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Journal articles on the topic 'Working class on television'
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1
Liarou, Eleni. "British Television's Lost New Wave Moment: Single Drama and Race." Journal of British Cinema and Television 9, no. 4 (2012): 612–27. http://dx.doi.org/10.3366/jbctv.2012.0108.
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The article argues that the working-class realism of post-WWII British television single drama is neither as English nor as white as is often implied. The surviving audiovisual material and written sources (reviews, publicity material, biographies of television writers and directors) reveal ITV's dynamic role in offering a range of views and representations of Britain's black population and their multi-layered relationship with white working-class cultures. By examining this neglected history of postwar British drama, this article argues for more inclusive historiographies of British television and sheds light on the dynamism and diversity of British television culture.
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Stiernstedt, Fredrik, and Peter Jakobsson. "Defusing the male working class: Populist politics and reality television." European Journal of Cultural Studies 22, no. 5-6 (2018): 545–62. http://dx.doi.org/10.1177/1367549418786423.
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This article presents an analysis of the makeover reality show Real Men, which was broadcast on Swedish television in 2016. The analysis shows that Real Men – like other shows of its genre – functions as a form of ‘governmentality’ through which forms of neoliberal subjectivity are propagated and pedagogically enforced on ‘bad subjects’. However, the show surpasses the genre conventions by questioning the authority of the norms and values (i.e. middle-class, cosmopolitan and urban values) that are being propagated and in letting the values held by the working-class men on the show eventually be victorious and accepted within the narrative. The purpose of this article is to try to make sense of a popular cultural artefact such as Real Men against the background of the crisis of legitimacy for the neoliberal ideology and the rise of (right-wing) populism, and to try to understand how the forms and genres of popular culture transform and respond to this changing political context.
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Jakobsson, Peter, and Fredrik Stiernstedt. "Naturalizing Social Class as a Moral Category on Swedish Mainstream Television." Nordicom Review 39, no. 1 (2018): 81–94. http://dx.doi.org/10.2478/nor-2018-0003.
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Abstract This paper presents an analysis of how social class is constructed as a moral category on Swedish mainstream television. Practices of categorisation by the media is an important area of study since these practices are part of a process of co-construction of social categories that are offered to media users as cognitive tools and frames for navigating the social landscape. Based on a content analysis of television in Sweden, we show that the medium of television categorises people appearing on television along the social divisions of class and constructs class as a moral category, with a lower moral value assigned to the working class in comparison to the middle and upper class.
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Attfield, Sarah. "The working class in the Australian mainstream media." International Journal of Media & Cultural Politics 16, no. 1 (2020): 47–63. http://dx.doi.org/10.1386/macp_00014_1.
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The Australian mainstream media is dominated by middle-class voices, and this shapes the way working-class people are framed within the media. Working-class people have tended to be represented as responsible for their poverty, or ridiculed for their lack of sophistication. But could very small shifts be occurring, as some outlets acknowledge the impact of neo-liberalism on working-class people and point to some of the structural causes of inequality? This article looks at some examples of working-class representation in Australian newspapers, television news and current affairs programs, and considers the ways in which working-class people are presented. The article also asks whether the Australian mainstream media provides a place for working-class voices?
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Baker, Stephen. "Early Doors and the Working-class Idyll." Journal of British Cinema and Television 10, no. 1 (2013): 224–40. http://dx.doi.org/10.3366/jbctv.2013.0131.
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This article offers an analysis of Early Doors, a situation comedy set in a dowdy Manchester pub where the downbeat regulars are badly out of step with the enterprising and modernising tendencies of contemporary Britain. With its sepia-tinged style and depiction of a white, working class surviving intact, Early Doors is not an obvious candidate for inclusion in a volume on radical television drama. But this article argues that The Grapes, the pub at the centre of the sitcom, represents a working-class idyll, where the virtues of welfare, solidarity and free time prevail. This might not make the comedy radical in any conventional sense, but in its eschewing of aggressive individualism, competition and joyless, endless and flexible labour, Early Doors is a small antidote to an era defined by austerity imposed from above.
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Baldwin, Jon. "Class and UK film and television: Representation, neo-liberalism, inequality." Journal of Class & Culture 2, no. 2 (2023): 119–28. http://dx.doi.org/10.1386/jclc_00027_2.
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An editorial on the journal’s Special Issue on class and UK film and television. Three areas are considered to be problematic for the working classes: representation, neo-liberalism and industry inequality. These themes are discussed with commentaries on the articles. The editorial introduces the volume’s considerations of representation of class in the tradition of British social realism, the state of the nation, and the intersections of class and gender. The growth of neo-liberalism is considered within heritage texts, taste and identity, the body, surveillance capital and policing, and the curation of public art. Working-class film production and inequality in the screen industry is discussed, and the commentaries end announcing reviews of the working practices of Ken Loach and the British gangster genre.
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Jakobsson, Peter, and Fredrik Stiernstedt. "Voice, silence and social class on television." European Journal of Communication 33, no. 5 (2018): 522–39. http://dx.doi.org/10.1177/0267323118784819.
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The question of voice is a central and timeless political issue. Who gets to speak? Who is silenced? Who is listening? One of the main arenas for voice in modern, advanced democracies is the media. Media infrastructures, technologies, institutions and organizations are a precondition for political voice in large-scale societies, but are also an important factor in distributing the possibilities for voice among different groups and sectors of the population. In this article, we take on the question of voice in relation to social class and aim to analyse how the medium of television gives voice to people from different social classes. This study operationalizes the theoretical notion of voice by asking the following questions: who has the opportunity to appear and speak on television, to whom do they speak and under what circumstances does this communication occur? Based on a content analysis of television in Sweden, the results from this study show that voice is distributed in a highly unequal manner. It also shows that the relations enacted by television appearances conform to the social hierarchy. Whereas people from the ruling class frequently speak to people from the working and middle classes, they are rarely spoken to by members of a class that is positioned below their own. Television thus constructs a social hierarchy of voice and authority that reproduces and legitimizes already existing social hierarchies.
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Casey, Mark. "Shagaluf: reality television and British working class heterosexuality on holiday in Mallorca." Journal of Tourism and Cultural Change 18, no. 5 (2019): 532–44. http://dx.doi.org/10.1080/14766825.2019.1615075.
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Lawrence, J. "The British Working-Class in the Twentieth Century: Film, Literature and Television." Enterprise and Society 12, no. 4 (2011): 912–14. http://dx.doi.org/10.1093/es/khr006.
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Ronsini, Veneza Mayora, Sandra Depexe, and Lúcia Loner Coutinho. "Working-Class Women and Television Fiction Uses: Can Subaltern Voices Speak of Sexuality?" Iberoamericana – Nordic Journal of Latin American and Caribbean Studies 48, no. 1 (2019): 86–95. http://dx.doi.org/10.16993/iberoamericana.449.
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Forsberg, Jennifer. "The Cross-Country/Cross-Class Drives of Don Draper/Dick Whitman: Examining Mad Men’s Hobo Narrative." Journal of Working-Class Studies 2, no. 1 (2017): 57–75. http://dx.doi.org/10.13001/jwcs.v2i1.6047.
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This article examines how the critically acclaimed television show Mad Men (2007-2015) sells romanticized working-class representations to middle-class audiences, including contemporary cable subscribers. The television drama’s lead protagonist, Don Draper, exhibits class performatively in his assumed identity as a Madison Avenue ad executive, which is in constant conflict with his hobo-driven born identity of Dick Whitman. To fully examine Draper/Whitman’s cross-class tensions, I draw on the American literary form of the hobo narrative, which issues agency to the hobo figure but overlooks the material conditions of homelessness. I argue that the hobo narrative becomes a predominant but overlooked aspect of Mad Men’s period presentation, specifically one that is used as a technique for self-making and self-marketing white masculinity in twenty-first century U.S. cultural productions.
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Wood, Helen. "Three (Working-class) Girls: Social Realism, the ‘At-risk’ Girl and Alternative Classed Subjectivities." Journal of British Cinema and Television 17, no. 1 (2020): 70–90. http://dx.doi.org/10.3366/jbctv.2020.0508.
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This article focuses on the BBC1 three-part drama Three Girls, broadcast in July 2017, which dramatised the Rochdale child sex-grooming gang scandal of 2011 and won five BAFTAs in 2018. While many of the dominant press narratives focused on the ethnicity of the perpetrators, few accounts of the scandal spoke to the need for a sustained public discussion of the class location of the victims. This article considers how the process of recognising the social problem of sex-grooming is set up for the audience through a particular mode of address. In many ways the drama rendered visible the structural conditions that provided the context for this abuse by drawing on the expanded repertoires of television social realism: the representation of the town as abuser; the championing of heroic working-class women; and the power of working-class vernacular. However, ultimately, the narrative marginalises the type of girl most likely to be the victim of this form of sexual abuse. By focusing on the recognisable journey of the girl ‘who can be saved’ this renders the impoverished girl as already constitutive of the social problem. The analysis draws attention to the difficulties of recognising alternative classed subjectivities on television because of the way that boundary-markers are placed between the working class and the poor and suggests that the consequence of these representations is to reify ideas about the victims of poverty and exploitation.
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Overney, Laetitia. "Women and Money Management: Problematising Working-class Subjectivities in French Television Programmes During and after the Post-war Boom." Culture Unbound 11, no. 3-4 (2020): 443–65. http://dx.doi.org/10.3384/cu.2000.1525.19v11a24.
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This article looks at French television during and after the post-war period to explore the relationships that programmes systematically established between home-making in social housing, housekeeping money management and women. It sheds light on the gendered dimensions of thrift and dwelling. French 1960’s Television reflected a range of urban transformations characteristic of the period: the development of high-rise estates, social housing, shopping centers. How should people inhabit these new environnements, new structures of dwelling and new services in order to keep up with regular household expenses such as paying rent, utility bills, buying food or covering child rearing costs? Since the 19th century, women had generally managed household budgets as part of the everyday domestic cultures. These heavy financial responsibilities were relayed by televised documentaries prompting questions about the types of in/appropriate activities and attitudes, knowledges and expertises shown on mainstream TV at the time. Television was constantly problematizing working-class subjectivities through women’s voice. On the one hand, television reports showed women always counting the money and thrifting in order to control the household comsumption and to avoid debts. In the documentaries I analyse, the women describe in detail their economic problems and moral economies they are conditioned to operate within. On the other hand, TV programmes were replete with the specialist home economics tips that were meant to spread normative representations of dwelling in order to educate housewives. Women’s activities are tied to the welfare state which is revealed in all its complexity, controlling with one hand the rationalisation of domestic budgets and practices, and, with the other, improving living conditions and protecting individuals against vulnerabilities.
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Beswick, Katie. "Capitalist realism: Glimmers, working-class authenticity and Andrea Dunbar in the twenty-first century." International Journal of Media & Cultural Politics 16, no. 1 (2020): 75–89. http://dx.doi.org/10.1386/macp_00016_1.
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This article thinks through how registers of ‘the real’ have operated in working-class representations, from social realism (in film, theatre, drama and soap opera) to reality television and appeals to ‘authenticity’ in publicity and marketing materials for cultural products purporting to represent the working class. It argues that the ubiquity of ‘the real’ in representations of working-class experience is one way in which Fisher’s ‘capitalist realism’ asserts itself. The article argues that experiments with form and intertextuality can offer ‘glimmers’ through which slippages in claims to absolute reality are revealed. It explores the possibility for such ‘glimmers’ in experimentations with Andrea Dunbar’s work in the twenty-first century, reasserting the importance of form in dismantling the neo-liberal political project.
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Cooke, Lez. "A ‘New Wave’ in British Television Drama." Media International Australia 115, no. 1 (2005): 23–32. http://dx.doi.org/10.1177/1329878x0511500104.
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In recent years, American television drama series have been celebrated as ‘quality television’ at the expense of their British counterparts, yet in the 1970s and 1980s British television was frequently proclaimed to be ‘the best television in the world’. This article will consider this critical turnaround and argue that, contrary to critical opinion, the last few years have seen the emergence of a ‘new wave’ in British television drama, comparable in its thematic and stylistic importance to the new wave that emerged in British cinema and television in the early 1960s. While the 1960s new wave was distinctive for its championing of a new working-class realism, the recent ‘new wave’ is more heterogeneous, encompassing drama series such as This Life, Cold Feet, The Cops, Queer as Folk, Clocking Off and Shameless. While the subject-matter of these dramas is varied, collectively they share an ambition to ‘reinvent’ British television drama for a new audience and a new cultural moment.
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Press, Andrea L. "Working‐class women in a middle‐class world: The impact of television on modes of reasoning about abortion." Critical Studies in Mass Communication 8, no. 4 (1991): 421–41. http://dx.doi.org/10.1080/15295039109366807.
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Citron, Marcia J. "Opera-Film as Television: Remediation in Tony Britten's Falstaff." Journal of the American Musicological Society 70, no. 2 (2017): 475–522. http://dx.doi.org/10.1525/jams.2017.70.2.475.
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Tony Britten's film Falstaff (2008) is an unusual, even radical opera-film. An updated treatment with a colloquial English translation and a chamber arrangement, and lacking many operatic elements, the film enacts a remediation of opera-film through the medium of television. Remediation, as conceived by Jay Bolter and Richard Grusin, refers to “the representation of one medium in another,” and its goal “is to refashion or rehabilitate other media.” Britten's Falstaff is strongly influenced by British popular television, especially British situation comedy. Sitcoms that emphasize working-class culture and “lads’ humor”—such as Only Fools and Horses and Men Behaving Badly respectively—resonate conspicuously with this Falstaff. In addition, television features prominently in it by virtue of the fact that protagonist John Falstaff is a former television star. The implications of this remediated opera-film for Verdi and Boito's opera are also of considerable interest. In critical ways associated with music, text, and narrative, the opera is highly suited to Britten's conception. Building on the work of Denise Gallo, I propose that Britten's film marks another moment in the struggle for national ownership of the Merry Wives material. In this sense the film articulates an “Englishizing” of Verdi and Boito's opera. The new kind of opera-film represented by Britten's Falstaff reinforces the idea of “television opera” as a genre that takes advantage of television's medial and aesthetic capabilities, and expands its purview to adaptations as well as new operas.
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Eriksson, Göran. "Humour, ridicule and the de-legitimization of the working class in Swedish Reality Television." Journal of Language and Politics 15, no. 3 (2016): 304–21. http://dx.doi.org/10.1075/jlp.15.3.05eri.
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Abstract Drawing on tools from Multimodal Critical Discourse Analysis this paper analyses the editing techniques in a Swedish docu-soap showing that humour is used to ridicule the working-class participants, representing them as slow, inflexible, undynamic and unstylish. The paper places this within broader discursive shifts in Sweden where the rise of neoliberalism requires a dismantling of the welfare state, legitimized partly though establishing the lower social economic groups as morally flawed and themselves responsible for their increasingly disadvantaged situation as social inequalities increase.
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Hodgetts, Darrin, and Kerry Chamberlain. "‘The Problem with Men’: Working-class Men Making Sense of Men’s Health on Television." Journal of Health Psychology 7, no. 3 (2002): 269–83. http://dx.doi.org/10.1177/1359105302007003221.
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Minor, Laura. "Alma's (Not) Normal: Normalising Working-Class Women in/on BBC TV Comedy." Journal of British Cinema and Television 20, no. 2 (2023): 137–61. http://dx.doi.org/10.3366/jbctv.2023.0665.
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This article examines the BBC sitcom Alma's Not Normal and its representation of white working-class femininities in/on British TV comedy. After The Royle Family creator Caroline Aherne's death in July 2017, the BBC created a bursary in memory of the comedy star, awarding £5,000 to the successful applicant to develop a pilot comedy script. Though open to people of all backgrounds and genders, the three winners so far have been working-class women – Sophie Willan, Amy Gledhill and Kiri Pritchard-McLean – an important shift from the recent success of female-fronted and female-authored middle-class comedies on the BBC such as Miranda and Fleabag. This article examines the award's first winner: Boltonian Sophie Willan and her series Alma's Not Normal. While Phil Wickham argues that contemporary working-class sitcoms in Britain display the ‘hidden injuries of class’, something that is felt but no longer acknowledged, I contend that Willan exposes class wounds by explicitly referencing and drawing attention to social issues in her TV series. More specifically, I argue that, as a working-class woman in the North West, Willan uses comedy to interrogate the intersections of class and gender. This textual analysis will then be used as a framework to conceptualise the labour of working-class women in British television comedy, mainly because class has been overlooked as a social category in contemporary scholarship on feminism and humour.
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Daniel Olufemi. "Class Struggle: Money, Power, Oppression, and Resistance." Creative Launcher 8, no. 2 (2023): 81–90. http://dx.doi.org/10.53032/tcl.2023.8.2.11.
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The paper contributes to the lifelong dialogs about the capital-labor conflict between the upper-class (bourgeoisie) and the working-class (proletariat). It unpacks the ideological underpinnings driving the insatiable quest of the capitalist class for profit, power, interminable exploitation of the working class across ages. The paper underscores the knack of the upper-classes to exert limitless authority over the working classes given their control of the means of production in ways that include dictating the working conditions, wages, hours of work, and engaging the apparatuses of the state – laws, judiciary, police, and army – as detailed by Althusser, to enforce their compliance with capitalist ideals (80). It ascribes the continued failure of the working-class to successfully resist and overthrow the brutal capitalist machinery to encumbering False Consciousness; described as a mental trap that propels the class to accept and naively participate in their own economic oppression. The predilection of the members towards individualized forms of resistance as against forming formidable alliances across interest groups to pursue collective action is equally found culpable. Alongside forming alliances, the author suggests outright rejection of bourgeois ideologies which permeate the major spheres of the society and their replacement with the workers’ own ideological alternatives as imperative. Consistent with Marx’s submission, workers’ ownership of the means of production to produce their own necessities rather than continually selling their labor for a living wage is considered expedient in their struggle to disable the capitalist machinery system (571). This is coupled with textual analysis of media and popular culture, for example, newspapers, television, advertising, games, and films, by the audience; mostly comprising the working class, to unearth and disavow the entrenched capitalist ethos. The paper examines two films that exemplify how the capitalist class systematically exploits their subjects with feeble resistance.
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Hill, John. "Television Drama and Northern Ireland: The First Plays 1959–67." Journal of British Cinema and Television 20, no. 3 (2023): 279–304. http://dx.doi.org/10.3366/jbctv.2023.0677.
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This article sets out to map the largely forgotten history of the first television dramas about Northern Ireland by Northern Ireland writers during the 1950s and 1960s. It examines the first experiments in drama production by BBC Northern Ireland and Ulster Television alongside the work by Northern Irish writers produced by ITV companies and the BBC in London. It looks at the institutional and ideological contexts in which the work emerged before going on to examine the patterns of representation that resulted. Made prior to the emergence of the Troubles in 1969, the article considers the first attempts to show Northern Ireland in television drama and assesses the ways in which the individual plays – ranging from rural comedy to working-class realism – addressed – both obliquely and explicitly – the social tensions and anxieties of the time.
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Betts, Liza. "If only we could, Call the Midwife! Gender, class and the hegemonic power of television costume." Journal of Class & Culture 2, no. 2 (2023): 175–93. http://dx.doi.org/10.1386/jclc_00031_1.
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The starting point for this article was a chance encounter with an episode of the BBC’s Call the Midwife (‘Episode 12.7’ 2023) whilst visiting my elderly mother on a Sunday evening. The brutal and graphic portrayal of women’s health issues and abject poverty in Poplar, East London during the latter part of the 1960s elicited feelings of warmth and nostalgia in my mother, not anger or frustration at the lack of progress for working-class women like her with regard to some of the issues represented, this was difficult for me to understand. Indeed, as recently as August 2022, the UK government published data that confirmed that there remains a gender gap in healthcare; the 51 per cent of the UK population that is female will spend a significant portion of their life in poor health compared to men, and this is further compounded for those women that live in poverty. What is it about this text that produces a form of soporific nostalgia that seems to dissolve feminist recognition that women’s health is still an issue, thereby nullifying the drive for change? This article suggests that the reasons for such reactions are symbolized through and within the costuming. The language of clothing employed, particularly the use of print and colour saturation work to render the clothing items as meaningless within the text, actually negating the power of the narrative in relation to the intersection of gender and social class. The costumes do however produce a different type of meaning at the margins of the text that articulate not only the production team’s creativity but also their subjective understanding about class dressing that, it is argued, is in part responsible for producing the gendered form of alienation embodied by my mother and others like her. This article employs critical theory across cultural studies, sociology, film studies and the philosophy of language as a useful and emerging cross disciplinary framework to examine costume and costume drama. Applying theories that may appear disconnected to costuming is a means by which to suggest that the shift in perceptions of working class sexuality and relationships experienced by the working class during the 1950s and 1960s and represented within Call the Midwife via the costuming has had far reaching effects on gendered class identity and consequently on contesting the negative material effects of the current UK class system including the issue of women’s health.
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Giuffre, Liz, and Sarah Attfield. "Finding the ‘perfect blend’ in an undervalued genre: Considering the importance of ‘ordinariness’ in Australian soap opera Neighbours." Journal of Popular Television 10, no. 2 (2022): 199–211. http://dx.doi.org/10.1386/jptv_00079_1.
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Australian soap Neighbours (1985‐2022) was in active production for nearly 40 years. As a piece of popular television, it is still syndicated internationally and also sold as a successful format for new works. Neighbours has also served as an outlet to launch new generations of Australian on- and off-screen talent. Despite these successes, Neighbours has been overlooked by tastemakers, academics and critics. This article places Neighbours in context within the Australian television landscape; going on to explore how the soap has responded during the rapid technological, industrial and cultural evolutions that have occurred since its beginnings in the 1980s. Importantly, Neighbours has featured a variety of different types of Australian characters with a variety of narratives, including working class, migrant, LGBTQI+, and blended families.
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Leer, Jonatan. "TV-kokken som kønsopdrager." K&K - Kultur og Klasse 43, no. 120 (2015): 83–102. http://dx.doi.org/10.7146/kok.v43i120.22972.
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This article explores the gendering of a series of new formats of food television in which male TV-chefs goes from being lifestyle expert to social and moral entrepreneurs as they engage in food activist project to better national food culture. These readings draws on Foucault’s term “governmentality,” the reworking of this concept in relation to food education and food literacy. The article argues that we see a tendency in which male celebrity chefs use cooking classes and promises of food literacy to make distinctions between legitimate and illegitimate gender identities. These hierarchies are not only created between men and women, they also create hierarchies between middle-class and working-class masculinity.
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Brooker, Joseph. "Not Winnin’ Anymore:." Crossings: A Journal of English Studies 11 (March 1, 2020): 40–53. http://dx.doi.org/10.59817/cjes.v11i.68.
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This article addresses representations of working-class life in Britain during the1980s; specifically, experiences of recession, unemployment, and difficulty in theworkplace. The primary text considered is the television drama series Boys fromthe Blackstuff (1982), written by Alan Bleasdale; more briefly this is linked toJames Kelman’s novel The Busconductor Hines (1984), and to the post-industriallandscape of the poetry of Sean O’Brien. In the wake of the socialist criticismof Raymond Williams, the article explores how the “Industrial Novel” of the1840s may be succeeded, in the Thatcher years, by the literature of recession anddeindustrialization.
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Duncan, Jane. "Accumulation by symbolic dispossession: the Digital Terrestrial Television transition in South Africa." Media, Culture & Society 39, no. 5 (2017): 611–29. http://dx.doi.org/10.1177/0163443716686670.
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Using a critical political economy perspective, this article focusses on the migration from analogue to Digital Terrestrial Television (DTT) in South Africa. Drawing on relevant international examples, it explores whether South Africa’s regulator is realising one of the major promises of the DTT transition, namely, to create more media diversity in the television sector. It analyses decisions taken by the communications regulator in allocating the digital multiplexes and whether these are contributing to broadening the public sphere. Sadly, in spite of the promise that the transition held, there are signs of it leading to reduced diversity and an upward redistribution of spectrum to upper-income brackets. Commercial broadcasting has become even more dominant than it was in the analogue space, which has intensified what Robert Horwitz has called a ‘commercialising juggernaut’ in television. These developments risk turning the country’s policy of three tiers of broadcasting – already under strain – into a policy in name only. Working class audiences that rely on public service television especially are being dispossessed of spectrum, depriving them of the resources necessary to speak to and be heard by mass audiences. The article asks why the DTT transition has come to this, and in attempting to answer this question, it critiques dominant theories of regulatory behaviour (including critical ones) as being overly structuralist in approach and not taking sufficient account of the agency needed to bring about a decommodified television system where the power to make symbolic resources is not determined by wealth.
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Grabe, Maria Elizabeth. "Tabloid and Traditional Television News Magazine Crime Stories: Crime Lessons and Reaffirmation of Social Class Distinctions." Journalism & Mass Communication Quarterly 73, no. 4 (1996): 926–46. http://dx.doi.org/10.1177/107769909607300412.
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In recent times, critics have charged that tabloid news emphasizes and sensationalizes criminal behavior - thereby violating the journalistic ideal of providing objective information to the citizens of a democratic society. Yet, these claims have not been subjected to systematic investigation. This study compares tabloid and traditional broadcast news magazine programs in terms of their emphasis on crime and the content of their crime narratives. Results indicate that tabloid shows are more likely than traditional shows to feature crime stories. Both types of programs give crime stories similar prominence, and the content is relatively similar. However, tabloid shows are more likely than traditional shows to present the criminal as belonging to the middle or upper class. By contrast, traditional shows are more likely to present the criminal as belonging to the working class.
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Fisher, Jill A., and Marci D. Cottingham. "This isn’t going to end well: Fictional representations of medical research in television and film." Public Understanding of Science 26, no. 5 (2016): 564–78. http://dx.doi.org/10.1177/0963662516641339.
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Fictional television shows and films convey cultural assumptions about scientists and the research enterprise. But how do these forms of entertainment portray medical research participants? We sampled 65 television shows and films released between 2004 and 2014 to determine the ways in which medical research and human participants are represented in popular media. We found that research participants are largely represented as White, male, and lower or working class and that 40% of the participants depicted in these fictional accounts were seeking financial compensation, 34% were hoping for a therapeutic benefit, and 15% were coerced into participation. Regardless of participant motivation, media representations tended to portray a negative outcome of medical research. Interpreting the themes in these media, we argue that these fictional portrayals might provide the public with valuable representations of medical research, especially in terms of risks to research participants, scientific failure, and researchers’ conflicts of interest.
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Brooker, Joseph. "Not Winnin’ Anymore:." Crossings: A Journal of English Studies 6 (August 1, 2015): 40–53. http://dx.doi.org/10.59817/cjes.v6i.205.
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This article addresses representations of working-class life in Britain during the 1980s; specifically, experiences of recession, unemployment, and difficulty in the workplace. The primary text considered is the television drama series Boys from the Blackstuff (1982), written by Alan Bleasdale; more briefly this is linked to James Kelman’s novel The Busconductor Hines (1984), and to the post-industrial landscape of the poetry of Sean O’Brien. In the wake of the socialist criticism of Raymond Williams, the article explores how the “Industrial Novel” of the 1840s may be succeeded, in the Thatcher years, by the literature of recession and deindustrialization.
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Woods, Faye. "Too Close for Comfort: Direct Address and the Affective Pull of the Confessional Comic Woman in Chewing Gum and Fleabag." Communication, Culture and Critique 12, no. 2 (2019): 194–212. http://dx.doi.org/10.1093/ccc/tcz014.
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Abstract The 2010s saw a boom in television comedies, created by, written, and starring women, that explored the bawdy and chaotic lives of protagonists who were experiencing some form of arrested development. These comedies sought to build intimate connections with their imagined audiences by crossing boundaries—social, bodily, and physical—to produce comedies of discomfort. Drawing in part on Rebecca Wanzo’s consideration of “precarious-girl comedy” (2016) I examine how two British television comedies intensified these intimate connections through the use of direct address, binding the audience tightly to the sexual and social misadventures of their twenty-something female protagonists. Michaela Coel’s Chewing Gum (E4, 2015–2017) follows naïve and desperately horny black working-class Londoner Tracey in her quest for sexual experience, and Phoebe-Waller Bridges’ Fleabag (BBC Three, 2016–) documents an unnamed upper-middle-class white woman’s sharply misanthropic journey through grief. In both programmes direct address serves to intensify the embrace of bodily affect and intimate access to interiority found in the “precarious-girl comedy” (Wanzo, 2016), producing moments of comic and emotional repulsion. Each program uses direct address’s blend of directness and distance to different ends, but both draw audiences at times uncomfortably close to the singular perspective of their protagonists, creating an intensely affective comic intimacy.
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Besalú, Reinald, Mercè Oliva, and Óliver Pérez-Latorre. "Framing Sálvame: Public debates on taste, quality and television in Spain." Communications 43, no. 2 (2018): 209–33. http://dx.doi.org/10.1515/commun-2017-0055.
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Abstract The main aim of this article is to analyze the social circulation of discourses on non-hegemonic cultural practices, in particular, on what is called “trash TV”, and how they are connected to struggles over cultural and social hierarchies. To do so, it takes a specific event as starting point: the injunction that the CNMC (the Spanish broadcasting regulatory body) filed against Mediaset (a commercial TV operator) to adjust the contents of Sálvame Diario (a celebrity gossip program frequently associated with “trash TV”) to the requirements of what is known as the “child protection time slot”. This paper uses constructionist framing to analyze how this event was discussed by different social actors. Our analysis shows that while the CNMC and the press painted the conflict as a legal issue, Sálvame and social media users focused their discussion on the social acceptability of celebrity gossip media and their viewers (specifically working-class women).
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Areschoug, Susanna. "Rural Failures." Boyhood Studies 12, no. 1 (2019): 76–96. http://dx.doi.org/10.3167/bhs.2019.120106.
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Critical boyhood scholars have consistently problematized the moral panic directed at boys’ educational achievements, for instance, by illustrating how the issue is intersected by power hierarchies such class and race, but have not been as attentive to the spatialized dimensions of this discourse. In the Swedish debate, boys in (post)industrial towns in rural regions—affected by decades of deindustrialization—are often pointed out as at risk of becoming unemployed societal liabilities. Documenting the lives, aspirations, and future trajectories of young and rural working-class boys, the television series The School Boys (Skolpojkarna) analyzed in this article reproduces this trope and connects anxieties regarding “redundant” masculinities with rural spaces. Using feminist and post-structural approaches to gender and space, I show how this media production, supplied for educational purposes, mediates normative understandings of young rural masculinity.
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Hughes, Amy E. "Pets, People, and the Enduring ‘Dogaturgy’ of Nineteenth-Century Dog Dramas." Nineteenth Century Theatre and Film 48, no. 2 (2021): 220–33. http://dx.doi.org/10.1177/17483727211040180.
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Dogs began playing new roles as emotional companions in Eurowestern households during the mid-1800s; by the 1880s, dogs were widely considered ‘family members’ in middle-class homes. The nineteenth-century ‘dog drama’, a type of melodrama, helps illuminate how, when, and why this attitudinal change occurred. The transatlantic appeal of dog dramas (such as René-Charles Guilbert de Pixérécourt's 1814 melodrama The Dog of Montargis) and performers who specialised in the genre (such as U.S. actor-entrepreneur Edwin Blanchard) suggest that sentimental stories about dogs appealed to working-class people as well. These plays reflected, and perhaps contributed to, changing views about dogs during the nineteenth century. The dog drama and its afterlives (in film, television, and social media) shed light on both the good intentions and troubling contradictions inherent in humans’ relationships with nonhuman animals, especially pets.
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Scheiner, Georganne. "Would you like to be Queen for a day?: finding a working class voice in American television of the 1950s." Historical Journal of Film, Radio and Television 23, no. 4 (2003): 375–86. http://dx.doi.org/10.1080/0143968032000126654.
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Vickers, Tom, and Annie Rutter. "Disposable labour, passive victim, active threat: Migrant/non-migrant othering in three British television documentaries." European Journal of Cultural Studies 21, no. 4 (2016): 486–501. http://dx.doi.org/10.1177/1367549416682968.
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This article analyses discourses about migration within three documentaries that were broadcast on terrestrial British television in January 2014: The Truth about Immigration in the UK and The Hidden World of Britain’s Immigrants, both broadcast on BBC Two, and Episode 2 of Benefits Street, broadcast on Channel 4. The methodology involved a detailed analysis of the documentaries, situated within a Marxist analysis of British capitalism, the capitalist crisis, and the economic and political position of migrants. Amidst the contradictions and complexities that were identified within these documentaries, representations of ‘migrants’ can be grouped into three categories: disposable labour, passive victim, and active threat. We argue these discursive roles reflect and reinforce capitalist exploitation, by constructing ‘migrants’ as a mutable ‘other’ to divide the working class.
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Betts, Liza. "HBO’s Euphoria and the complexities at play in the costumed representations of contemporary masculinities." Film, Fashion & Consumption 11, no. 2 (2022): 187–203. http://dx.doi.org/10.1386/ffc_00047_1.
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This article discusses the language of screen costume and representations of masculinity via a close reading of the successful and critically acclaimed 2019 HBO drama series Euphoria. It considers three key characters, Rue, Nate and Fez, and how each of these characters makes visible certain cultural and sociological ideologies which concern and influence current debates around diverse masculinities, social class and creative subjectivity. It is argued that the production team behind Euphoria employs creative acts of appropriation to articulate and explore the diversity of masculine lived experience within the restricted language of television. This is evidenced through the character of ‘Rue’, who sits in opposition to all other characters identified as feminine or transitioning in both narrative context and, significantly, costuming. ‘Rue’ is therefore explored as the masculine articulation and/or manifestation of the creator – Sam Levinson’s subjective position. ‘Nate’ is explored in relation to the currency of damaging stereotypes of dominant masculinity within television drama and how misconceptions around gendered identities work to reinforce, perpetuate and normalize problematic behavioural traits. It is suggested that we need to expand understandings of ordinary clothing or costume as a language, how meaning is articulated within this language and how the materiality of ordinary or unexceptional dress evolves and mutates and becomes a set of unquestioned yet dangerous symbols or significations. ‘Fez’ will be examined in response to Henri Lefebvre’s 1960s ideas around moments of contestation, alongside a discussion of the role that the body and clothing play in marking out or positioning ideas around the intersection of social class and masculinity which can be applied to differing, global manifestations of social hierarchies. Readings of ‘Fez’ highlight middle-class insecurities around subjective value and distance from working-class experience and are played out through the character’s costuming.
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Kiszely, Philip. "First Left, Guv? Mapping the Class-encoded Agency of Commercial Television's Spy-cop Archetype, 1967–78." Journal of British Cinema and Television 16, no. 4 (2019): 462–83. http://dx.doi.org/10.3366/jbctv.2019.0495.
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This article examines depictions of class-encoded agency in the English spy operative and police detective protagonists that appeared on commercial television during the late 1960s and 1970s. Its purpose is to discover connections between constructions of this agency and class-based discourses relating to what Michael Kenny (1995) has termed the ‘first New Left’ (1956–62). The focus of attention is The Sweeney's DI Jack Regan (John Thaw), the most recognisable and fluent expression of the male ‘anti-hero’ archetype in question; but in order to frame an analysis that deals with interrelationships at the level of metanarrative, the article also traces a process of genre interconnection and development. Considerations of class in series such as The Sweeney (ITV, 1975–8), Callan (ITV, 1967–72) and Special Branch (ITV, 1969–74) tend to offer meaning along the lines drawn by the likes of E. P. Thompson, Raymond Williams and Richard Hoggart, as well as other figures associated with the first New Left. The article proposes that key first New Left themes – working-class men finding ‘voice’; empiricism/theory binaries; and discourses of Americanisation and anti-Americanism – not only provide a historical/contextual lens through which to view class-encoded agency, but also constitute a mechanism through which it is expressed.
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Zoellner, Kate. "Gratification Theory Provides a Useful Framework for Understanding the Information Seeking Behaviours and Needs of Distinct Populations." Evidence Based Library and Information Practice 5, no. 2 (2010): 107. http://dx.doi.org/10.18438/b8rg9t.
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A review of:
 Chatman, E. A. (1991). Life in a small world: Applicability of gratification theory to information-seeking behavior. Journal of the American Society for Information Science, 42(6), 438-449.
 
 Objective – Apply gratification theory to the information-seeking behaviours and use of information by a lower working class population. 
 
 Design – An ethnographic study framed by social stratification literature was utilized to explore, describe and interpret the everyday information needs, information-seeking behaviours and views of information held by lower working class individuals.
 
 Setting – A major university in the southeast United States, specifically the physical plant facilities including classrooms, bathrooms, janitorial closets, and front steps.
 
 Subjects – The participants were 52 lower working class janitorial staff at a major university. The majority of subjects were single black women in their late 30s. The women had children and were the heads of their households. The women had not completed high school and earned minimum wage; they had been at their jobs for an average of seven years. The workers’ supervisors, and others at the physical plant, were also contacted as part of the study.
 
 Methods – Ethnographic data was collected over a two-year period, 1984-86, through participation in the setting and interviews. A 28-item interview guide was used to identify participants’ job-search strategies, use of mass media, television viewing behaviours, and acceptance of information from individuals and believable sources of information.
 
 Main results – Chatman confirmed the usefulness of gratification theory as a conceptual framework to identify what defines information problems, motivations, and information seeking behaviours for an impoverished population. The results support the findings of social stratification research on the parallel between impoverished individuals’ social life and their orientation toward gratification. A focus on local present reality due to pressing economic and psychological problems orients lower working class individuals toward immediate gratification. Thus, information sources of value to the participants were those readily accessible and easy to use in the moment of need.
 
 The six theoretical propositions of gratification theory Chatman identified through her literature review were applied and confirmed in her analysis of the information behaviours of janitorial workers:
 1. Life in a Small World. Lower working class individuals have a local worldview and therefore have limited exposure to job opportunities compared to other populations. The majority of Chatman’s subjects found out about their current job through friends and family employed at the university (51%), or neighbours employed there (11%).
 2. Lower Expectations and the Belief in Luck. Individuals of the population have lower expectations of their success and therefore do not actively pursue new opportunities; success is seen as a result of luck. Janitorial workers in the study felt they were lucky to have found their jobs and that their chances of finding a better position were slight and based on “knowing someone” (p. 444).
 3. First-Level Lifestyle. Members of the population rely on information from members of their social circles. Study participants sought everyday information from family, friends, neighbours, local newspapers, and television. Information was considered reliable in their view if it aligned with their personal experience, was presented by multiple people, or if the person sharing the information was perceived as trustworthy.
 4. Limited-Time Horizon. Lower working class populations experience a time immediacy and limitation different from those of the middle and upper classes. Study participants imagined their future job positions and lifestyles as similar to the ones they currently held, due to perceptions that opportunities were not open to them or worth the effort to pursue. Some exceptions were the possibility of pursuing higher education and having more leisure time in the future. 
 5. An “Insider” Worldview. The worldview of an insider is focused “on the practical dimensions of life” (p. 445); information relevant to lower working class individuals is that which “solve[s] problematic situations” (p. 441). Study participants’ social conversations revolved around events that reinforced their mental models. Respondents relied on themselves and distrusted those outside their social circles.
 6. Use of the Mass Media. Mass media is perceived as a vehicle for passing time, escape, and entertainment, as well as a reflection of lived realities for the population. Respondents indicated that they watched television to pass time, and, secondarily, for practical purposes (e.g., learning how to be safe).
 
 Conclusion – Gratification theory provides a useful framework for library and information professionals to identify how populations define information problems and reliable sources, and their information seeking behaviours and motivations. Chatman’s analysis indicates that the everyday problems faced by the lower working class are not, and will not be, met by traditional sources that information professionals assume to be of value for the population. Based on these research results, Chatman calls on information professionals to critically evaluate and broaden their understanding of how problems are defined and addressed by the specific populations they seek to serve – to consider the relationships between the pressing realities of their service populations and everyday information that addresses those realities. This understanding will enable information professionals to determine if, how, and by what means, they should develop and package information to meet the needs of their service populations and communities.
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hyman, gwen. "The Taste of Fame: Chefs, Diners, Celebrity, Class." Gastronomica 8, no. 3 (2008): 43–52. http://dx.doi.org/10.1525/gfc.2008.8.3.43.
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This article takes up the question of the vexed class role of the American celebrity chef, beginning with the premise that, in the U.S., the achievement of class status is inimical with physical labor——and that, nevertheless, celebrity chefs have not only achieved elevated class status, but have become creators of class status for those who eat their food, by allowing diners to take in a proxy version of their own status with their pastas and foie gras. Beginning with a brief history of contemporary chefdom, the article explores the synthesis of perceived French class, American bootstrapper working culture and testosterone-laden cowboy allure that has led to the rise of the contemporary image of the American chef. It then explores the ways in which the dirty work, the physical labor of the kitchen and the labor-free, pristine notion of celebrity come together in the body of the chef, creating difficulties for the diner who seeks to take in the chef's celebrity power with his food, but also swallows the chef's labor, thus sliding backwards on the American class scale, reversing the Horatio Alger story, precisely by seeking to move upward. Similarly, the diner who reinforces his sophistication by swallowing what the chef feeds him is also taking in the unknown, the mysterious, the potentially defiling and disgusting. Television chefdom solves this problem, at once making the chef famous, exposing him as ordinary, and putting him in his place through the mechanisms of reality TV and public judgment.
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Baade, Christina. "Vera Lynn Sings: Domesticity, Glamour, and National Belonging on 1950s British Television." Journal of the American Musicological Society 75, no. 2 (2022): 221–71. http://dx.doi.org/10.1525/jams.2022.75.2.221.
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Abstract In the late 1950s, musical variety shows on television played a critical role in the careers of numerous singers, particularly women working in mainstream pop. Some even hosted their own shows, becoming “television personalities,” a new type of performer skilled at conveying televisual authenticity and intimacy. We can better understand the significance of these often overlooked singers by recentering the role of television in their careers. This article takes as its case study the British singer Vera Lynn and Vera Lynn Sings, the lavishly produced, prime-time musical variety show that she hosted from 1956 to 1959 and that was the centerpiece of her exclusive, multi-year contract with the British Broadcasting Corporation. By examining her star persona on the show, the article offers a corrective to accounts of Lynn’s long life as a public figure, which tend to emphasize her fame as a singer in World War II while skimming over her accomplished career in the decades that followed. Drawing upon production documents and scripts at the BBC Written Archives Centre, together with press sources, this article argues that Vera Lynn Sings helped shape popular notions of British national identity in the late 1950s. Through its musical, performative, and visual strategies, the show offered a vision of national belonging that placed aspirational, white, feminine domesticity at the center. Anchored by Lynn’s sincere persona and sentimental songs, the show’s intimate address and musical repertoire welcomed a “family” audience across lines of gender, class, and age, while simultaneously reinforcing racist and colonial definitions of national belonging.
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Bebber, Brett. "The Short Life ofCurry and Chips: Racial Comedy on British Television in the 1960s." Journal of British Cinema and Television 11, no. 2-3 (2014): 213–35. http://dx.doi.org/10.3366/jbctv.2014.0204.
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This article analyses Curry and Chips (ITV, 1969), a situation comedy that relied heavily on racial humour to satisfy its audiences. Like other sitcoms during this era in British television, it capitalised on extant anxieties about the increasing migration of formerly colonised subjects to Britain. Johnny Speight and Spike Milligan, the programme's creators, believed that forwarding vulgar racial epithets and bigoted humour put English attitudes to immigration under examination. But the programme proved popular because of its appeal to white workers, who viewed depictions of the challenges of integrating non-white workers in a comedic context with some pleasure. Under the thin guise of political satire, the programme recirculated ethnic stereotypes and racist discourses to make its humour apparent. Audience research and letters of complaint also reveal that Curry and Chips appealed to audiences sympathetic to the racist attitudes forwarded by the programme's characters and failed to change white Britons’ perspectives on migration and integration. Because of the debate it caused about the appropriateness of its humour, Curry and Chips lasted only a single series before being banned by the Independent Television Authority. Like other forms of racial humour, the comedy resonated with working-class anxieties but negated the programme's utility as progressive parody.
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Niemonen, Jack. "Whither the White Working Class? A Comment on Khanna and Harris, “Discovering Race in a ‘Post-Racial’ World: Teaching Race through Primetime Television”." Teaching Sociology 43, no. 3 (2015): 236–41. http://dx.doi.org/10.1177/0092055x15586268.
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Mudra, I., та M. Kitsа. "ІСТОРІЯ ТРЕВЕЛ-ПРОГРАМ НА УКРАЇНСЬКОМУ ТЕЛЕБАЧЕННІ". State and Regions. Series: Social Communications, № 1(41) (10 березня 2020): 56. http://dx.doi.org/10.32840/cpu2219-8741/2020.1(41).8.
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<div><p class="Standard"><em>The article deals with the current state of travel journalism on Ukrainian TV channels. The article describes the chronological formation and development of travel journalism on Ukrainian television as a new thematic area on domestic TV channels. Through the study of the evolution of travel programs, we can see the modern features of new travel programs and claim that modern travel programs on Ukrainian television are better and more interesting than their predecessors in the 90s and early 2000s. Each of the programs we have analyzed has its own peculiarity, which may consist in geographical coverage, thematic specificity, mastery of the presenters and more. But all these programs combine the element of travel and cognitive nature. Most of the TV shows on Ukrainian television appeared in 2011. Some of these programs were only translated for one season, while others are still broadcasted. These are the programs «Inside Out» by Dmitry Komarov and «The Eagle and the Rescue». The secret to the success of these broadcasts is authentic content, interesting program design, and, of course, mastery of the presenters. And if in the program «Eagle and Rescue» pairs of presenters are constantly changing, then in «Inside the World» the author and host of the program remains unchanged. Moreover, Dmitry Komarov’s awareness and rating is constantly growing, which gives reason to speak about his remarkable authority and skill, as well as good selected countries for travel and program format. The originals are also Eurochekin and Zarobitchany programs, where, in addition to traveling, the presenters reveal the peculiarities of living and working abroad. These transfers are of significant importance, because in Eurochekin, the presenters highlight the features of traveling abroad by own car, and in the «Earnings» – the specifics of work and earnings in different countries. In general, the results of the study indicate that modern travel programs are on the verge of a new stage of development.</em></p></div><p class="Standard"><strong><em>Key words:</em></strong><em> travel journalism, travel shows, travel shows, travel, TV channels.</em></p>
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TETREAULT, CHANTAL. "Citéteens entextualizing French TV host register: Crossing, voicing, and participation frameworks." Language in Society 38, no. 2 (2009): 201–31. http://dx.doi.org/10.1017/s0047404509090332.
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ABSTRACTThis article addresses data that reside at the confluence of three types of linguistic “crossing” (Rampton 1995) among working-class French teens of predominantly Algerian descent. Strategically using the microphone of the researcher to imitate an elite French television show host, performers create indirect reported speech and direct stylized voicing for present peers and thereby mock them as show “guests.” Through analysis of such data, this article contributes to scholarship that extends and refines Goffman’s notions of footing and participation frameworks, and the relationships imaginable between them. It is argued that the notions of noncongruent voicing effects and generalized footing can lead to a more sophisticated understanding of the relationship between language crossing and participation frameworks. More specifically, analyzing language crossing in terms of the resultant voicing effects sheds light upon the nuanced ways that speakers manage participation frameworks. (Register, crossing, footing, participation frameworks, voicing)
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Novikova, Kateryna. "Dress as a Reflection of Social Identity and Differentiation in the Soviet Cinema in the 1950s-1980s." Networking Knowledge: Journal of the MeCCSA Postgraduate Network 11, no. 1 (2018): 67–78. http://dx.doi.org/10.31165/nk.2018.111.529.
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The paper is based on the visual and sociological interpretation of the specific element of the Soviet everyday life within the period from 1950s till 1980s. From the very beginning, clothing styles and images were used by Communist authorities to impose some important ideological trends on society. There was collectivism, modesty, simplicity, unselfishness, obedience, respect for authority, and hard work in addition to a variety of features of Soviet morality, as well as even more controversial Soviet ideas. Popular culture in the Soviet Union, especially cinema and television, contained both entertainment and propaganda in different proportions. The presented analysis of stories from the selected Soviet movies concerns the specific perspective of the social identity creation, lifestyle construction and imitation strategies of the common Soviet citizens. Social differentiation within clothing styles as symbols of status is shown rather frequently in the movies, especially in the earlier period, as a way to delineate social and moral borders between working class, on the one side, and intelligentsia, on the other.
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Miller, Paul. "“We Want Lamonica”." Journal of Sport History 49, no. 2 (2022): 131–48. http://dx.doi.org/10.5406/21558450.49.2.02.
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Abstract The booing of quarterback Jack Kemp got so ugly by 1966 that a Buffalo newspaper issued a tardy rebuke. Reminding fans of the national television audience, the editors warned that deriding Kemp made the city look second-rate. The admonishment had no effect, however. A cross section of fans—ethnic, Catholic, working class, and, overwhelmingly, Democrat—coalesced around backup quarterback Daryle Lamonica against the WASPish, conservative Kemp. “We want Lamonica” pulsed through Memorial Stadium like never before. Besides revealing an assertion of ethnic and political loyalties, the quarterback controversy anticipated and shaped the quarterback-turned-candidate's populist persona. Key to Kemp's political ambitions were Lamonica fans, disaffected Democrats who were also the core element of Richard Nixon's strategy to realign American politics. But the bidding for the silent majority differed in local and national races. Seeking to overcome his WASPish reputation, Kemp's brand of ethnic populism was more activist in nature than Nixon's token gestures.
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Joseph Olurotimi, Ogunlade. "Sex Differences in Stress and Coping Strategies Among Teachers in MBALE Municipality." Research Journal of Education, no. 511 (November 25, 2019): 183–87. http://dx.doi.org/10.32861/rje.511.183.187.
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This study investigated the various paradigms of stress based on demographic variables and the attendant coping mechanisms employed by the secondary school teachers in Mbale Municipality. Descriptive survey research design was used, the total samples used for the study was 196. A well validated questionnaire was used to collect data from the teachers. Descriptive statistics such as frequency, means and standard deviations were used to analyse the data on the research questions. Inferential statistics of t-test for independent samples was also used to analyse the data at 0.05 level of significance. Specifically the result showed that male teachers have slightly high level of stress than female teachers which might be premised on various paradigms such as unstandardized class size, students’ indiscipline and poor working environments with low salaries among secondary school teachers. However, the teachers cope with their stress using mechanisms such as critical analysis of problem for better appraisal, clubbing, watching Television, films and video, avoiding unnecessary thinking. Thus the following recommendations were made, teachers’ salary should be increased to meet the demand of the teachers and should be paid promptly, incentives to be given to them, class size to be standardized, and counselling service should be stepped up in secondary schools in Mbale Municipality.
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O'Gorman, Finian. "‘No comfort talking when there’s a man around’: Maura Laverty’s Tolka Row (1951) and a neglected tradition of popular drama at the Gate Theatre, Dublin." Review of Irish Studies in Europe 4, no. 1 (2021): 66–81. http://dx.doi.org/10.32803/rise.v4i1.2628.
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This essay presents a case for Maura Laverty’s play Tolka Row (1951) to be recognised as a highly-accomplished prototype of the soap opera in Ireland. It argues that Tolka Row is an important Irish iteration of a quintessentially modern form that swept across Europe and the rest of the world in tandem with advances in broadcasting in the twentieth century. The analysis focuses on the unique way in which the play portrays the lived experiences of working-class women through unadorned, everyday ‘talk’. The innovative approach to dialogue in Tolka Row situates the play as an important precursor to the development of the television serial in Ireland – not merely due to its popularity and working-class milieu, as has been acknowledged in the past, but due to its creative formal characteristics. This paper thus suggests a reassessment of the legacy of the Gate Theatre, which has to date been defined primarily in relation to its production of avant-garde plays. While the Gate has been widely acknowledged as a bastion of European modernism in Ireland, Tolka Row forms part of the theatre’s contribution to the development of a different kind of response to modernization, in the form of popular culture. By drawing on previously unexplored archival material which shows evidence of significant cuts to the original script, this paper suggests that the directors of Gate Theatre Productions – Hilton Edwards and Micheál mac Líammóir – either denied or disavowed the extent to which a more popular drama could impact Irish theatre and society. Keywords: Gate Theatre, Maura Laverty, Tolka Row, serial, soap, popular culture, consciousness raising.
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Collins, Jeremy. "State of the nation: Class, Labour politics and the contemporary relevance of Our Friends in the North (1996)." Journal of Class & Culture 2, no. 2 (2023): 149–66. http://dx.doi.org/10.1386/jclc_00029_1.
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In January 1996 the BBC began broadcasting Our Friends in the North, a ‘state of the nation’ drama (Eaton 2005), over nine episodes. The series followed four working-class friends from Tyneside, and explored how their lives unfolded during the social and political upheavals of the 1960s through to the 1990s. The ‘monumental’ series was described at the time as ‘one of the major television programmes of this or any other year’. A recent (September 2022) rescreening of the series has re-emphasized the relevance of the themes it explores, and a one-off radio play updated the story to follow the children of the original characters in the 2020s. The series has been situated in the canons of British social realism and quality drama, and explores issues of class and social power, in particular depicting struggles around poor housing, police corruption, political scandals, and how these intersect with the lives of ordinary people. The main characters are shown variously rejecting, accommodating to or being crushed by, the political changes of the period, from Wilsonian Labourism, via Thatcherite neo-liberalism to the emergence of ‘new labour’. This article juxtaposes examples of the series’ themes with contemporary news items (around housing, political corruption, an out-of-control Metropolitan police service and a timid, subservient, managerial Labour Party). It argues that these recent, unresolved developments in the United Kingdom suggest the continued salience of Our Friends in the North as an important commentary on social and political issues.