In Television Cities Charlotte Brunsdon traces television's representations of metropolitan spaces to show how they reflect the medium's history and evolution, thereby challenging the prevalent assumptions about television as quintessentially suburban. Brunsdon shows how the BBC's presentation of 1960s Paris in the detective series Maigret signals British culture's engagement with twentieth-century modernity and continental Europe, while various portrayals of London—ranging from Dickens adaptations to the 1950s nostalgia of Call the Midwife—demonstrate Britain's complicated transition from Victorian metropole to postcolonial social democracy. Finally, an analysis of The Wire’s acclaimed examination of Baltimore, marks the profound shifts in the ways television is now made and consumed. Illuminating the myriad factors that make television cities, Brunsdon complicates our understanding of how television shapes perceptions of urban spaces, both familiar and unknown.
Charlotte Brunsdon's illuminating study explores the variety of cinematic 'Londons' that appear in films made since 1945. Brunsdon traces the familiar ways that film-makers establish that a film is set in London, by use of recognisable landmarks and the city's shorthand iconography of red buses and black taxis, as well as the ways in which these icons are avoided. She looks at London weather – fog and rain – and everyday locations like the pub and the housing estate, while also examining the recurring patterns of representation associated with films set in the East and West Ends of London, from Spring in Park Lane (1948) to Mona Lisa (1986), and from Night and the City (1950) to From Hell (2001). Brunsdon provides a detailed analysis of a selection of films, exploring their contribution to the cinematic geography of London, and showing the ways in which feature films have responded to, and created, changing views of the city. She traces London's transformation from imperial capital to global city through the different ways in which the local is imagined in films ranging from Ealing comedies to Pressure (1974), as well as through the shifting imagery of the River Thames and the Docks. She addresses the role of cinematic genres such as horror and film noir in the constitution of the cinematic city, as well as the recurrence of figures such as the cockney, the gangster and the housewife. Challenging the view that London is not a particularly cinematic city, Brunsdon demonstrates that many London-set films offer their own meditation on the complex relationships between the cinema and the city.
Charlotte Brundson's key writings on film and television are bought together with new introductions which contextualise and update the arguments. The focus is on the tastes and pleasures of the female consumer as she is produced by popular film and television.
Charlotte Brunsdon's illuminating study explores the variety of cinematic 'Londons' that appear in films made since 1945. Brunsdon traces the familiar ways that film-makers establish that a film is set in London, by use of recognisable landmarks and the city's shorthand iconography of red buses and black taxis, as well as the ways in which these icons are avoided. She looks at London weather – fog and rain – and everyday locations like the pub and the housing estate, while also examining the recurring patterns of representation associated with films set in the East and West Ends of London, from Spring in Park Lane (1948) to Mona Lisa (1986), and from Night and the City (1950) to From Hell (2001). Brunsdon provides a detailed analysis of a selection of films, exploring their contribution to the cinematic geography of London, and showing the ways in which feature films have responded to, and created, changing views of the city. She traces London's transformation from imperial capital to global city through the different ways in which the local is imagined in films ranging from Ealing comedies to Pressure (1974), as well as through the shifting imagery of the River Thames and the Docks. She addresses the role of cinematic genres such as horror and film noir in the constitution of the cinematic city, as well as the recurrence of figures such as the cockney, the gangster and the housewife. Challenging the view that London is not a particularly cinematic city, Brunsdon demonstrates that many London-set films offer their own meditation on the complex relationships between the cinema and the city.
In Television Cities Charlotte Brunsdon traces television's representations of metropolitan spaces to show how they reflect the medium's history and evolution, thereby challenging the prevalent assumptions about television as quintessentially suburban. Brunsdon shows how the BBC's presentation of 1960s Paris in the detective series Maigret signals British culture's engagement with twentieth-century modernity and continental Europe, while various portrayals of London—ranging from Dickens adaptations to the 1950s nostalgia of Call the Midwife—demonstrate Britain's complicated transition from Victorian metropole to postcolonial social democracy. Finally, an analysis of The Wire’s acclaimed examination of Baltimore, marks the profound shifts in the ways television is now made and consumed. Illuminating the myriad factors that make television cities, Brunsdon complicates our understanding of how television shapes perceptions of urban spaces, both familiar and unknown.
This book brings together for the first time David Morley and Charlotte Brunsdon's classic texts, Everyday Television: Nationwide and The Nationwide Audience. Originally published in 1978 and 1980 these two research projects combine innovative textual readings and audience analysis of the BBC's current affairs programme Nationwide. In a specially written introduction the authors trace the history of the original Nationwide project and clarify the origins of the two books.
Charlotte Brundson's key writings on film and television are bought together with new introductions which contextualise and update the arguments. The focus is on the tastes and pleasures of the female consumer as she is produced by popular film and television.
When Aaron meets Jayson Brunsdon, one of Australia’s leading fashion figures, they both dream of becoming fathers one day – a difficult and risky prospect few same-sex couples at the time dare. Together they build the Jayson Brunsdon brand from nothing into one of the most eponymous labels in Australia, worn by Crown Princess Mary of Denmark, Nicole Kidman, Naomi Watts and Jennifer Hawkins. Jayson quickly rises to fame, survives cancer, and the label traverses the highs and lows of the fashion industry. They lose everything, and rebuild it all again. In 2014, a story on 60 Minutes inspires them to take the plunge into parenthood via surrogacy – a controversial act in Australia, but a possibility in Thailand. What follows is a challenging journey filled with hope, chaos and determination – reaching its peak when halfway through their pregnancy Thailand outlaws surrogacy, and Aaron and Jayson face the shattering prospect that they might not be able to bring their beautiful baby boy home, whilst being relentlessly hounded by the media. Designer Baby is an inspiring personal story about the strength of family, the universal love of parents, and an uplifting reminder to never lose sight of your dreams.
This book brings together for the first time David Morley and Charlotte Brunsdon's classic texts, Everyday Television: Nationwide and The Nationwide Audience. Originally published in 1978 and 1980 these two research projects combine innovative textual readings and audience analysis of the BBC's current affairs programme Nationwide. In a specially written introduction the authors trace the history of the original Nationwide project and clarify the origins of the two books.
Covers the area of feminist media criticism. This edition discusses subjects including, alternative family structures, de-westernizing media studies, industry practices, "Sex and the City", Oprah, and "Buffy.
We are in an age of big data where all of our everyday interactions and transactions generate data. Much of this data is spatial – it is collected some-where – and identifying analytical insight from trends and patterns in these increasing rich digital footprints presents a number of challenges. Whilst other books describe different flavours of Data Analytics in R and other programming languages, there are none that consider Spatial Data (i.e. the location attached to data), or that consider issues of inference, linking Big Data, Geography, GIS, Mapping and Spatial Analytics. This is a ‘learning by doing’ textbook, building on the previous book by the same authors, An Introduction to R for Spatial Analysis and Mapping. It details the theoretical issues in analyses of Big Spatial Data and developing practical skills in the reader for addressing these with confidence.
When Aaron meets Jayson Brunsdon, one of Australia’s leading fashion figures, they both dream of becoming fathers one day – a difficult and risky prospect few same-sex couples at the time dare. Together they build the Jayson Brunsdon brand from nothing into one of the most eponymous labels in Australia, worn by Crown Princess Mary of Denmark, Nicole Kidman, Naomi Watts and Jennifer Hawkins. Jayson quickly rises to fame, survives cancer, and the label traverses the highs and lows of the fashion industry. They lose everything, and rebuild it all again. In 2014, a story on 60 Minutes inspires them to take the plunge into parenthood via surrogacy – a controversial act in Australia, but a possibility in Thailand. What follows is a challenging journey filled with hope, chaos and determination – reaching its peak when halfway through their pregnancy Thailand outlaws surrogacy, and Aaron and Jayson face the shattering prospect that they might not be able to bring their beautiful baby boy home, whilst being relentlessly hounded by the media. Designer Baby is an inspiring personal story about the strength of family, the universal love of parents, and an uplifting reminder to never lose sight of your dreams.
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