Living Room Wars brings together Ien Ang''s recent writings on television audiences, and , in response to recent criticisms of cultural studies, argues that it is possible to study audience pleasures and popular television in a way that is not naively populist. Ang examines how the makers and marketers of television attempt to mould their audience and looks at the often unexpected ways in which the viewers actively engage with the programmes they watch. Living Room Wars highlights the inherent contradictions of a `politics of pleasure'' of television consumption: Ang moves beyond the trditional forcus on textual meanings to explore the structural and historical representations fo television audiences as an integral part of modern culture. Her wide-ranging and illuminating discussion takes in the battle between television and its audiences; the politics of empirical audience research; new technologies and the tactics of television consumption; ethnography and radical contextualism in audience studies; television fiction and women''s fantasy; feminist desire and female pleasure in media consumption, and the transnational media system.

Living Room Wars brings together Ien Ang''s recent writings on television audiences, and , in response to recent criticisms of cultural studies, argues that it is possible to study audience pleasures and popular television in a way that is not naively populist. Ang examines how the makers and marketers of television attempt to mould their audience and looks at the often unexpected ways in which the viewers actively engage with the programmes they watch. Living Room Wars highlights the inherent contradictions of a `politics of pleasure'' of television consumption: Ang moves beyond the trditional forcus on textual meanings to explore the structural and historical representations fo television audiences as an integral part of modern culture. Her wide-ranging and illuminating discussion takes in the battle between television and its audiences; the politics of empirical audience research; new technologies and the tactics of television consumption; ethnography and radical contextualism in audience studies; television fiction and women''s fantasy; feminist desire and female pleasure in media consumption, and the transnational media system.

Cultural Studies explores popular culture in a uniquely exciting and innovative way. From new kinds of writing to photo essays, the journal is both theoretically and politically rewarding.

Cultural Studies explores popular culture in a uniquely exciting and innovative way. From new kinds of writing to photo essays, the journal is both theoretically and politically rewarding.

Dallas, one of the great internationally-screened soap operas, offers us first and foremost entertainment. But what is it about Dallas that makes that entertainment so successful, and how exactly is its entertainment constructed?

Dallas, one of the great internationally-screened soap operas, offers us first and foremost entertainment. But what is it about Dallas that makes that entertainment so successful, and how exactly is its entertainment constructed?

Cultural Diplomacy: Beyond the National Interest? is the first book bringing together, from the perspective of the cultural disciplines, scholarship that locates contemporary cultural diplomacy practices within their social, political, and ideological contexts, while examining the different forces that drive them.

The contributions to this book have two methodologies: the first, to deconstruct and demystify cultural diplomacy, notably the ‘hype’ that accompanies it, especially when it is yoked to the notion of ‘soft power’; the second, to better understand how contemporary cultural diplomacy actually operates. In applying a cultural lens to the question, this book probes whether there can be such a thing as a cultural diplomacy ‘beyond the national interest’. This book was originally published as a special issue of the International Journal of Cultural Policy.

Living Room Wars brings together Ien Ang''s recent writings on television audiences, and , in response to recent criticisms of cultural studies, argues that it is possible to study audience pleasures and popular television in a way that is not naively populist. Ang examines how the makers and marketers of television attempt to mould their audience and looks at the often unexpected ways in which the viewers actively engage with the programmes they watch. Living Room Wars highlights the inherent contradictions of a `politics of pleasure'' of television consumption: Ang moves beyond the trditional forcus on textual meanings to explore the structural and historical representations fo television audiences as an integral part of modern culture. Her wide-ranging and illuminating discussion takes in the battle between television and its audiences; the politics of empirical audience research; new technologies and the tactics of television consumption; ethnography and radical contextualism in audience studies; television fiction and women''s fantasy; feminist desire and female pleasure in media consumption, and the transnational media system.

Living Room Wars brings together Ien Ang''s recent writings on television audiences, and , in response to recent criticisms of cultural studies, argues that it is possible to study audience pleasures and popular television in a way that is not naively populist. Ang examines how the makers and marketers of television attempt to mould their audience and looks at the often unexpected ways in which the viewers actively engage with the programmes they watch. Living Room Wars highlights the inherent contradictions of a `politics of pleasure'' of television consumption: Ang moves beyond the trditional forcus on textual meanings to explore the structural and historical representations fo television audiences as an integral part of modern culture. Her wide-ranging and illuminating discussion takes in the battle between television and its audiences; the politics of empirical audience research; new technologies and the tactics of television consumption; ethnography and radical contextualism in audience studies; television fiction and women''s fantasy; feminist desire and female pleasure in media consumption, and the transnational media system.

Cultural Studies explores popular culture in a uniquely exciting and innovative way. From new kinds of writing to photo essays, the journal is both theoretically and politically rewarding.

Cultural Studies explores popular culture in a uniquely exciting and innovative way. From new kinds of writing to photo essays, the journal is both theoretically and politically rewarding.

Dallas, one of the great internationally-screened soap operas, offers us first and foremost entertainment. But what is it about Dallas that makes that entertainment so successful, and how exactly is its entertainment constructed?

Dallas, one of the great internationally-screened soap operas, offers us first and foremost entertainment. But what is it about Dallas that makes that entertainment so successful, and how exactly is its entertainment constructed?

Cultural Diplomacy: Beyond the National Interest? is the first book bringing together, from the perspective of the cultural disciplines, scholarship that locates contemporary cultural diplomacy practices within their social, political, and ideological contexts, while examining the different forces that drive them.

The contributions to this book have two methodologies: the first, to deconstruct and demystify cultural diplomacy, notably the ‘hype’ that accompanies it, especially when it is yoked to the notion of ‘soft power’; the second, to better understand how contemporary cultural diplomacy actually operates. In applying a cultural lens to the question, this book probes whether there can be such a thing as a cultural diplomacy ‘beyond the national interest’. This book was originally published as a special issue of the International Journal of Cultural Policy.