1 Introducing Emotion, Identity and the Play of Political Culture
Notes 1 Introducing Emotion, Identity and the Play of Political Culture 1. Psychosocial Studies at UEL was first developedby Michael Rustin, Barry Richards, Mike Smee and Amal Treacher alongsidecolleagues at the Tavistock and Portman NHS Trust in North London. For a discussion of the Psychosocial Studies field, its history and its differences: see, Day Sclater, Jones, Price, and Yates (2009), and the Special Issue of the journal, Psychoanalysis, Culture and Society, 2008, Volume 13, Issue 4, 2008: 339–385. 2. John Street has defined popular culture ‘as a form of entertainment that is mass produced or is made available to large numbers of people’ (1997: 7). 3. An advantage of using digital posters to promote a political party is that they are cheap to produce, and can respondquickly to issues and themes raised onthecampaign (Nikkaha, 2010). 4. For this and other posters of the UK 2010 National Election Campaign, see Guardian.co.uk(2010)‘Election Campaign: General Election Campaign 2010 in Pictures’, 15 April 2010, http://www.guardian.co.uk/politics/gallery/ 2010/mar/30/general-election-2010-labour#/?picture=361777434&index, date accessed 18 January 2014. 5. “Gene Hunt” was a detective in the popular BBC 1 television drama Ashes to Ashes (2008–2010). 6. To view this image, click on the linkhttp://newsimg.bbc.co.uk/media/images/ 47582000/jpg/_47582724_cameronhunt466.jpg, accessed 23 July, 2015. 7. See: www.mumsnet.com, date accessed 12 February 2015. 8. The discourse of austerity, which is underpinned by the message of non-state intervention and the so-called ‘hidden hand’ of the market, has a strong ideological dimension to it that chimes in with the values of neoliberal ‘revolution’ that is tracedback to the monetarist policies whichbegan to take shape in the 1970s (Harvey, 2007) and to its cultural formation as a hegemonic project (Hall, 2011).
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