Using geographically weighted regression to explore spatial variation in survey data

Nonresponse can undermine the quality of social survey data. Understanding who does/does not respond to surveys is important for those involved in the collection and analysis of these data. Levels of nonresponse are known to vary geographically. However, there has been little consideration of how the predictors of survey nonresponse might vary geographically within countries. This study examines the possibility of spatial variation in response behavior using regional interactions and geographically weighted regression. Our results suggest that there is geographical variation in response behavior. Relying on “one size fits all” global models in nonresponse modelling might, therefore, be insufficient

Editorial: crime patterns in time and space: the dynamics of crime opportunities in urban areas

The routine activity approach and associated crime pattern theory emphasise how crime emerges from spatio-temporal routines. In order to understand this crime should be studied in both space and time. However, the bulk of research into crime patterns and related activities has investigated the spatial distributions of crime, neglecting the temporal dimension. Specifically, disaggregation of crime by place and by time, for example hour of day, day of week, month of year, season, or school day versus none school day, is extremely relevant to theory. Modern data make such spatio-temporal disaggregation increasingly feasible, as exemplified in this special issue. First, much larger data files allow disaggregation of crime data into temporal and spatial slices. Second, new forms of data are generated by modern technologies, allowing innovative and new forms of analyses. Crime pattern analyses and routine activity inquiries are now able to explore avenues not previously available. The unique collection of nine papers in this thematic issue specifically examine spatio-temporal patterns of crime to; demonstrate the value of this approach for advancing knowledge in the field; consider how this informs our theoretical understanding of the manifestations of crime in time and space; to consider the prevention implications of this; and to raise awareness of the need for further spatio-temporal research into crime event

Sparrows can't sing : East End kith and kinship in the 1960s

Sparrows Can’t Sing (1963) was the only feature film directed by the late and much lamented Joan Littlewood. Set and filmed in the East End, where she worked for many years, the film deserves more attention than it has hitherto received. Littlewood’s career spanned documentary (radio recordings made with Ewan MacColl in the North of England in the 1930s) to directing for the stage and the running of the Theatre Royal in London’s Stratford East, often selecting material which aroused memories in local audiences (Leach 2006: 142). Many of the actors trained in her Theatre Workshop subsequently became better known for their appearances on film and television. Littlewood herself directed hardly any material for the screen: Sparrows Can’t Sing and a 1964 series of television commercials for the British Egg Marketing Board, starring Theatre Workshop’s Avis Bunnage, were rare excursions into an area of practice which she found constraining and unamenable (Gable 1980: 32). The hybridity and singularity of Littlewood’s feature may answer, in some degree, for its subsequent neglect. However, Sparrows Can’t Sing makes a significant contribution to a group of films made in Britain in the 1960s which comment generally on changes in the urban and social fabric. It is especially worthy of consideration, I shall argue, for the use which Littlewood made of a particular community’s attitudes – sentimental and critical – to such changes and for its amalgamation of an attachment to documentary techniques (recording an aural landscape on location) with a preference for nonnaturalistic delivery in performance

From 'River Cottage' to 'Chicken Run': Hugh Fearnley-Whttingstall and the class politics of ethical consumption

Lifestyle television provides a key site through which to explore the dilemmas of ethical consumption, as the genre shifts to consider the ethics of different consumption practices and taste cultures. UK television cook Hugh Fearnley-Whittingstall's TV programmes offer fertile ground not only for thinking about television personalities as lifestyle experts and moral entrepreneurs, but also for thinking about how the meanings and uses of their television image are inflected by genre. In this article we explore how the shift from the lifestyled downshifting narrative of the River Cottage series to the 'campaigning culinary documentary' Hugh's Chicken Run exposes issues of celebrity, class and ethics. While both series are concerned with ethical consumption, they work in different ways to reveal a distinction between 'ethical' and 'unethical' consumption practices and positions - positions that are inevitably classed

Young Women and Consumer Culture

This article is presented as an intervention in the field of feminist media and cultural studies with particular reference to consumer culture. It is concerned with the seeming evasion of critique which can be detected in a number of recent feminist responses to the way in which modalities of ‘popular feminism’ have found themselves incorporated into women's genres of television, such as, in particular, the US series Sex in the City. This usage or instrumentalization of feminism (in its most conventionally liberal feminist guise) also provides corporate culture with the means of presenting itself to young women as their ally and even champion of ‘girls’ while at the same time earning seeming approval for adopting the mantle of social responsibility, which makes the concept of popular feminism more problematic than it first appeared. Such appropriation of popular feminist discourse by the commercial domain prompts a self-critique on the part of the author alongside an analysis of recent approaches toward consumer culture in cultural studies. The article continues by presenting a schematic account of how the commercial domain increasingly supplants state and public sector institutions in the intensity and dedication of its address to girls and young women. Whilst some may argue that the intersection of youthful femininity and the commercial sphere is not a new phenomenon, what is being explored here is the connection between this intensification of attention and the logic of current neo-liberal economic rationalities. The argument is, therefore, that it is by these means including the instrumentalization of a specific modality of ‘feminism’ that there emerges into existence a neo-liberal culture, with global aspirations, which has as its ideal subject the category of ‘girl’

Introduction : screen Londons

Our aim, in editing the ‘London Issue’ of this journal, is to contribute to a conversation between scholars of British cinema and television, London historians and scholars of the cinematic city. In 2007, introducing the themed issue on ‘Space and Place in British Cinema and Television’, Steve Chibnall and Julian Petley observed that it would have been possible to fill the whole journal with essays about the representation of London. This issue does just that, responding to the increased interest in cinematic and, to a lesser extent, televisual, Londons, while also demonstrating the continuing fertility of the paradigms of ‘space and place’ for scholars of the moving image1. It includes a wide range of approaches to the topic of London on screen, with varying attention to British institutions of the moving image – such as Channel Four or the British Board of Film Classification – as well as to concepts such as genre, narration and memory. As a whole, the issue, through its juxtapositions of method and approach, shows something of the complexity of encounters between the terms ‘London’, ‘cinema’ and ‘television’ within British film and television studies