Our manufacturing base is a shadow of its former self the Royal Navy has been reduced to a skeleton. SPECTATOR BOOKS OF THE YEAR 2015 Britain's empire has gone. A very wide range of material is discussed in the book, ranging from box office hits such as "The Full Monty" to community based theatre in Scotland and Wales. Much has been written on the 'break up' of Britain, but there has been very little to-date about the impact that this is having on drama in the thetre, on television and on film. The book breaks down what have been traditional barriers between theatre, film and television studies, considering the very broad range of ways in which the creators of dramatic fictions are telling us stories about ourselves at a time when the idea of being 'British' is increasingly problematic. Examining the debates around the relationship between culture and national identity, the book documents the contributions of actual dramatists and film-makers to the chronicling of an important historical moment. However, it does so within the broad field of drama. This book engages with ideas that are highly topical and relevant: nationalism, nationhood and national identity as well as the relationship of these to postcolonialism. This edited volume foregrounds twenty-five groundbreaking essays (plus a provocative foreword and an insightful afterword) in which the authors show how globalization is articulated in the micro and macro dimensions of contemporary life, pointing to the need for cultural studies to be more systematically engaged with the multiplicity and difference that globalization has proffered. Writing against the Anglo-centric ethnographic gaze that has saturated various cultural studies projects to date, contributors offer new interdisciplinary, autobiographical, ethnographic, textual, postcolonial, poststructural, and political economic approaches to the practice of cultural studies. The contributors to Globalizing Cultural Studies: Ethnographic Interventions in Theory, Method, and Policy take as their central topic the problematic status of «the global» within cultural studies in the areas of theory, method, and policy, and particularly in relation to the intersections of language, power, and identity in twenty-first century, post-9/11 culture(s).
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