Although the academic study of development is well established, as is also its policy implementation, less considered are the broader, more popular understandings of development that often shape agendas and priorities, particularly in representative democracies. Through its accessible and provocative chapters, Popular Representations of Development introduces the idea that while the issue of ‘development’ – defined broadly as problems of poverty and social deprivation, and the various agencies and processes seeking to address these – is normally one that is discussed by social scientists and policy makers, it also has a wider ‘popular’ dimension. Development is something that can be understood through studying literature, films, and other non-conventional forms of representation. It is also a public issue, one that has historically been associated with musical movements such as Live Aid and increasingly features in newer media such as blogs and social networking. The book connects the effort to build a more holistic understanding of development issues with an exploration of the diverse public sphere in which popular engagement with development takes place. This book gives students of development studies, media studies and geography as well as students in the humanities engaging with global development issues a variety of perspectives from different disciplines to open up this new field for discussion.

Brings together more than one hundred articles dealing with the discipline of development in all its diversity. Key topics include the transformation of peasant economies, argibusiness, rural-urban relations, markets, industrialization, workers, trade, aid and structural adjustment. A unique set in its comprehensiveness and diversity, it also considers four key challenges for development theory and practice relating to capabilities, ethics, sustainability and regulation.

At the start of the 21st century, the relationship between media and development has never felt more important. Following a series of ‘media revolutions’ throughout the developing world – beginning with the advent of cheap transistor radio sets in the late-1960s, followed by the rapid expansion of satellite television networks in the 1990s, and the more recent explosion of mobile telephony, social media and the internet – a majority of people living in the Global South now have access to a wide variety of Information and Communications Technologies (ICTs), and live in media saturated environments. Yet how can radio, television and mobile phones be most effectively harnessed towards the goals of purposive economic, social, and political change? Should they be seen as primarily a provider of channels through which ‘useful information’ can be delivered to target populations – in the hope that such information will alter those populations’ existing behaviours? Or should they be seen as a tool for facilitating ‘two-way communication’ between development providers and their recipients (i.e. as technologies for improving ‘participatory development’)? Or should new media environments be approached simply as sites in which people living in the developing world can define ‘development’ on their own terms? This timely and original book – which is based on a critical reading of the relevant literatures, and on the author’s own extensive primary research – introduces readers to all of these questions, and helps them to reach their own informed positions on each. It also examines the history of, and current debates regarding, media representations of development. Drawing on case studies from all over the world – including: ‘hate radio’ in Rwanda; theatre for development in India; telenovelas in Latin America; mobile banking and money in Africa, and; GIS and humanitarianism in Haiti – it will be of interest to all undergraduate and postgraduate students of media and development; international development professionals, and; simply to anyone with an interest in how media does, can, or should, change the world.

Representations of Stereotypical Images in Popular Culture: A Critical Approach engages students to examine the perpetuation of stereotypical images of marginalized groups found in popular media and to challenge those frameworks that are responsible for the creation and maintenance of these negative images. Focusing on film, television, social media, and lifestyles, the book applies critical theory to explain the impact of capitalism on the construction of images of minorities in popular culture. It examines how the maintenance of these images becomes embedded in our culture and directly impacts our belief systems regarding social expectations of racial, gender, and class groups. The book begins with chapters that define popular culture, introduce critical theory and racialized ideology, and examine the ways race, ethnicity, class, gender, and sexuality are represented. Additional chapters explain how racialized stereotypes are historically rooted in chattel slavery and trace the perpetuation of these images over three major stages of capitalist development. The final three chapters explore the perpetuation of negative images of other subordinated groups, how stereotypes are represented in social media, and the overall impact of the perpetuation of negative images on society. Throughout, reflection questions, chapter vignettes, comprehension questions, and real-world observations enrich the learning experience.

Split into four sections, Seeing Fans analyzes the representations of fans in the mass media through a diverse range of perspectives. This collection opens with a preface by noted actor and fan Orlando Jones (Sleepy Hollow), whose recent work on fandom (appearing with Henry Jenkins at Comic Con and speaking at the Fan Studies Network symposium) bridges the worlds of academia and the media industry. Section one focuses on the representations of fans in documentaries and news reports and includes an interview with Roger Nygard, director of Trekkies and Trekkies 2. The second section then examines fictional representations of fans through analyses of television and film, featuring interviews with Emily Perkins of Supernatural, Robert Burnett, director of the film Free Enterprise, and Luminosity, a fan who has been interviewed in the New York Magazine for her exemplary work in fandom. Section three explores cultural perspectives on fan representations, and includes an interview with Laurent Malaquais, director of Bronies: The Extremely Unexpected Adult Fans of My Little Pony. Lastly, the final section looks at global perspectives on the ways fans have been represented and finishes with an interview with Jeanie Finlay, director of the music documentary Sound it Out. The collection then closes with an afterword by fan studies scholar Professor Matt Hills.

In many ways the French Revolution--a series of revolutions, in fact, whose end has arguably not yet arrived--is modernity in action. Beginning in reform, it blossomed into wholesale attempts to remake society, uprooting the clergy and aristocracy, valorizing mass movements, and setting secular ideologies, including nationalism, in motion. Unusually manifold and complicated, the revolution affords many teaching opportunities and challenges. This volume helps instructors seeking to connect developments today--terrorism, propaganda, extremism--with the events that began in 1789, contextualizing for students a world that seems always unmoored and in crisis. The volume supports the teaching of the revolution's ongoing project across geographic areas (from Haiti, Latin America, and New Orleans to Spain, Germany, and Greece), governing ideologies (human rights, secularism, liberty), and literatures (from well-known to newly rediscovered texts). Interdisciplinary, intercultural, and insurgent, the volume has an energy that reflects its subject.

Originally published: 1995. Paperback reissue, with a new preface by the author.