Prisoner, Perfect Match, Hey Hey It's Saturday, A Country Practice, Vietnam and Beyond 2000 are some of the programs described and analysed. Issues are raised such as the relationship between children and television, the role of the television documentary and the function television serves in constructing communities.
The contributors to Australian Television: Programs, Pleasures and Politics include some of the leading researchers in Australian television and cultural studies and their articles employ a wide range of methods - from semiotic analyses to cultural histories. Despite their dealing with often quite sophisticated problems, the chapters are written in an accessible and lively manner. This is an important collection which opens out space for more informed and challenging discussions of Australia's television culture - its programs, its meanings, its pleasures and its politics. It will be an invaluable text for all tertiary television, media studies, communications studies, Australian studies and cultural studies programs.
Bringing together original empirical research and sociocultural theory, the authors examine how people define risk and what risks they see as affecting them, for example in relation to immigration, employment and family life. They emphasise the need to take account of the cultural dimensions of risk and risk-taking to understand how risk is experienced as part of everyday life and consider the influence that gender, social class, ethnicity, sexual orientation, occupation, geographical location and nationality have on our perceptions and experience of risk.
Drawing on the work of key theorists - Ulrich Beck, Scott Lash, and Mary Douglas - the authors examine and critique theories of risk in the light of their own research and presents case studies which show how notions of risk interact with day-to-day concerns.
Icons of War and Terror explores theories of iconic images of war and terror, not as received pieties but as challenging uncertainties; in doing so, it engages with both critical discourse and conventional image-making. The authors draw on these theories to re-investigate the media/global context of some of the most iconic representations of war and terror in the international ‘risk society’. Among these photojournalistic images are:
Nick Ut’s Pulitzer Prize winning photograph of a naked girl, Kim Phuc, running burned from a napalm attack in Vietnam in June 1972;
a quintessential ‘ethnic cleansing’ image of massacred Kosovar Albanian villagers at Racak on January 15, 1999, which finally propelled a hesitant Western alliance into the first of the ‘new humanitarian wars’;
Luis Simco’s photograph of marine James Blake Miller, ‘the Marlboro Man’, at Fallujah, Iraq, 2004;
the iconic toppling of the World Trade Centre towers in New York by planes on September 11, 2001; and the ‘Falling Man’ icon – one of the most controversial images of 9/11;
the image of one of the authors of this book, as close-up victim of the 7/7 terrorist attack on London, which the media quickly labelled iconic.
This book will be of great interest to students of media and war, sociology, communications studies, cultural studies, terrorism studies and security studies in general.