Gender

Gender – psychological, social and cultural

differences

Nature versus nurture

Social construction of gender

◦ Gender roles (who does what)

◦ Who is expected to do what

Butler, Foucault – fluid gender identity

1

Male gaze

Male gaze – film (but applied to other media)

Women used to viewing themselves from other’s viewpoints

2

Masculinities

New man

◦ Nurturer, narcissistic

◦ New man as sex object

Metrosexual

◦ Refashioned version of new man

New Lad

◦ Magazines such as Nuts, Zoo

◦ Response to feminism

◦ Stereotypical masculinity e.g. misogyny

◦ Sexism, homophobia

3

Gender – Summary

How would you define gender

◦ Gender are the characteristics that are perceived as being associated with being male

or female

What is meant by social construction

◦ That gender is constructed through such things as media, schooling, other people

etc.

Why do we use masculinities and femininities rather than

masculinity/femininity?

◦ Different versions on offer – though some dominate (hegemonic

masculinity)

4

References

Butler, J. (1990) Gender Trouble, London: Routledge.

Connell, R. W. (2002) Gender, Cambridge: Polity.

Gauntlett, D. () Media, Gender and itndeity

Gill, R. (2007) Gender and the Media, Cambridge: Polity.

Richardson, N. & Wearing, S. (2014) Gender in the Media.

London: Palgrave Macmillan.

5

Disney

Genres are fluid and change (and despite debates are

recognisable)

Disney - huge, influential multinational

Fairy Tale genre still around in many different forms

Princesses – maybe later films less stereotyped

Men – less focus on alpha male and muscles towards new

man masculinities

6

Binaries in Disney Films

7

New Man in Disney films

Cars, Toy Story, Incredibles

Journeying towards more New Man type

masculinities

Muscle bound, testosterone hero less popular.

Male/male relationships also figure

All remain heterosexual

Wall E (Disney Pixar) interesting representation

of masculinity

8

Disney

Benshoff, H. & Griffin, S. (2004) America on Film. Representing

Race, Class, Gender and Sexuality at the Movies. Oxford, Blackwell.

Dundes, L. (2001) Disney’s modern heroine Pocahontas: Revealing

age-old gender stereotypes and role discontinuity under a façade

of liberation, The Social Science Journal. Vol. 38, pp. 353-365.

Gillam, K. and Wooden, S. (2008) Post-Princess Models of

Gender: The New Man in Disney/Pixar, Journal of popular Film and

Television, Vol. 36(1), pp. 2-8.

9

Memes

Idea, behaviour or style which spreads from person to person

Modified, refined, combined

Internet meme – spreads from person to person via the internet

Harlem Shake

YouTube Video-sharing website

Created 2005

Bought by Google 2006 ($1.65 Billion)

Used by corporations and individuals

1.2 Billion videos streamed a day

Examples

◦ Mashups (Cassette Boy) , TV clips, music videos, video blogging, educational videos etc.

10

YouTube

Debates around artificial intelligence

Brief moments in films, games, television show

Media is accelerated

Things we do, see and produce become quantified

Stereotypes in old media may reappear in new media

11

References

Branston, G & Stafford, R. (2010) The Media Student’s Book, Oxon, Routledge.

Meikle, G. & Young, S. (2012) Media Convergence. Networked Digital Media in Everyday Life, Basingstoke, Palgrave Macmillan.

Railton, D. & Watson, P. (2011) Music Video and the Politics of Representation, Edinburgh, Edinburgh University Press.

Vernallis, C.(2013) YouTube, Music Video, and the digital cinema. Oxford, Oxford University Press.

12

Race

How race is perceived

◦ Not fixed

Definitions of race and ethnicity

◦ Differences in the way these terms are used

◦ How we perceive race and ethnicity has changed

◦ Majority ethnic group is the ethnic group that has more

power

◦ Minority ethnic group – less powerful

Race is a social construct

13

Orientalism

The Orient

◦ Deepest and most recurring images of the other

◦ East/west binary

Exotic beings

◦ The ‘other’ as strange

◦ Noble savage idea

Sexual danger

◦ Exotic woman/Virile black man

Neo-Orientalism

◦ Past period/ Influence still present

I draw on ideas from Orientalism and apply it to the representation of the ‘other’

14

Orientalism

Representations of race in the media

Orientalism as a way of analysing media

representations of ‘race’

You can look at any media

◦ Newspapers, magazines, television, film etc.

◦ And analyse in relation to assignment 2 (content

analysis)

◦ Reel Bad Arabs (2006, Jeremy Earp, Sut Jhally)

15

References Orientalism

Barker, C. (2008) Cultural Studies. Theory and Practice. London:

Sage.

Benshoff, H. & Griffin, (2009) America on Film. Representing

Race, Class, Gender, Sexuality at the Movies, Chichester: Wiley-

Blackwell.

Hall, S. (1997) Representation: Cultural Representation and

Signifying Practices. London: Sage.

Lind, R. (2010) Race/gender/media: Considering diversity

across audiences, content and producers. Boston: Allyn & Bacon.

16

Disability and the media

Media images and representations are important regarding attitudes

Often sensationalism and victimisation

Can be overly positive, unrealistic

Or negative and enforcing stereotypes

Physical bodies and hidden disabilities

Media – often see disabilities as personal problems to be overcome

Often negative portrayals stem from a particular viewpoint of bodies

Places those with disabilities into an ‘otherness’

17

Disability and the Media

Media have made some progress in relation to

representations

But there are still stereotypes and negative representations

Often still ‘othered’

But there are more actors with various disabilities finding

work

The Paralympians are treated as an event (every 4 years)

18

References

Hansen, A. & Machin, D. ( 2013) Media & Communication Research

Methods, Basingstoke, Palgrave Macmillan.

Hickey-Moody, A. and Crowley, V. (2010)Disability matters: pedagogy,

media and affect. Discourse: Studies in the Cultural Politics of Education.

Vol. 31(4), pp.399-409.

Howe, D. (2008) Form Inside the Newsroom: Paralympic Media and the

Production of Elite Disability.

Jones, S. and Harwood, V. (2009) Representations of Autism in Australian

Print Media. Disability and Society. Vol. 24(1), pp,5-18

Stokes, J. (2013) How to do Media and Cultural Studies. London, Sage.

19

Class

Distinct social formations made up of groups of people

May have common social and cultural positions

And also similar patterns of property ownership, power

and material rewards

20

Does class exist

Individual identities more important/classless society

ideas

◦ Postmodern viewpoint

New classes - economic, social and cultural capital

Previous classes (upper, middle, working, underclass)

But there are still implications in terms of class

Top 1% own most of the wealth

Aspirational via the media

21

Representations of class

Representations often reflect class prejudices

Middle class authority figures – experts called on to give opinions

Underclass and working class – demeaning representations Such as Benefits Street see Owen Jones and his lecture at the Royal Television Lecture)

So does class still exist?

Some argue that other identities are more important

Cultural associations of class identities are still be important

We can think of class and taste associations22

Class References

Hodkinson, P. (2011) Media, Culture and Society. London, Sage.

Jones, O. (2011) The Demonisation of the working class. London, Verso.

Jones, R. E. (2013) Clampdown. Pop-Cultural Wars on Class and Gender. Alresford, Zero Books.

Lind, R.A. (2013) Race/Gender/Class/Media 3.0. Considering Diversity across Content, Audiences and Production. Boston, Pearson

23

Stages of moral panics

Stage 1

◦ Event attracts media coverage

◦ Intensive media surveillance Stage 2

◦ Wider social implications fuelled by media concern and

debate

◦ Primary definers interviewed (expert and professional

opinions)

◦ Folk devils identified (things/people that threaten society) Stage 3

◦ Response from authorities

◦ Social control

◦ Legislation implemented24

Moral Panics

Morals – threat to values/beliefs/ways of live/society as a

whole

Folk devils – things/people that threaten society and are

perceived as evil

Panic – exaggerated/irrational responses

Groups who can instigate moral panics

◦ Press, pressure groups, politicians, police, public opinion

If the above all agree on a moral panic it is powerful

But there are potential conflicts of interest

25

Moral Panics

Moral panics are about changes that occur

Which threaten something about societal morals/values/behaviour

Stages of moral panics

Not everything reaches stage 3

Some moral panics fade away, some reoccur

Moral panics may be useful for governments wanting to pass legislation

http://youtu.be/BDvNPJzuhbM

26

Moral Panics

Briggs, A. and Cobley, P. (2002) The Media, An introduction, Harlow, Pearson.

Cohen, S. (2992) Folk Devils and Moral Panics, London, Routledge.

Critcher, C. (2003) Moral Panics and the Media, Buckingham, Open University Press.

Goode, E. & Ben-Yehuda, N. (2009) Moral Panics: The Social Construction of Deviance. Malden, Wiley-Blackwell.

Thompson, K. (1998) Moral Panics, London, Routledge.

27

Persuasive Communication

Aristotle

◦ Ethos – credibility of the speaker to influence the

audience

◦ Pathos – emotional appeals to the audience

◦ Logos – use of reasoning to construct an argument (often

statistics are used).

28

Advertising

Function is to persuade

Exaggeration and embellishment rather than outright

manipulation

Advertisers are not allowed to lie, but not bound to tell the

whole truth

Distortion or interpretation of reality

Tries to influence the audience to think a certain way

29

Summary

Production, consumption, representation are interwoven and

linked

Persuasive communication can be used in relation to analysing

the text

And in relation to understanding how advertising works

You could do a content analysis using ethos, logos, pathos in

relation to advertising (assignment 2)

30

References

Barker, C. (2008 ) Cultural Studies, London: Sage.

Branston, G. & Stafford, R. (2010) The Media Student’s Book.

London: Routledge.

Giles, J. & Middleton, T. (2008) Studying Culture, A Practical

Introduction. Oxford: Blackwell.

Hall, S., Evans, J. & Nixon, S. (2013) Representation. Cultural

Representation and Signifying Practices. Oxon, Sage.

31

Advertising

Ideology of advertising

Williamson (1978) – pervade all media and limited to none

Advertising links different elements

Ideology may be hard to detect (we are so used to it –

becomes the norm/common sense)

Images, feelings, ideas – become attached to certain products

Sell us ourselves

32

Advertising

Preferences based on

◦ Age, gender, habits, friends,

Microtargeting

Facebook – location, country/town, age, gender, interest,

connections, education, relationship status

Personal information becoming public

Profiles watched by marketers

Louis Vuitton using video game character in advertising

33

Ideology

Ideology hidden in advertising

Uses emotions to get us to buy products

But we purchase other things besides the products

Needs – either false or real – created or redirected to the marketplace

Part of a lifestyle – consumer culture

Gender representations in advertising

Content analysis e.g. advertising in two magazines, television channels, websites, Facebook profiles, or comparing advertisements from two eras, genders etc.

34

References

Agostineli, G. & Grube, J.W. (2002) Alcohol Counter-

Advertising and the Media, Alcohol Research and Healthm Vol.

26(1), pp.15-21.

Barbu, O. (2014) Advertising, Microtargeting and Social

Media, Social and Behavioural Sciences, Vol. 163, pp.44-49.

Stokes, J. (2013) How to do media and Cultural Studies,

London, Sage.

Williamson, J. (2002) Decoding Advertisements. Ideology and

meaning in Advertising. London, Marion Boyars Publishing Ltd.

35

Rojek (2001) Types of celebrity

Ascribed celebrity

◦ Born into this e.g. monarchy

Achieved celebrity

◦ Individuals with talent

Attributed celebrity

◦ individual as noteworthy regardless of

talent

36

Summary

Stars and celebrities – may be blurred

Stars focused on talent

Celebrities may be famous for being famous

Assignment 2: Content analysis of two celebrities or stars.

Or you could look at the coverage negative/positive of one celebrity/star

Cultural fascination with celebrities/stars

◦ Including scandals

37

References Boorstin, D. J. (1961) The Image. Or what happened to the American

Dream. New York: Harper and Row.

Franck, E. & Nuesch, S. (2007) Avoiding Star Wars’ – Celebrity Creation as Media Strategy, Kyklos, Vol. 60(2), pp. 211-230.

Hanukov, I. (2015) The ‘Cocaine Kate’ Scandal: Celebrity Addiction or Public Addiction to Celebrity? The Journal of Popular Culture. Vol. 48(4), pp. 652-661.

Rojek, C. (2001) Celebrity. London, Reaktion Books.

Turner, G. (2004) Understanding Celebrity, London, Sage.

York, L. (2013) Start Turn: The Challenges of Theorising Celebrity Agency. The Journal of Popular Culture. Vol. 46(6), pp. 1330-1347.

38

Classic news values

39

News Values continued

40

Bias in news

Who is represented unfavourably?

Who are chosen to be experts?

Myth and ideologies in news stories

Ideology = a set of beliefs characteristic of a social group

Organising frame

Foucault – discourses (how certain ways of talking about something becomes the accepted way and frames us into certain positions)

Symbolism – e.g. chimes of Big Ben, houses of parliament

41

References

Barker, C. (2008) Cultural Studies, London, Sage.

Branston, G. and Stafford, R. (1996) The Media Student’s Book. London: Routledge

Chu, D. (2011) Interpreting news values in j-blogs: Case studies of journalist bloggers in post-1997 Hong Kong. Journalism. Vol. 13(3), pp.371-387.

Davis, H. & McLeod, S. L. (2003) Why humans value sensational news. An evolutionary perspective. Evolution and Human Behaviour, Vol. 24, pp. 208-216.

Galtung, R. & Ruge, M.H. (1965) The Structure of Foreign News. The Presentation of the Congo, Cuba, and Cyprus Crisis in Four Norwegian Newspapers, Journal of Peace Research, Vol. 2(1), pp. 64-91.

Kheirabadi, R. and Aghagolzadeh, F. (2012) A Discoursive Review of Galtungand Ruge’s News Factors in Iranian Newspapers. Theory and Practice in Language Studies. Vol. 2(2), pp. 989-994.

42

Television and Film

Film and TV – three core areas

Institutions/productions

Audiences

Texts

Both film and television tell us something about our culture/society (either contemporary or historically)

Detective/crime films and television programmestell us about our contemporary anxieties

And our understandings of morality, good and evil and crime and punishment

As well as our trust in law enforcement agencies.

43

References

Garcia-Mainar, L.M. (2012) The Return of the Realist Spy Film.

Cineaction. Vol. 88, pp. 12-19.

Hollows, J. & Jancovich, M. (1995) Approaches to Popular Film.

Manchester, Manchester University Press.

Miller, T. (2010) Television Studies. The Basics. Oxon,

Routledge.

Raney, A. and Bryant, J. (2002) Moral judgement and crime

drama: An Integrated Theory of Enjoyment. Journal of

Communication. Vol. 52, pp.402-415.

44

Clothing

Clothing as context dependent

Fiske (1995) – clothes used to convey social meanings

Lury (1996) clothing expresses group membership

Miller (1994) clothing and conspicuous consumption

Clothes as status symbols and also characteristics

Semiotic richness of jeans - Americanness

45

Food and Identity

You are what you eat

Food as markers of cultural identity

Indicators of difference

Foods at specific occasions

Pizza and Pasta originally only in Southern Italy

Maize – not an indigenous plant in many parts of Africa

Cultures tied to particular cuisines

46

Summary Food and Clothing

Theories of consumption

Clothing linked to identities

Clothing as conspicuous consumption and markers of status

(external)

Food linked to identities (consumed and internally linked to

identity)

We are what we wear/we are what we eat

47

References

Barnard, M. (2014) Fashion Theory, An Introduction. Oxon, Routledge.

Bower, A. L. (ed.) (2004) Essays on Food and Film. Reel Food. London, Routledge.

Branston, G. and Stafford, R. (2010) The Media Student’s Book. London, Routledge.

Carpenter, L. (2011) Food and Class: does what we eat reflect Britian’s social dvide? The Observer. Available from http://www.theguardian.com/lifeandstyle/2011/mar/13/food-class-social-divide-diet, [Accessed 20.10.2014].

Fiske, J. (1995) UnderstandingPopularCulture. Reprint. London: Routledge.

Leiss, W., Kline, S. & Jhally, S.(eds.) (1990) Social Communication in Advertising. Persons, Products andImages of Well Being. 2ndedt., London: Routledge,.

Miller, D. ‘S (1994) tyle and Ontology’ in J. Friedman Consumptionand Identity. Switzerland: Harwood Academic Publishers.

Warde, A. (1997) Consumption, Food & Taste, London, Sage.

48

New Media

Web 2.0 to distinguish it from web 1.0

Often refers to participatory culture e.g. blogging, photo

sharing etc.

But corporate emphasis of 2.0

We are the web but we’re not getting paid for our part in

building it!

Web 3.0 – the intelligent web

49

New and Old media

Convergence allowing new possibilities rather

than replacing newspapers, television, radio

But constraints being worked out e.g. copyright

of recorded music

Hard to regulate the internet

Maybe redistribution of power – regarding the

capacity to speak, create, argue, persaude

50

Summary

Digital media - binary code privileged

Corporate influences that still dominate web 2.0

Web 2.0 as opposed to web 1.0 (but more complex) and even Web3.0

Social networks everywhere!

Facebook - we are the products

Private/public blurring – your newsfeed could be published as news! Watch out!

51

References

Curran, J, Fenton, N. and Freedman, D. (2012) Misunderstanding the Internet. Oxon, Routledge.

Flew, T. (2008) New Media: An Introduction. Oxford, Oxford University Press.

Hassan, R. and Thomas, J. (eds) (2006) The New Media Theory Reader, New York, Open University Press.

Longhurst, B. (2008) Introducing Cultural Studies. Harlow, Pearson Longman.

Meikle, G. and Young, S. (2012) Media Convergence. Networked digital media in Everyday Life. Basingstoke, Palgrave Macmillan.

52

Characteristics of Tourism

The guides produced tell us

◦ What we will see/what we are expected to see/how to understand and interpret what we see

Representation of certain places in certain ways

◦ E.g. Paris as city of Romance

Urry (The Tourist Gaze – John Urry)

◦ Conventions of everyday life left behind

◦ Liminal space enable us to experience heightened emotions

◦ May be artificially constructed

53

Tourist Gaze

Tourist gaze

◦ Experience of looking on unfamiliar world

◦ Romantic gaze demands solitude, privacy and personal

relationship with the object

◦ Collective gaze requires other people – carnivalesque

e.g. Disneyland

Tourism – mass industry, pleasure seekers

Creation of historical sites and historical lifestyles as visitor

attractions (heritage)

54

References

Barker, C. (2008) Cultural Studies. Theory and Practice. London, Sage.

Fennell, D. A. (2012) Tourism and Animal Rights. Tourism Recreation Research. Vol. 37(2), pp. 157-166.

Giles, J. and Middleton, T. (2008) Studying Culture. A Practical Introduction. Oxford, Blackwell.

Longhurst, B., Smith, G., Bagnall, G., Crawford, G., Ogborn, M., Baldwin, E. and McCracken, S. (2008) Introducing Cultural Studies.Harlow, Pearson Education Ltd.

55

Globalisation

Cultural imperialism assumes commodities are same as culture

Market penetration = cultural penetration

Markers of social difference within nations

◦ Class, ethnicity, gender, sexuality, age, others

Local is different from national

American culture is not monolithic

Globalisation is complex and contradictory

56

Summary

Globalisation is part of our contemporary society

Different definitions of globalisation but we are concerned

with cultural globalisation

Cultural imperialism/Americanisation has been associated with

products from the west/America

But many criticisms of this including the notion of glocalisation

And resurgence of local identities and interpretations of the

global

57

References

Giulianotti, R. and Roberston, R. (2004) The globalization of football: A Study in the glocalisation of the ‘serious’ life. The British Journal of Sociology. Vol. 55(4), pp. 545-568.

Hodkinson, P. (2011) Media, Culture and Society. An Introduction. London, Sage.

Longhurst, B., Smith, G., Bagnall, G., Crawford, G., Ogborn, M., Baldwin, E., & McCracken, S. (2008) Introducing Cultural Studies. Harlow, Pearson Education Ltd.

Storey, J. (2012) Cultural Theory and Popular Culture. An Introduction. Harlow, Pearson Education Ltd.

58

Mobile Phone usage in Africa

Over 400 million mobile phone subscribers

Free access to sites such as Wikipedia

Sharing phones is common

59

Television in India

Deregulation and liberation of broadcasting and

communications sector 1990

Pre 1991 only 1 state owned TV Station (State run

Doordarshan)

By 2010 there over 500 TV Satellite television channels

2016, 31st December: analogue switch off

60

China and media

Over past 30 years media has opened up in China

Growth of internet access (384 million users in

China)

Information management – source of friction for

Chinese government

Google and freedom of speech

◦ 2010 moved out of China

Mark Zuckerberg visits China (2016 latest) to try

and get China to lift its ban on Facebook

61

Summary

New media and traditional media are everywhere.

Influence of west/non west and non west/west.

Styles and values emulated and adapted.

Resistance to messages and active consumption.

Press freedom differs in different places but is an important

construct.

New media may be useful for protestations.

62

References Aday, S., Farrell, H., Lynch, M., Sides, J., Kelly, J. & Zuckerman, E. (2010)

Blogs and Bullets: New Media in Contentious Politics. United States Institute of Peace. Available at: http://www.usip.org/publications/blogs-and-bullets-new-media-in-contentious-politics Date accessed (26th February 2013).

Johnson, K. (2011) Media and social Change: the Modernising of Television in rural India. Media, Culture and Society. Vol. 23(2), pp.147-169.

Kirk, J. (2000) Television and Social Change in Rural India. New Delhi, Sage.

Mitra, B. (2005) The Influence of Television Commercials on Clothing in India, Worcester Papers in English and Cultural Studies October(3), University of Worcester.

Shirk, S. L. (2011) Changing Media, Changing China. Oxford, Oxford University Press.

63

Media Organisations

Multinational - do businesses in different countries

◦ E.g. Disney

Conglomeration

◦ Buy into similar businesses to meet competition/dominate the media sector e.g. Walt Disney

Vertical integration

◦ E.g. NewsCorp

Lateral integration

◦ Buys across different media

◦ Walt Disney owning Touchstone, ABC Network etc.

Diversification

◦ Buys into businesses which have nothing to do with media

A few industries tend to dominate (Monopoly/Oligopoly

64

Summary

Media industry/social institution

Approaches to studying media industries

◦ Frankfurt school, Economic and cultural contexts, power approach

Types of institutions

◦ Multinational, Conglomeration, Integration, Monopoly/Oligopoly

Various industries e.g. film, television etc.

Media and Advertising – symbiotic relationship

Global contexts – globalisation/glocalisation/online worlds

65

References

Bertrand, I. & Hughes, P. (2005) Media Research Methods,

Audiences, Institutions, Texts, Basingstoke, Palgrave Macmillan.

Branston, G. & Stafford, R. (2010) The Media Student’s Book,

London, Routledge.

Long, P. & Wall, T. (2009) Media Studies, Texts, Production and

Context. Harlow, Pearson Education Ltd.

Stokes, J. (2013) How to do Media and Cultural Studies,

London, Sage.

66

Emotions

Emotions as discursive constructions rather than bodily

responses

Emotions as cultural constructed judgements

Subject to historical and cultural change e.g. grief displays

Expectations at weddings/funerals

67

Emotions

The way emotions are lived – through cultural discourses,

display rules etc.

Emotions in excess (often wanted in reality television

programmes) e.g. XFactor

Cultures and media produced by those cultures tend to

promote and create culturally desirable emotions

E.g. Hollywood films versus Studio Ghibli films

68

Emotional Intelligence

Ability to monitor one’s own

and other people’s emotions

Ability to label emotions

Cultural Intelligence

69

Cultural Intelligence

Capability to relate and work effectively across cultures

Person's interest and confidence in functioning effectively in

culturally diverse settings

Knowledge about cultures/differences e.g. Bruce Parry

documentaries

Making sense of culturally diverse experiences

How people adapt verbal and nonverbal behaviour to make

it appropriate to diverse cultures

70

References

Barker, C. (2008) Cultural Studies. Theory and Practice. London, Sage.

Giles, J. & Middleton, T. (2008) Studying Culture. A Practical Introduction. Oxford, Blackwell.

Mesquita, B. & Walker, R. (2002) Cultural differences in emotions: a context for interpreting emotional experiences. Behaviour Research and Therapy. Vol. 41, pp. 777-793.

Stokes, J. (2013) How to do Media and Cultural Studies. London, Sage.

71

Memory

Connected

Points of reference

Memories make us who we are

Shared memories = communities

Memories link past, present and future

Link with history

72

Summary

Memory and media – personal and social memory

Recreating memory e.g. Downton Abbey, Indian Summer,

documentaries, news, events and memorials.

Assignment 2: Relationship between media and memory

73

References

Fokasz, N. and Kopper, A. (2012) Sensations, Evergreens in the Media and Social Memory1 Watergate Scandal, 9/11 and Others as Places and Milieus of Remembering. Review of Sociology, Vol. 4, pp. 17-33 [Online] Available at: http://www.szociologia.hu/dynamic/he12_0690_01_fokas_kopper.pdf [Accessed 31.03.2015].

Garde-Hansen, J. (2011) Media and Memory, Edinburgh, Edinburgh University Press.

Halbwachs, M. (1992) On Collective Memory, Chicago, University of Chicago Press.

McLuhan, M. (1994) Understanding media: The Extensions of Man. Cambridge, MIT Press.

74

Assignment

Don’t forget the blog contribution

Before 3pm on 9th May on SOLE

Feedback will be by 3rd June for most modules

Exam board 13th June.

Resubmissions – contact me about these.

Don’t forget the resources online list via talis

75