This guidebook of historic iron-production sites is designed to give the reader a factual and illuminating look at the people and events that shaped Birmingham into one of America’s leading steel centers. Iron & Steel is heavily illustrated with both color and historical black-and-white photographs. It can be used while visiting parks or read as a coherent volume before or after a visit.

The book contains chapters devoted to the larger preserved sites open to the public, such as Sloss Furnaces National Historic Landmark and Tannehill Ironworks Historical State Park. It also highlights lesser-known, yet still accessible, sites such as Blocton Coke Ovens Park. The work provides easy-to-follow maps for every site as well as driving directions to the more remote locations, giving visitors easy access to all the notable iron and steel sites in Jefferson, Shelby, Tuscaloosa, and Bibb counties. Each chapter also includes a variety of historical information, with accompanying photographs, in order to present the reader with a detailed and comprehensive account of the Birmingham Iron and Steel District.

Featured sites include: Tannehill Ironworks Historical State Park; Shelby Ironworks Park; Billy Gould Coke Ovens Park; Brierfield Ironworks Historical State Park; Oxmoor Furnace Site; Irondale Furnace Park; Helena Rolling Mill Site; Red Mountain Park, Iron Ore Mines; Lewisburg Coke Ovens Park; Sloss Furnaces National Historic Landmark; Ruffner Mountain Nature Center; Blocton Coke Ovens Park; and Vulcan Park and Museum.

From Henry Mayhew's classic study of Victorian slums to Studs Terkel's presentations of ordinary people in modern America, oral history has been used to call attention to social conditions. By analyzing the nature and circumstances of the production of such histories of delinquency, James Bennett argues that oral history is a rhetorical device, consciously chosen as such, and is to be understood in terms of its persuasive powers and aims. Bennett shows how oral or life histories of juvenile delinquents have been crucial in communicating the human traits of offenders within their social context, to attract interest in resources for programs to prevent delinquency. Although life history helped to establish the discipline of sociology, Bennett suggests concepts for understanding oral histories generated in many fields.

In Television as Digital Media, scholars from Australia, the United Kingdom, and the United States combine television studies with new media studies to analyze digital TV as part of digital culture. Taking into account technologies, industries, economies, aesthetics, and various production, user, and audience practices, the contributors develop a new critical paradigm for thinking about television, and the future of television studies, in the digital era. The collection brings together established and emerging scholars, producing an intergenerational dialogue that will be useful for anyone seeking to understand the relationship between television and digital media.

Introducing the collection, James Bennett explains how television as digital media is a non-site-specific, hybrid cultural and technological form that spreads across platforms such as mobile phones, games consoles, iPods, and online video services, including YouTube, Hulu and the BBC’s iPlayer. Television as digital media threatens to upset assumptions about television as a mass medium that has helped define the social collective experience, the organization of everyday life, and forms of sociality. As often as we are promised the convenience of the television experience “anytime, anywhere,” we are invited to participate in communities, share television moments, and watch events live. The essays in this collection demonstrate the historical, production, aesthetic, and audience changes and continuities that underpin the emerging meaning of television as digital media.

Contributors. James Bennett, William Boddy, Jean Burgess, John Caldwell, Daniel Chamberlain, Max Dawson, Jason Jacobs, Karen Lury, Roberta Pearson, Jeanette Steemers, Niki Strange, Julian Thomas, Graeme Turner