John Tulloch encourages academics and students to take seriously the need to break down the separation between high and low cultural studies. Tulloch's case studies show that the performance of cultural meanings occurs in forms as diverse as The Royal Shakespeare Company's Shakespeare and Chekhov productions and our everyday work and leisure encounters. Drawing upon anthropological and dramatic studies of performance, the book emphasizes that academic research also performs cultural meaning. A central feature of the book is its reflexive consideration of the representations of culture constructed by academic 'experts'.
Tulloch positions these concepts and methodologies within a broader current theatrical debate between postmodernity and risk modernity. He also describes the continuing history of Shakespeare and Chekhov as a series of stories “currently and locally told” in the context of a blurring of academic genres that frames the two writers. Drawn from research conducted over nearly a decade in Australia, Britain, and the U.S., Shakespeare and Chekhov in Production and Reception will be of interest to students and scholars of theatre studies, media studies, and audience research.
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.