This chapter concentrates on when voters make their voting decisions, paying particular attention to the campaign period. It starts by arguing that knowing when decisions are made is a vital part of understanding how elections work. The evidence presented demonstrates that a growing proportion of voters report making their final vote choice during election campaigns. Modern election campaigns with their manifesto launches, party leader debates and intense scrutiny of opinion polls matter a great deal. These campaigns work by raising awareness of new parties and candidates and providing vital information on the policy positions of competing actors. The analysis reveals that they are decisive in shaping voter decisions. Young people, women and urban voters are more likely to arrive at their final vote choice during the campaign period and, importantly, voters who decide during the campaign are also more likely to have changed their preference from the previous election. These findings have important implications for the political system. They provide further evidence of the challenges parties face in building long-term allegiance among their voters. Furthermore, it is also clear that election results may become more unpredictable as larger proportions of voters arrive at their final decision close to election day, making early campaign opinion polls more problematic as predictors of final outcomes.

As imperial authority was established, towns and cities grew and spread into the interior of continents. The morphology of such urban settlements was embedded in economic, social and racial requirements, in zoning and in the creation of buildings that would be climatically comfortable. This chapter particularly examines structures such as town halls and assembly and parliament buildings, as constitutional developments required them. While these were the characteristics of what is known as formal empire, settlements of Europeans pursuing economic objectives also created familiar buildings in settings of informal empire, for example in the Middle or Far East. Finally, the chapter examines the wholly new development of hill stations, designed for the comfort, recreation and health of Europeans. Generally associated with India, hill stations also appeared in South-East Asia, the Far East, Australia, Africa and the Caribbean.

At the heart of the mythology of punk rock is the notion that it was driven solely by a ‘do it yourself’ ethic that denounced the technical virtuosity of the most celebrated recording artists that came before. Drawing on the first-hand experience of a former manager of the band, this chapter suggests that the success of The Clash originated not in this much-lauded DIY culture but rather in a much more conventional and traditional dedication to their craft. That the band were able to sustain a commercially successful and artistically innovative career for so long was because they were absolutely committed to striving for ever greater levels of musical excellence. This commitment ensured that for all the compromises they were required to make, The Clash retained a palpable ‘authenticity’ that enabled them to challenge the artistic constraints of the ‘corporate voice’.

A central attribute of The Clash was from the very outset a curiosity about, and passion for, musical forms well beyond the confines of the stylistically constrained and overwhelmingly white early punk scene. This chapter suggests that the songs the band recorded together represent a critical moment in which it was imagined that a racially divided UK might have a multicultural, postcolonial future. The engagement of The Clash with reggae in particular widened the cultural horizons of their mainly white audience, while their endorsement of Rock Against Racism was an important gesture at a time when the punk movement was under threat of infiltration from the far right. In addition, the work and spirit of the band paved the way for other artists exploring multicultural forms, not least those on the Two Tone label. This influence remains undiminished today and the chapter documents the many contemporary black British artists who have covered songs by The Clash. As the authors of an important and enduring multicultural dialogue, the band should be acknowledged then as among the authors of the ‘outernationalisation’ of an ever more racially diverse British society.

This chapter is the third of three devoted to analysis of film’s stylistics, and seeks, in its attention to sound and music, to redress an ocular bias that is still apparent in some discussions of film. The first of four analytical sections identifies and evaluates the diverse soundtracks that accompanied purportedly ‘silent’ film. Next, discussion turns to the fraught debates occasioned by the coming of synchronised sound in the late 1920s. The following section sets out various vocabularies that have emerged for analysis of film sound, and assesses the advantages and deficiencies of each. The last of the substantive sections is devoted to film music, tracking some of its global and historical variations and evaluating attempts to conceptualise it that range from the psychoanalytic through the cognitivist to the Marxist. A concluding case study of The Great Gatsby (2013) explores the implications of the film’s experiments not only with music (both diegetic and non-diegetic) but with voiceover, dialogue and sound effects also.