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Spies, conspiracies and the secret state in British television drama
Author: Joseph Oldham

This book explores the history of the spy and conspiracy genres on British television, from 1960s Cold War series through 1980s conspiracy dramas to contemporary 'war on terror' thrillers. It analyses classic dramas including Tinker Tailor Soldier Spy, Edge of Darkness, A Very British Coup and Spooks. The analysis is framed by the notion that the on-screen depiction of intelligence services in such programmes can be interpreted as providing metaphors for broadcasting institutions. Initially, the book is primarily focused on espionage-themed programmes produced by regional franchise-holders for ITV in late 1960s and 1970s. Subsequently, it considers spy series to explore how many standard generic conventions were innovated and popularised. The relatively economical productions such as Bird of Prey demonstrated a more sophisticated treatment of genre conventions, articulated through narratives showing the collapse of standard procedure. Channel 4 was Britain's third and final broadcaster to be enshrined with a public service remit. As the most iconic version of the television spy drama in the 1960s, the ITC adventure series, along with ABC's The Avengers, fully embraced the formulaic and Fordist tendencies of episodic series in the US network era. However, Callan, a more modestly resourced series aimed more towards a domestic audience, incorporated elements of deeper psychological drama, class tension and influence from the existential spy thrillers. The book is an invaluable resource for television scholars interested in a new perspective on the history of television drama and intelligence scholars seeking an analysis of the popular representation of espionage.

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New Labour, the EU and the wider world
Oliver Daddow

longer-term goal of fashioning a post-imperial global leadership role for his country. In stressing the leadership angle of its European policy New Labour was helping appease a sceptical domestic audience. As Sowemimo has put it, ‘by asserting a leadership role, Britain’s European engagement could be presented in a more patriotic, even nationalistic light’ (Sowemimo 1999: 350), a point backed up by Pauline Schnapper, who has suggested that whichever party we study, ‘British politicians’ discourses on Europe … remain burdened by a vision of national identity

in New Labour and the European Union
Open Access (free)
The Algerian war and the ‘emancipation’ of Muslim women, 1954–62
Author: Neil Macmaster

In May 1958, and four years into the Algerian War of Independence, a revolt again appropriated the revolutionary and republican symbolism of the French Revolution by seizing power through a Committee of Public Safety. This book explores why a repressive colonial system that had for over a century maintained the material and intellectual backwardness of Algerian women now turned to an extensive programme of 'emancipation'. After a brief background sketch of the situation of Algerian women during the post-war decade, it discusses the various factors contributed to the emergence of the first significant women's organisations in the main urban centres. It was only after the outbreak of the rebellion in 1954 and the arrival of many hundreds of wives of army officers that the model of female interventionism became dramatically activated. The French military intervention in Algeria during 1954-1962 derived its force from the Orientalist current in European colonialism and also seemed to foreshadow the revival of global Islamophobia after 1979 and the eventual moves to 'liberate' Muslim societies by US-led neo-imperialism in Afghanistan and Iraq. For the women of Bordj Okhriss, as throughout Algeria, the French army represented a dangerous and powerful force associated with mass destruction, brutality and rape. The central contradiction facing the mobile socio-medical teams teams was how to gain the trust of Algerian women and to bring them social progress and emancipation when they themselves were part of an army that had destroyed their villages and driven them into refugee camps.

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Rob Stone

of personal concerns that he has already exhausted, until the films he writes and/or directs keep their style but lose their meaning, occasionally satisfying an international and/or domestic audience with a taste for erotically-charged navel-gazing. The story of Medem is not one of a filmmaker enclosed by a particular period of European, Spanish or Basque history, nor one defined by a movement or genre. Rather, Medem is a work in progress, busy constructing himself as auteur in the likeness of his own ambition. This has been the story of Medem learning the

in Julio Medem
Open Access (free)
Reflections in a distorting mirror
Christoph Zürcher

-evident traditional interpretative key to international relations, fails to explain these developments: neither NATO nor the Russian Federation went to war because its survival was actually threatened, or because of relative gains to be made. Rather, one of the main objectives of these wars was to satisfy the expectations of domestic audiences, on the one hand, and to ‘send the right message’ to the ‘villains’, on

in Mapping European security after Kosovo
The Chinese ping-pong team visits Africa in 1962
Amanda Shuman

Chinese foreign propaganda during this period, which expanded even as delegation members themselves sometimes helped distribute it.39 The production in China of official reports and media on delegation visits also served an important but often overlooked purpose: helping reshape the worldviews of a domestic audience. By employing official reports and media to fashion delegations as expressions of China’s solidarity with and guiding role among oppressed peoples in African and Asian nations, the Chinese leadership conveyed to its own citizens a new position in the world

in Sport and diplomacy
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Helen Wheatley

broadcasting (the eras of scarcity, availability and plenty), delineating the purest form of witness in the era of scarcity, when the limited choice of broadcast television guaranteed a large domestic audience for individual programmes: Television allowed its viewers to witness remote events as they happened. Television provided its

in Gothic television
Emma Louise Briant

. This at least makes it much more difficult, for instance, to intentionally target its own population with black propaganda. Shiffrin clarifies his defence of the domestic propaganda ban, saying ‘the only activity under discussion here is one intended to influence a domestic audience and not one which may do so inadvertently’ (2006: 3). It is not absolute and the US public should be aware that some manage to evade restrictions, for example by relying on the help of trusted allies. Yet US personnel did find these laws impeded their range of action. The UK’s less

in Propaganda and counter-terrorism
When the talking stops
Carole Gomez

targeting foreign countries or domestic audiences, forcing the target country or its leaders to discontinue certain actions in the future or compel a government to change or reverse existing policies’.15 This analysis is supported by the work of Barry Burciul, who considers the effort to change the behaviour of an entity as having ‘a symbolic importance and psychological impact’.16 Thus, by deciding to boycott an actor in global affairs, a state or non-state actor refuses to deal with it, to support it or to endorse its policies until the object of the boycott changes the

in Sport and diplomacy
Britons and their collectibles in late eighteenth-century India
Tillman W. Nechtman

Hickey would have been hard pressed to identify anything foreign about the life-style he and other Britons were living in India in these years. That life in Calcutta looked different than life in London, he would have conceded, but that difference did not, to his mind, negate the fact that Calcutta remained ‘a British settlement … under English law’. 11 To domestic audiences, though, the fact that some

in The cultural construction of the British world