Emily Coleman – författare

The People We Watch explores the politics of contemporary media production from the point of view of the ordinary people it represents.Based upon a series of in-depth interviews and the author’s own professional experience of working in the television industry, this book examines how documentary contributors feel about participating in the media and the ways they are portrayed, considering how their experiences take shape within the structural context of the cultural industries.This insightful text will interest scholars, students, and researchers in media and communication, sociology of the media, documentary studies, and film studies, as well as those studying the cultural industries, media production, creative labour, and cultural policy.The Open Access version of this book, available at www.taylorfrancis.com, has been made available under a Creative Commons Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND) 4.0 International license.Any third party material in this book is not included in the OA Creative Commons license, unless indicated otherwise in a credit line to the material. Please direct any permissions enquiries to the original rightsholder.This work was supported by the Arts and Humanities Research Council [grant number AH/L503848/1]; and the Economic and Social Research Council [grant number ES/Y007808/1].

The People We Watch explores the politics of contemporary media production from the point of view of the ordinary people it represents.Based upon a series of in-depth interviews and the author’s own professional experience of working in the television industry, this book examines how documentary contributors feel about participating in the media and the ways they are portrayed, considering how their experiences take shape within the structural context of the cultural industries.This insightful text will interest scholars, students, and researchers in media and communication, sociology of the media, documentary studies, and film studies, as well as those studying the cultural industries, media production, creative labour, and cultural policy.The Open Access version of this book, available at www.taylorfrancis.com, has been made available under a Creative Commons Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND) 4.0 International license.Any third party material in this book is not included in the OA Creative Commons license, unless indicated otherwise in a credit line to the material. Please direct any permissions enquiries to the original rightsholder.This work was supported by the Arts and Humanities Research Council [grant number AH/L503848/1]; and the Economic and Social Research Council [grant number ES/Y007808/1].