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This article explores the causal links between the 1983 Channel 4 documentary Framed Youth: Revenge of the Teenage Perverts and the feature film Pride (2014), via All Out: Dancing in Dulais (1986). It will be argued that Pride – the story of miners' support group Lesbians and Gays Support the Miners (LGSM) - would never have been made if it had not been for Framed Youth, which featured Mark Ashton and which was made by a team that included future LGSM activists Jeff Cole and Nicola Field. A case will also be made for Framed Youth and Pride as both popular and radical, in managing to achieve a difficult balance between politics and pleasure, or (socio-political) critique and comedy. The article will discuss the origins of Framed Youth in the conjuncture of community theatre and community video, and its relationship to Channel 4, which broadcast the documentary in 1986. Attention will be devoted to the neglect of considerations around audiences in the independent film and video, and Framed Youth and The Miners' Campaign Tapes are cited as notable exceptions, due to their imaginative and successful approach to building audiences through distribution and exhibition. The article will conclude by considering why it is important that the story of LGSM was told through a feature film, returning to the topic of the balance between comedy and socio-political critique.

© 2019 IAMHIST & Informa UK Limited, trading as Taylor & Francis Group. This article examines Newfoundland radio during the period when Newfoundland was governed by a British-appointed Commission of Government (1934–1949), devoting particular attention to the political sensitivities and implications involved when one nation essentially assumed control of radio broadcasting in one of its dominions. The BBC had played the role of midwife in bringing the Broadcasting Corporation of Newfoundland into being during the 1930s, and provided regular advice to the Commission of Government, at a time when the countries of the empire were encouraged to follow the Corporation's public service organisation as a model. The relationship between the BBC and the BCN did come to sour, however, due to a feeling in St. John's that the larger Corporation was neglecting its tiny counterpart. As will be demonstrated using archival sources, there was some justification for this. Due to the particular constitutional status of Newfoundland, as in effect a Dependency of the United Kingdom, the BBC did not treat it on a par with the self-governing Dominions, which meant that possibilities for exchange were limited or non-existent. As well as examining these political issues, the article will develop a portrait of the unique aspects of Newfoundland's early radio culture. Newfoundland is a particularly appropriate case study for radio beyond boundaries as, due to its geographical location, listeners have traditionally been exposed to US and Canadian radio stations as well as domestic broadcasters and short-wave frequencies. Furthermore, conventional boundaries between public and private models of broadcasting do not apply in Newfoundland, where commercial radio programming has often performed a valuable public service function.

This paper explores the advent of the 'Undocuqueer' movement, an activist social network that represents the life chances of undocumented queer youth migrants in the USA, arguing for acceptance, equality and integration, with a particular focus on needs for education. Considering the promise of the DREAM (Development, Relief and Education for Alien Minors) Act (a possible legislative act that would offer education to undocumented migrant youth), this paper offers an historical and cultural foundation as to the emergence of the Undocuqueer movement, and also theoretical insight into the use of online technology utilising 'transmedia testimonio' (Zimmerman 2016). Relating the significance of the affective queer body, this paper contextualises the work of Sara Ahmed with regards to queer phenomenology, arguing that the online work of the Undocuqueer movement, offers a model for queer activism, framing the performative potential of undocumented queer youth, attempting to gain civil rights.

This book is about forms of media that have reflected or increased consciousness of - a sense of place or a regional identity. From landscape painting in the Romantic era to newspaper coverage of devolution, the chapters explore, through contextualized case studies, the aesthetics of a wide range of local, regional and grassroots forms of media.