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In the final section, contributors analyse how the war was reported in different countries around the world, including the United States, Britain, Germany, India, Greece, Russia, and France. The book offers an important corrective to the hysteria and misinformation that permeated media coverage. Subjects covered include the role of the internet, the changing media-military relationship, the depiction and definition of 'war crimes, ' and how Yugoslav television was presented as a legitimate military target. Contributors include John Pilger, Edward S. 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Spectacular photographs of whales in the wild help reveal the mysterious lives of these majestic ocean giants.","brand":"WoB","offers":[{"title":"GB \/ VERY_GOOD \/ INTERNAL","offer_id":49555064160529,"sku":"GOR008775278","price":0.0,"currency_code":"GBP","in_stock":true},{"title":"GB \/ GOOD \/ INTERNAL","offer_id":49565008331025,"sku":"GOR009040595","price":0.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/0565094122.jpg?v=1751008535"},{"product_id":"screens-of-terror-book-philip-hammond-9781845495015","title":"Screens of Terror","description":"'No other collection to date has so acutely, intelligently and coherently demonstrated the inseparability of information, entertainment, policy and public perception as prime vectors of war on terror discourses and sensibilities as these are represented in Hollywood products. If I had to choose a single source to interrogate the limitless suffusion throughout Hollywood texts of Hegemonic gaze and subjectivity - regardless of genre, whether critical or mainstream - it would be Screens of Terror.' - Oliver Boyd-Barrett, Professor of Journalism \u0026amp; Telecommunications, Bowling Green State University 'A compelling and timely interrogation of contemporary images of terror, this book has much to offer everyday consumers of popular films and television, be they students or casual readers.' - Cynthia Weber, Professor of International Relations, University of Sussex Right from the first moment, the 11 September 2001 attacks and the 'war on terror' were closely associated with film and media. In an effort to 're-brand' US foreign policy, Washington consulted with the advertising and PR industries and within days of 9\/11 - itself often described as being 'like a movie' - also consulted Hollywood. It seemed that film-makers might be about to cooperate with a major, long-term propaganda offensive, harking back to the films of the early Cold War era or even those of World War Two. Screens of Terror examines whether such expectations have been borne out. It asks: - How far have the film and TV industries been supportive of the 'war on terror' and how far have they been critical of it? - How has the war film genre developed since 9\/11? - How have other popular genres responded to the 'war on terror'? - How have film and TV represented the enemy Other and the Western Self? Ten years on, this volume brings together European and North American scholars working in politics and international relations as well as in literature, film, media and cultural studies to take stock and assess the shape and significance of the post-9\/11 cultural moment. Edited by Philip Hammond, Professor of Media and Communications and head of the Centre for Media and Culture Research at London South Bank University. 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By the first decade of the twenty-first century, it appeared that their efforts had been spectacularly successful. Yet just at the moment when the campaigners’ goals were being achieved, it seemed that the idea of getting the issue into mainstream discussion had been mistaken all along; that the consensus-building approach produced little or no meaningful action. That is the problem of climate change as a ‘post-political’ issue, which is the subject of this book.  Examining how climate change is communicated in politics, news media and celebrity culture, Climate Change and Post-Political Communication explores how the issue has been taken up by elites as potentially offering a sense of purpose or mission in the absence of political visions of the future, and considers the ways in which it provides a focus for much broader anxieties about a loss of modernist political agency and meaning. 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