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Duncan Wheeler

Irrespective of whether Fraga’s prime contribution be understood as the liberalisation or the legitimisation and prolongation of Francoism, his appointment as Minister of Information and Tourism in 1962 was indicative of the regime increasingly seeking international respectability, and he was responsible for a radical overhaul of how journalism and cultural production were regulated in both ideological and bureaucratic terms. Hardline Francoist Gabriel Arias-Salgado had previously held the position since the Ministry was created in 1951. Shortly

in Following Franco
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Technology, bodies, Gothic

Horror is not what it used to be. Nor are its Gothic avatars. The meaning of monsters, vampires and ghosts has changed significantly over the last 200 years, as have the mechanisms (from fiction to fantasmagoria, film and video games) through which they are produced and consumed. This book, moving from gothic to cybergothic, through technological modernity and across a range of literary, cinematic and popular cultural texts, critically examines these changes and the questions they pose for understanding contemporary culture and subjectivity. Re-examining key concepts such as the uncanny, the sublime, terror, shock and abjection in terms of their bodily and technological implications, it advances current critical and theoretical debates on Gothic horror to propose a new theory of cultural production based on an extensive discussion of Sigmund Freud's idea of the death drive.

Narrative and new media

This book is a defence of narrative in an age of information. Stressing interpretation and experience alongside affect and sensation, it argues that narrative is key to contemporary forms of cultural production and to the practice of contemporary life. Re-appraising the prospects for narrative in the digital age, the book insists on the centrality of narrative to informational culture and provokes a critical re-appraisal of how innovations in information technology as a material cultural form can be understood and assessed. It offers a careful exploration of narrative theory, a critique of techno-cultural writing, and a series of tightly focused case studies. All of which point the way to a restoration of a critical — rather than celebratory — approach to new media.

Chris Perkins
Martin Dodge

Visual representations have often played a crucial role in imagining future urban forms. In the aftermath of the Second World War, a noteworthy new genre of urban plan was published in Britain, most deploying seductively optimistic illustrations of ways forward not only for the reconstruction of bomb-damaged towns and cities but also for places left largely undamaged. Visual representations have often played a crucial role in imagining future urban forms. In the aftermath of the Second World War, a noteworthy new genre of urban plan was published in Britain, most deploying seductively optimistic illustrations of ways forward not only for the reconstruction of bomb-damaged towns and cities but also for places left largely undamaged. This paper assesses the contribution of visual elements in this,process with a detailed case study of the maps, statistical charts, architectural drawings and photographs enrolled into the 1945 City of Manchester Plan. The cultural production of these visual representations is evaluated. Our analysis interprets the form, symbology and active work of different imagery in the process of reimagining Manchester, but also assesses the role of these images as markers of a particular moment in the cultural economy of the city. This analysis is carried out in relation to the ethos of the Plan as a whole.

Bulletin of the John Rylands Library
Work, play and politics

This book is about Thomas Hood, a nineteenth-century writer and illustrator whose work is characterized by play. It argues that looking closely at Hood illuminates three areas of nineteenth-century cultural production that modern scholarship has yet fully to explore: the output of the years 1824-40; comic poetry; and the grotesque. These three areas of discomfort are linked, each of them threatens boundaries that are convenient for literary criticism. The book explores Hood's early career at the London Magazine, restoring the dynamic context in which he began experimenting with voice and genre. It examines the connection between the London's liberal politics and its culture of play. The book concerns with the effects of Hood's remarkably pluralistic approach to words, texts, and readers, both as material entities and as imaginative projections. It considers Hood's puns, their effects, their detractors, and the cultural politics of punning in the nineteenth century. The book examines the politics of Hood's play in relation to nineteenth-century debate about labour and leisure. Hood's work in relationship to the so-called 'minor' or 'illegitimate' theatre of the 1820s and 1830s is analyzed. Hood's work plays out the possibilities of an emergent cultural democracy: his poetry is practically and ideologically allied with the forms, subjects, and modes of illegitimate theatre. Hood's upbringing in a changing print culture makes him unsually alert to and appreciative of the play of language, the serendipitous intertextuality of the street where signs are in constant dialogue with one another.

Art and culture are supposed to bring society together. Culture is bad for you challenges the received wisdom that culture is good for us. It does this by demonstrating who makes who and consumes culture are marked by significant inequalities and social divisions.

The book combines the first large-scale study of social mobility into cultural and creative jobs, hundreds of interviews with creative workers, and a detailed analysis of secondary datasets. The book shows how unpaid work is endemic to the cultural occupations, excluding those without money and contacts. It explores unequal access to cultural education and demonstrates the importance of culture in childhood. The book looks at gender inequalities, analysing key moments when women leave cultural occupations, while men go on to senior roles. Culture is bad for you also theorises the mechanisms underpinning the long-term and long-standing class crisis in cultural occupations. In doing so it highlights the experiences of working-class origin women of colour as central to how we understand inequality.

Addressing the intersections between social mobility, ethnicity, and gender, the book argues that the creative sector needs to change. At the moment cultural occupations strengthen social inequalities, rather than supporting social justice. It is only then that everyone in society will be able to say that culture is good for you.

Brian Mcfarlane

, Leslie Arliss, Lawrence Huntington or Bernard Knowles. To refer briefly to Pierre Bourdieu’s idea of the ‘field of cultural production’ 2 may suggest ways in which Comfort’s predilections as individual artist, and British cinema (embracing production, exhibition, audience reception and critical discourse) as the site of his activity, helped to shape a career lasting four decades, two-and-a-half of these as a director. What

in Lance Comfort
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Where to, now?
Brian Mcfarlane

dominant figures in the British cinema’s corner of the field of cultural production were those whose output could be seen as having literary or social realist affiliations. This was the period of the ascendancy of Carol Reed, David Lean and Anthony Asquith, all of whom enjoyed critically privileged positions in postwar British cinema, of Laurence Olivier’s Shakespeare films, of Powell and Pressburger, then less critically secure

in Lance Comfort
Vilsoni Hereniko

-like objects that reinforced positive views of the Fiji museum. The bringing together of people with ancestral objects reminds us of the primacy of people, over and above objects, unique and special as they are. Like ‘captions’ juxtaposed with cultural objects in a case, artists or cultural practitioners producing work nearby or reconnecting with their ancestors provide cultural context and complicate our perceptions of the objects on display, as well as the role of museums. They also help to stimulate cultural renewal and reinvigorate artistic and cultural production

in Curatopia
Open Access (free)
Andrew Bowie

vital it is to the understanding of modern culture. My worry is that we seem to be in danger of losing sight of the exemplary nature of those traditions, and of the theoretical reflections that accompanied them. Culture thrives on critical judgement, and criticism needs models which, without becoming fetishised, can reveal the deficiencies of inferior cultural production. If such models are neglected, in favour of other critical and ideological aims, or of the attempt, in the name of avoiding elitism, to elevate the merely local to the measure of what is culturally

in The new aestheticism