Dr Bethany Klein
Head of Institute; Senior Lecturer in Communications Studies
0113 343 6979
Clothworkers' Building North, 1.23
Office hours: By appointment through Val Almond, firstname.lastname@example.org
BA (Bryn Mawr), MA (Penn), PhD (Penn)
My research interests include commercialism and the media, popular music culture, social issues in entertainment television, and media policy and regulation. As Heard on TV: Popular Music in Advertising (2009) addresses the subject of music in television commercials and engages with a number of issues which have a continuing presence in my work, including the relationship between industrial and cultural change and the role of commercial imperatives and corporate power in popular culture. I have acted as PI on two ESRC-funded projects: Social Issues in Primetime Television: Production Processes and Audience Responses (2009-10) and Communicating Copyright: An Exploration of Copyright Discourses in the Digital Age (2011-12). I am currently writing a book about copyright for SAGE with Dr Giles Moss and Dr Lee Edwards.
I have delivered modules on researching media and communication, visual communication, promotional culture, popular culture and communication, media production, and media and cultural theory. In 2014-15 I will lead COMM3910 Communication Dissertation.
(2009) As Heard on TV: Popular Music in Advertising. Ashgate Pub Co.
(2014) “Discourse, Justification, and Critique: Towards a Legitimate Digital Copyright Regime?”, The International Journal of Cultural Policy.
(2013) “‘Isn’t It Just a Way to Protect Walt Disney’s Rights?’: Media User Perspectives on Copyright”, New Media and Society.
(2013) “Framing the Consumer: Copyright Regulation and the Public”, Convergence: the journal of research into new media technologies. 19.1: 9-24.
(2013) “Entertainment-Education for the Media-Saturated: Audience Perspectives on Social Issues in Entertainment Programming”, European Journal of Cultural Studies. 16.1: 43-57.
(2011) “Introduction: Special Issue on Popular Music and Marketing”, Popular Music and Society. 34.4: 397-398.
(2011) “Entertaining Ideas: Social Issues in Entertainment Television”, Media, Culture and Society. 33.6: 905-921.
(2009) “Contrasting Interactivities: BBC Radio Message Boards and Listener Participation”, The Radio Journal – International Studies in Broadcast and Audio Media. 7.1: 11-26.
(2008) “‘The New Radio’: Music Licensing as a Response to Industry Woe”, Media, Culture & Society. 30.4: 463-478.
(2008) “In Perfect Harmony: Popular Music and Cola Advertising”, Popular Music and Society. 31.1: 1-20.
(2008) “‘These Two are Speaking Welsh on Channel 4!’: Welsh Representations and Cultural Tensions on Big Brother 7”, Television and New Media. 9.6: 514-530.
(2005) “Dancing About Architecture: Popular Music Criticism and the Negotiation of Authority”, Popular Communication. 3.1: 1-20.
(2011) “In Perfect Harmony: Popular Music and Cola Advertising”, In: McQuinn J (eds.) Popular Music and Multimedia. Ashgate Publishing. 225-244
(2010) “An Episode a Day: The Instructional Value of Health-related Reality Programming”, In: Baruh L; Park JH (eds.) Reel politics. Cambridge Scholars Publishing. 182-197
Research Projects & Grants
Principal Investigator, ESRC RES 000-22-3202: Social Issues in Primetime Television: Production Processes and Audience Responses, 2009-10, http://www.esrc.ac.uk/my-esrc/grants/RES-000-22-3202/read
Principal Investigator, ESRC RES 062-23-3027: Communicating Copyright: An Exploration of Copyright Discourses in the Digital Age (with Dr Lee Edwards, Dr David Lee, Dr Giles Moss), 2011-12, http://www.esrc.ac.uk/my-esrc/grants/RES-062-23-3027/read
PhD & Postdoctoral Supervision
Divya Maharajh (‘Feminine Experience: Media Studies and Gender Representation’, 2013)
Carolyn Brown (Media coverage of the 2012 Paralympic Games; title TBC)
Jennifer Carlberg (Popular music and post-secularism; title TBC)
Jon Marshall (‘Politics and Musical Aesthetics in the New Russia: Protest Songs, Improvisation and Noise’)
Andreas Rauh Ortega (‘Change and Continuity: Music in the Digital Era’)