BCMCR New Directions in Media and Cultural Research – serie

Prior to 2000, it was a criminal offence to sell hardcore pornography in Britain. Despite this, there was a thriving alternative economy producing and distributing such material “under the counter” of Soho’s bookshops and via mail-order. British entrepreneurs circumvented obscenity laws to satisfy the demand for uncensored adult films and profit from their enterprise, with the corrupt Obscene Publications Squad permitting them to trade.By the late 1960s, Britain had developed an international reputation for producing ‘rollers’, short films distributed on 8mm, which were smuggled out of Britain for sale in Western Europe. Following an exposé by Britain’s tabloid press, a crackdown on police corruption and several high-profile obscenity trials, the trade was all but decimated, with pornography smuggled in from Europe dominating the market.Under the Counter is the first book of its kind to investigate Britain’s trade in illicit pornographic 8mm film.  Drawing on extensive archival research, including the use of legal records, police files, media reportage, and interviews with those who were involved in the business, Under the Counter tells the story of Britain’s trade in 8mm hardcore pornographic films and its regulation, incorporating ideas from cultural studies, political economy, history and criminology.Under the Counter is a scholarly monograph that will be of interest to researchers across a wide range of disciplines and will be of use to students at undergraduate, Masters level and PhD.The book will be of particular relevance to students and researchers interested in the study of pornography, sexual cultures, illicit media enterprise and entrepreneurship, but also those with an interest in film production and distribution, particularly within a British context. The theoretical frameworks that underpin the book mean that researchers with an interest in the creative industries will be able to make use of it and the book makes a contribution to media and cultural history.It is suitable for use on university courses relating to these specific areas, specifically media and communication, film studies, creative industries, and potentially on criminology or socio-legal studies, given the books attention to obscenity law and regulation of illicit practices.

Prior to 2000, it was a criminal offence to sell hardcore pornography in Britain. Despite this, there was a thriving alternative economy producing and distributing such material “under the counter” of Soho’s bookshops and via mail-order. British entrepreneurs circumvented obscenity laws to satisfy the demand for uncensored adult films and profit from their enterprise, with the corrupt Obscene Publications Squad permitting them to trade.By the late 1960s, Britain had developed an international reputation for producing ‘rollers’, short films distributed on 8mm, which were smuggled out of Britain for sale in Western Europe. Following an exposé by Britain’s tabloid press, a crackdown on police corruption and several high-profile obscenity trials, the trade was all but decimated, with pornography smuggled in from Europe dominating the market.Under the Counter is the first book of its kind to investigate Britain’s trade in illicit pornographic 8mm film.  Drawing on extensive archival research, including the use of legal records, police files, media reportage, and interviews with those who were involved in the business, Under the Counter tells the story of Britain’s trade in 8mm hardcore pornographic films and its regulation, incorporating ideas from cultural studies, political economy, history and criminology.Under the Counter is a scholarly monograph that will be of interest to researchers across a wide range of disciplines and will be of use to students at undergraduate, Masters level and PhD.The book will be of particular relevance to students and researchers interested in the study of pornography, sexual cultures, illicit media enterprise and entrepreneurship, but also those with an interest in film production and distribution, particularly within a British context. The theoretical frameworks that underpin the book mean that researchers with an interest in the creative industries will be able to make use of it and the book makes a contribution to media and cultural history.It is suitable for use on university courses relating to these specific areas, specifically media and communication, film studies, creative industries, and potentially on criminology or socio-legal studies, given the books attention to obscenity law and regulation of illicit practices.

Provides new perspectives on the increasingly complex relationships between media forms and formats, materiality and meaning. Drawing on a range of qualitative methodologies, our consideration of the materiality of media is structured around three overarching concepts: form – the physical qualities of objects and the meanings which extend from them; format – objects considered in relation to the protocols which govern their use and the meanings and practices which stem from them; and ephemeral meaning – the ways in which media artefacts are captured, transformed and redefined through changing social, cultural and technological values.Each section includes empirical chapters which provide expansive discussions of perspectives on media and materiality. It considers a range of media artefacts such as 8 mm film, board games maps, videogames, cassette tapes, transistor radios and Twitter, amongst others. These are punctuated with a number of short takes – less formal, often personal takes exploring the meanings of media in context.We seek to consider the materialities which emerge across the broad and variegated range of the term’s use and to create spaces for conversation and debate about the implications that this plurality of material meanings might have for the study of study of media, culture and society.

This edited collection features fourteen newly commissioned articles, each of which responds to the theme of plague from different disciplinary perspectives. Contributors focus on the effects of COVID-19 on everyday life, drawing also on insights from different historical experiences of plague as a way of exploring human responses to epidemics, past and present.Each chapter opens with a different illustration that serves as a source for subsequent discussion, enabling readers to make connections between everyday objects, experiences, and broader critical debates about plague and its impact on humanity. Thought-provoking commentaries stem from a variety of humanities disciplines including archaeology, electronic literature, history, linguistics, media and cultural studies, and musicology.Encountering the Plague explores ways in which humanities research can play a meaningful role in key social and political debates, and provides compelling examples of how the past can inform our understanding of the present.

This edited collection features fourteen newly commissioned articles, each of which responds to the theme of plague from different disciplinary perspectives. Contributors focus on the effects of COVID-19 on everyday life, drawing also on insights from different historical experiences of plague as a way of exploring human responses to epidemics, past and present.Each chapter opens with a different illustration that serves as a source for subsequent discussion, enabling readers to make connections between everyday objects, experiences, and broader critical debates about plague and its impact on humanity. Thought-provoking commentaries stem from a variety of humanities disciplines including archaeology, electronic literature, history, linguistics, media and cultural studies, and musicology.Encountering the Plague explores ways in which humanities research can play a meaningful role in key social and political debates, and provides compelling examples of how the past can inform our understanding of the present.

This edited collection offers evocative ways into a range of fascinating worlds of popular music, from the Ecuadorian indie scene to Chinese rock. In exploring the experiences of musicians, fans, industry professionals and academics, the rich complexity of popular music is brought to life through ethnography as an immersive approach to undertaking and communicating research.Experimenting with ethnography through the joys and tribulations of musical production, fandom and scholarship, these collated studies critically consider what it means to be a popular music ethnographer and to take an ethnographic approach to studying popular music. Alongside these chapters, musicians, venue owners, music writers, live music photographers, and fans add their voices and experience in the form of shorter vignettes, ordering the content into three overlapping themes: practices; places; and identities.

Describes the transformations we have witnessed due to the development of nuclear science and technology, accelerating policies interdependent on energy, and military procedures that have led us to make a provocative claim that, in many respects, planet Earth is getting closer to the embodiment of the project we call Nuclear Gaia.The book examines media archives and online platforms that recover data and memory and shape community knowledge of nuclear events from the distant and nearer past. These are the pieces of evidence that we are on the eve of creating new forms of social justice, carried out by open-source investigations (OSINT) groups, independent researchers, artists, media makers, activists, local communities and civic groups. Thus, analysing nuclear processes and their social and environmental consequences is no longer the exclusive domain of experts, scientists, politicians and the military. The authors hope that such communities’ practices and decolonial discourses, combined with the critiques within our methodology as post-nuclear media studies, can also change the fate of nuclear industry victims by creating media space to discuss and regain justice as socially sanctioned and shared rules for understanding and using nuclear energy both in past and the future.

Provides new perspectives on the increasingly complex relationships between media forms and formats, materiality and meaning. Drawing on a range of qualitative methodologies, our consideration of the materiality of media is structured around three overarching concepts: form – the physical qualities of objects and the meanings which extend from them; format – objects considered in relation to the protocols which govern their use and the meanings and practices which stem from them; and ephemeral meaning – the ways in which media artefacts are captured, transformed and redefined through changing social, cultural and technological values.Each section includes empirical chapters which provide expansive discussions of perspectives on media and materiality. It considers a range of media artefacts such as 8 mm film, board games maps, videogames, cassette tapes, transistor radios and Twitter, amongst others. These are punctuated with a number of short takes – less formal, often personal takes exploring the meanings of media in context.We seek to consider the materialities which emerge across the broad and variegated range of the term’s use and to create spaces for conversation and debate about the implications that this plurality of material meanings might have for the study of study of media, culture and society.

This edited collection offers evocative ways into a range of fascinating worlds of popular music, from the Ecuadorian indie scene to Chinese rock. In exploring the experiences of musicians, fans, industry professionals and academics, the rich complexity of popular music is brought to life through ethnography as an immersive approach to undertaking and communicating research.Experimenting with ethnography through the joys and tribulations of musical production, fandom and scholarship, these collated studies critically consider what it means to be a popular music ethnographer and to take an ethnographic approach to studying popular music. Alongside these chapters, musicians, venue owners, music writers, live music photographers, and fans add their voices and experience in the form of shorter vignettes, ordering the content into three overlapping themes: practices; places; and identities.