on and shape how 'race' and racial difference are perceived. They are coinciding with rapidly changing media contexts and environments and the kinds of racial representations that are constructed within public service broadcasting (PSB), specifically the BBC and Channel 4. The book explores a range of texts and practices that address the ongoing phenomenon of race and its relationship to television. Policies and the management of race; transnationalism and racial diversity; historical questions of representation; the myth of a multicultural England are also explored. It interrogates three television primarily created by women, written by women, feature women in most of the lead roles, and forcefully reassert the place of women in British history. The book contributes to the range of debates around television drama and black representation, examining BBC's Shoot the Messenger and Top Boy. Finally, it explores some of the history that led to the belated breakthrough of Black and Asian British comedy. The book also looks at the production of jokes about race and colour prior to the 1980s and 1990s, and questioning what these jokes tell us about British multiculturalism in this period.

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Jokes, racism and Black and Asian voices in British comedy television
Gavin Schaffer

8 Framing The Fosters: jokes, racism and Black and Asian voices in British comedy television Gavin Schaffer This chapter interrogates the relationship among television comedy, power and racial politics in post-war Britain. In a period where Black and Asian Britons were forced to negotiate racism as a day-to-day reality, I want to question the role played by television comedy in reflecting and shaping British multicultural society.1 This chapter probes Black and Asian agency in comedy production, questioning who the joke makers were, and what impact this had on

in Adjusting the contrast
Integration policy in Britain and France after the SecondWorld War
Eleanor Passmore and Andrew S. Thompson

-war period and the political process of decolonisation. By contrasting aspects of UK policies with those adopted by France, which experienced comparable trends in migration from existing and former colonies, it also explores how far the differences between the French Republican and British multicultural models of integration influenced the development of social policies targeted at migrants

in Empire, migration and identity in the British world
Nicole M. Jackson

the larger British television industry from which it emerged. Luther’s diversity is a representation of modern British multiculturalism’s reliance on the (sometimes compulsory) assimilation of non-white people (immigrant or British-born) as a means to uphold the presumptive whiteness of Britain’s national character. But for Elba Luther would be just as white (if not more so) than any other show on British television. The popular image of a multicultural Britain is not challenged by one Black man. Rather, multicultural Britain can allow space for ‘the other’ so long

in Adjusting the contrast
Do counter-extremism strategies produce peace?
Kieran Ford

attack their own country, and the attackers’ faith and ethnicity were scrutinised. A lack of shared values and the failure of multiculturalism shouldered the blame. Meer and Modood note this trend, arguing it is the ‘coupling of diversity and anti-terrorism agendas that has implicated contemporary British multiculturalism as the culprit of Britain’s security woes’ ( 2009 , p. 481). Multiculturalism had failed, and a new approach to security and diversity was needed – and shared values fitted the bill. The challenge, however, with seeing shared values as a solution to

in Encountering extremism
The backlash against multiculturalism
Shailja Sharma

sphere (Bauman, 1991; Habermas, 1992; Schnapper, 2002). Lately there has been a demand to discard or radically revise state multiculturalism as traditionally practised and to recognize, not just tolerate, new religious identities. This has upset the status quo accommodation of ethnic identities and changed the traditional political left/right divisions in European politics. What is being challenged here, through culture, is the historical identity of the nation itself. Nation versus state In Britain, multiculturalism has been officially accepted since the 1970s as a

in Postcolonial minorities in Britain and France
Race relations, multiculturalism and integration, 1976 to the late 1990s
Sarah Hackett

definition and manifestation of British multiculturalism, as well as its success and longevity, have long been the topics of academic debates and disagreements, this political response is nevertheless key to understanding the development of ideas surrounding the concept of integration. 2 Furthermore, it was often Labour-led local authorities across Britain that spearheaded these multicultural policies and initiatives, which it has frequently been argued flew in the face of some segments of Thatcher’s government. 3 Throughout these decades, race relations legislation and

in Britain’s rural Muslims
Ken Loach, Ae Fond Kiss and multicultural Scottish cinema
Christopher Meir

, who is the DJ seen in the club and the film’s protagonist, as he comically attempts to Importing national cinema 141 Figure 8  ‘The politics of the dancefloor’: Casim and Roisin clubbing in Ae Fond Kiss keep dogs from urinating on his newspaper placard. The tone of comedy in this sequence further aligns the film with trends in British multicultural cinema, and much European multicultural cinema.45 More specifically, this montage sequence recalls the humorous content and tone of East is East. The contrast between Casim and his father evokes both the gap

in Scottish cinema
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Multiple diversity in Spain
Ricard Zapata-Barrero

society, such as French republicanism or British multiculturalism, but instead on questions and answers that arise in the day-to-day governance of immigration, as will be seen in the education, workplace and political participation policy fields. This pragmatism provides a strategic direction for political action. As we are in an interpretative framework of analysis rather than an explanatory one, we will also consider for all three areas examined that one common factor explaining this pragmatism is the historical and structural background, coming basically from the

in Diversity management in Spain
Otherness, belonging and the processes of migrant memory
Barry Hazley

framework of British multiculturalism the very designation of the Irish as ‘the same’ appeared to enact a denial of their claims to difference. As Mo Moulton has suggested, this kind of denial reflected a fundamental ambivalence in how Irishness was regarded in twentieth-century England, stemming from the unresolved legacies of Anglo-Irish history. As earlier noted, while the Anglo-Irish Treaty effected a political settlement of the ‘Irish Question’, the continued presence of Irish people and cultures within English society after 1921 necessitated a complex process of

in Life history and the Irish migrant experience in post-war England