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.
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.
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.
This book traces the feminist engagement with soap opera using sources from programme publicity to interviews with scholars. It reveals that scholarship on soap opera was a significant site from which the identity feminist intellectual was produced.
This collection of the works of Emily, Anne and Charlotte Brontë includes the following novels: Jane Eyre by Charlotte Brontë, published in 1847 Shirley by Charlotte Brontë, published in 1849 Villette by Charlotte Brontë, published in 1853 The Professor by Charlotte Brontë, was published after her death in 1857 Emma by Charlotte Brontë (unfinished), she wrote only 20 pages of the manuscript which was published in 1860. Wuthering Heights by Emily Brontë, published in 1848 Agnes Grey by Anne Brontë, published in 1847 The Tenant of Wildfell Hall by Anne Brontë, published in 1848 The Brontë Sisters (1818-1855), Charlotte, Emily and Anne Brontë were sisters and writers whose novels have become classics. Before writing novels, the sisters first published a volume of poetry in 1846. Many novels of the Charlotte, Emily, and Anne are based on women in Victorian England and the difficulties that they faced like few employment opportunities, dependence on men in the families for support, and social expectations.
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.
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.
Contemporary Gender Communication Theories and Analyses surveys the field of gender and communication with a particular focus on gender and communication theories and methods. How have theories about gender and communication evolved and been influenced by first-, second-, and third-wave feminisms? And similarly, how have feminist communication scholars been inspired by existing methods and aspired to generate their own? The goal of this text is to help readers develop analytic focus and knowledge about their underlying assumptions that gender communication scholars use in their work. The features and benefits are: it applies theoretical and methodological lenses to contemporary cases, allowing readers to see gender and communication theory work in action; it presents a comprehensive introduction to particular feminist theories and methodologies; it provides effective end-of-chapter cases and sample analyses that help readers see the kinds of questions and analyses that a particular theory and method bring into play; and also discusses contemporary research in gender and communication and expands on future directions for research.
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