This is a project about how identities based on class (with gender, race and sexuality) are produced by ethical scenarios presented on television. It explores textually mediated subjectivity to show how class is being re-made through the process of ethical choice through telling and display. Both Giddens (1991) and Beck (1992) suggested the demise of class whilst promoting the biographical project of the reflexive self as the way the social is reproduced. Yet theories about this new self identity have remained untested. We propose to track versions of the 'ethical self' in television representations and then explore how these are made by the new cultural intermediaries and the used in everyday life. By tracking a range of different ethical ...
Mediating Sexual Citizenship considers how the neoliberal imperatives of adaptation, improvement and...
International audienceTV series are gaining increasing attention in current research. However, their...
Television offers its viewers access to a ‘continuous present’ that they can make sense of with the ...
<p>Abstract copyright data collection owner.</p>This is a project about how identities based on clas...
Drawing on the textual analysis of an ESRC research project `Making Class and the Self through Media...
Drawing on the textual analysis of an ESRC research project 'Making Class and the Self through Media...
One of the most striking challenges encountered during the empirical stages of our audience research...
One of the most striking challenges encountered during the empirical stages of our audience research...
What follows are notes on a range of reality television programmes which foreground “extraordinary s...
This paper explores the ethical turn in new and old television formats. From docusoaps to tabloid ta...
Selfhood and subjectivity are categories of identity that are both individual and social, i.e., defi...
One of the most striking challenges encountered during the empirical stages of our audience research...
I consider how teachers discursively instantiate their identities through narrative work, which I fr...
Despite being dismissed as low brow, nonsensical and a cheap form of entertainment, the present cult...
This paper deploys a case study of the first transgender lead character in Flemish television fictio...
Mediating Sexual Citizenship considers how the neoliberal imperatives of adaptation, improvement and...
International audienceTV series are gaining increasing attention in current research. However, their...
Television offers its viewers access to a ‘continuous present’ that they can make sense of with the ...
<p>Abstract copyright data collection owner.</p>This is a project about how identities based on clas...
Drawing on the textual analysis of an ESRC research project `Making Class and the Self through Media...
Drawing on the textual analysis of an ESRC research project 'Making Class and the Self through Media...
One of the most striking challenges encountered during the empirical stages of our audience research...
One of the most striking challenges encountered during the empirical stages of our audience research...
What follows are notes on a range of reality television programmes which foreground “extraordinary s...
This paper explores the ethical turn in new and old television formats. From docusoaps to tabloid ta...
Selfhood and subjectivity are categories of identity that are both individual and social, i.e., defi...
One of the most striking challenges encountered during the empirical stages of our audience research...
I consider how teachers discursively instantiate their identities through narrative work, which I fr...
Despite being dismissed as low brow, nonsensical and a cheap form of entertainment, the present cult...
This paper deploys a case study of the first transgender lead character in Flemish television fictio...
Mediating Sexual Citizenship considers how the neoliberal imperatives of adaptation, improvement and...
International audienceTV series are gaining increasing attention in current research. However, their...
Television offers its viewers access to a ‘continuous present’ that they can make sense of with the ...